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BODY:
Manufactured by Nippon Kogaku K. K., Japan (Nikon Corporation since 1988)
Model: c.1968, model Photomic FTN that produced between 1968-1974.
All Nikon F produced between 1959-74
35mm film camera, fully mechanical, (except posemeter)
Engraving on the top plate: Nikon and serial no. 6944460
Lens Mount: Nikon F bayonet type
Lens release: by a button on the right front side of the camera, just beside the lens mount
Focusing: screen Matte fresnel Split-image prism rangefinder, Type A, provided as standard, interchangeable with 16 other type finder screens
Shutter: Mechanical, horizontal-travel, titanium foil focal-plane shutter
speeds: 1-1/1000, +T and B, for X sync 1/60 is red
setting : dial on the top plate, coupled with the speed dial of the finder Photomic FTN
Shutter release: Threaded collar, accepts Nikon F, F2 type cable release, on the top plate
Cocking lever: also winds the film, short stroke type, retractable,
automatic film advance possible when motor drives F36 or F250 are used.
Frame counter: on the cocking knob, Additive type, auto-reset
Reflex mirror: Automatic instant-return type
Mirror lock-up: by a lever on the right side of the lens mount
DOF preview: by a button, on the right front side of the camera, just beside the lens mount
Viewfinder: Photomic FTN, metered, SAI, eye level SLR pentaprism,
center-the needle pointer, shutter speed and apertures index visible in it, to f/32 and T&B settings, T appears as 4 sec. and B appears as 2 sec. in the finder,
Maximum aperture scale: on front of the finder:
After setting the lens to f/5.6 or lower, mount the lens on the camera and cycle first back and then forth between the minimum and maximum apertures, some spring-loaded gizmo in the finder automatically communicates the maximum lens aperture to the metering circuit
(check the maximum aperture scale)
For Nikon F cameras classic Eyelevel prism finder was standard, interchangeable with 7 other types including 4 metering prisms
Finder release: main prism release is the small silver button on the back of the top plate and second is a lever on the right side of FTN, pushed in towards the finder after the main prism release is pushed-in.
Meter switch On/Off: On button on the right side of the finder, Off button on the top-right of the finder, when the on button pressed, the meter switch-off button will pop up and a red line around its circumference will be visible. This serves as a warning that the meter is on.
Battery check: depressing the off button while the meter is off, which will cause the meter needle to move slightly right of the center notch if the battery is still good.
Exposure meter: Cadmium Sulfide cells (CdS) in prism, through-the-lens, center-weighted exposure metering, (corresponds to the 12mm in diameter ring on the screen),
Film speed range: ASA 6-6400, setting: dial on the finder
Metering range: EV 2-17
Exposure setting: manual, set the ASA then center-the-needle pointer moving between horizontally arranged +/– (over / under exposure) markers at the lower part of the viewfinder, by turning the aperture ring or speed dial, speed and aperture are visible in the viewfinder.
The needle array was duplicated on the top of the finder head to allow exposure control without looking through the viewfinder
Re-wind lever: folding crank type,
A red dot on top of the shutter release button rotates while the film is being rewound,
Re-wind release: by switching the shutter release collar to R
Flash PC socket: Possible at all speeds up to 1/60 sec with electronic flash; sync terminal provided for off camera or multiple-flash photography; sync terminal is switchable to work with flashbulbs at speeds of up to 1/1000 sec (type 6 flashbulbs)
Hot-shoe: special Nikon F-type located at base of rewind knob,
adaptors available to convert to ISO or F3-type shoes
setting: the flash sync, lift up on the milled ring around the shutter speed dial and rotate, left or right, setting which visible in the small window just forward of the shutter speed dial,
For electronic flash sync 1/60th or slower, set the white and red letters FX,
the rest of settings for using flashbulbs
Memory dial : for ASA 25-1600, on the left of the bottom plate
Self-timer: dual purpose, a lever-type, rotate it clockwise, small black tick marks for an approximately 3, 6, 10 second delay, on the ring surrounding the self-timer hub, an aid for hand held exposures at slow speeds also
activates by pressing the small silver button appears when you moving the self-timer lever
Back cover: removable with bottom plate, opens by turning open/close folding lever,
interchangeable with 250 exposure magazine back (and motor) F250
Engraving on the bottom plate: MADE IN JAPAN
Tripod socket: 1/4''
Strap lugs
Body: Weight: 1049g, approx with Tn or FTn finder
Battery: Two PX-625 1.3V mercury battery (accepts PX625A / LR9, but better is 1.35v Zinc/air), for light meter only
Battery chamber: on the bottom of the finder
F body serial no / manufacturing year data, F body features / typology are as to:
LENS:
Zoom-Nikkor Auto 43-86mm f/3.5
Manufactured by Nippon Kogaku, Japan
Mount: Nikon F bayonet type non-AI lens , automatic diaphragm ,
Solid meter coupling prong, (no nostrils), single coated, filter thread: 52mm,
serial no. 486556
as to this serial no. Lens model is c.1967
All of this 43-86mm F mount lens manufactured between 1963-74 with many modifications
Aperture: f/3.5-f/22, on the scale number 16 blue coloured
Focus range: 1.2-20m +inf
Focus and zoom ring is same, zooming by sliding it,
scale with coloured lines 43-50-60-70-86mm
F mount with 5 slot screws, Chrome lens Barrel, scalloped aperture setting ring
White coloured LENS MADE IN JAPAN engraved on the black focusing ring,
the character M has vertical sides
The distance scale on the focusing ring is calibrated in feet and meters. Infinity setting is on the left side. The feet scale is yellow and is situated above the white meter scale.
The lens manufacturing year / serial no. data, model features / typology are as to:
For Nikon F cameras the lenses 50mm f2 Auto S Nikkor and later 50mm f1.4 Auto Nikkor-S was standart.
Non-AI lenses fit on the Nikon F, early F2, Nikkormat FT, FTN, FT2, EL and ELW, and the Nikkorex F. They can be used without meter coupling on the earliest AI camera bodies such as the FM and FE, but they must not be mounted on later ones such as the FM2, as it is possible to damage the camera body.
Nikon brought semi-automatic aperture indexing (SAI) from the Nikkormat FTN into the professional F with the FTN finder.
The F is the first member of the long line of Nikon F-series professional level 35 mm SLRs that began 1959 and followed each other in a sort of dynastic succession as the top-of-the-line Nikon camera. The other members were the F2,F3,F4,F5 and F6 (2004–present).
The F-series do not share any major components.
All Nikon professional F-series SLRs are full system cameras. This means that each camera body serves as only a modular hub.
Pretty Goddess modeling the new Sony A7R ! Swimsuit Bikini Model Goddess Shooting Stills (Sony A7R with 35mm F/2.8 Carl Zeiss Lens) & Video (Sony NEX6) at the same time with the 45surfer philosophy bracket! I use it on every shoot, as there is so much beauty in the world and so little time, so you might as weill shoot stills and video at the same time! :) Writing a book on it! :)
A warm Malibu December when the sun satys low all day, allowing us to shoot at noon as if it was 5 PM in the summer!
Here's some video shot at the same time as stills using a Sony A7R for the video camera:
www.youtube.com/watch?v=RiOMrZIEzg8
www.youtube.com/watch?v=Y7gq_gCk0jE
Photos shot with the Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens with the B W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coating filter. I always, always shoot with a CP filter--even on cloudy days!
Enjoy the pretty goddesses and all the best on your epic hero's journey!
Modeling the new black & gold & "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
The models were tall, thin, fit, and gorgeous beach goddesses! A blond and a brunette with long, long silky hair! Poseidon would approve! If he were shooting them, he'd want to capture simultaneous photographic stills and video at the same time too.
Best on your hero's journey from Johnny Ranger McCoy! :)
Falling in love with the full frame 36 megapixel e mount Sony A7R! The models make pretty photographers. :)
Nikon D800E RAW photos finished in Lightroom 5.3. Malibu December!
same as the last one but slightly different. couldn't decide which one i prefer so i'm putting both up.
Canon 5D Mark II Photos Tan Blond Swimsuit Bikini Model Goddess! 24-105mm F/4 USM L Lens !
"Beauty will save the world." --Dostoevsky
Hello Flickr fans! Excited for my Los Angeles Landscape gallery show in December! Taking a break from finishing the HDR landscapes and finishing some goddesses for my 45surf surfline instead. :) The gallery artist statement will begin with something like:
"In every photograph you can see both where the photographer was standing and what they were thinking. So it is that this collection tells the story of my epic journey as no words ever could. And more importantly, I hope that it serves to guide and inspire you along a hero's journey of your own making, owning all the glorious rewards of the risks of your own taking." --Johnny Ranger McCoy
Back to the goddesses for the moment:
Canon 5D Mark II Photos of Pretty Blonde Swimsuit Bikini Model Goddess with Blue Eyes! 24-105mm F/4 USM Lens ! She was tall, thin, fit--very, very fit--with amazing rock-hard abs and a toned, tall body! Long, long legs--long as the day! A classic socal California Beach Babe!
Epic video of the epic goddess, shot as the same time as the stills as is Johnny Ranger McCoy's lone-cowboy trademark technique:
www.youtube.com/watch?v=5Y5lQiNQncA
www.youtube.com/watch?v=6OfcQ9KCy1Y
Join Johnny Ranger McCoy's Hero's Journey Mythology Goddesses facebook! www.facebook.com/45surfHerosJourneyMythology
Subscribe to Johnny's youtube for epic goddess videos! www.youtube.com/user/bikiniswimsuitmodels
Twitter: twitter.com/45surf
Follow me on facebook! facebook.com/elliot.mcgucken
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy & the HJM Goddesses! :)
The coconut tree (Cocos nucifera) is a member of the family Arecaceae (palm family).
It is the only accepted species in the genus Cocos. The term coconut can refer to the entire coconut palm, the seed, or the fruit, which, botanically, is a drupe, not a nut. The spelling cocoanut is an archaic form of the word. The term is derived from the 16th-century Portuguese and Spanish word coco meaning "head" or "skull", from the three indentations on the coconut shell that resemble facial features.
The coconut is known for its great versatility as seen in the many uses of its different parts and found throughout the tropics and subtropics. Coconuts are part of the daily diets of many people. Coconuts are different from any other fruits because they contain a large quantity of "water" and when immature they are known as tender-nuts or jelly-nuts and may be harvested for drinking. When mature, they still contain some water and can be used as seednuts or processed to give oil from the kernel, charcoal from the hard shell and coir from the fibrous husk. The endosperm is initially in its nuclear phase suspended within the coconut water. As development continues, cellular layers of endosperm deposit along the walls of the coconut, becoming the edible coconut "flesh". When dried, the coconut flesh is called copra. The oil and milk derived from it are commonly used in cooking and frying; coconut oil is also widely used in soaps and cosmetics. The clear liquid coconut water within is potable. The husks and leaves can be used as material to make a variety of products for furnishing and decorating. The coconut also has cultural and religious significance in many societies that use it.
DESCRIPTION
PLANT
Cocos nucifera is a large palm, growing up to 30 m tall, with pinnate leaves 4–6 m long, and pinnae 60–90 cm long; old leaves break away cleanly, leaving the trunk smooth. Coconuts are generally classified into two general types: tall and dwarf. On fertile soil, a tall coconut palm tree can yield up to 75 fruits per year, but more often yields less than 30, mainly due to poor cultural practices. Given proper care and growing conditions, coconut palms produce their first fruit in six to ten years, taking 15 – 20 years to reach peak production.
FRUIT
Botanically, the coconut fruit is a drupe, not a true nut. Like other fruits, it has three layers: the exocarp, mesocarp, and endocarp. The exocarp and mesocarp make up the "husk" of the coconut. Coconuts sold in the shops of nontropical countries often have had the exocarp (outermost layer) removed. The mesocarp is composed of a fiber, called coir, which has many traditional and commercial uses. The shell has three germination pores (stoma) or "eyes" that are clearly visible on its outside surface once the husk is removed.
A full-sized coconut weighs about 1.44 kg. It takes around 6,000 full-grown coconuts to produce a tonne of copra.
ROOTS
Unlike some other plants, the palm tree has neither a tap root nor root hairs, but has a fibrous root system.
The coconut palm root system consists of an abundance of thin roots that grow outward from the plant near the surface. Only a few of the roots penetrate deep into the soil for stability. The type of root system is known as fibrous or adventitious, and is a characteristic of grass species. Other types of large trees produce a single downward-growing tap root with a number of feeder roots growing from it.
Coconut palms continue to produce roots from the base of the stem throughout its life. The number of roots produced depends on the age of the tree and the environment, with more than 3,600 roots possible on a tree that's 60 to 70 years old.
Roots are usually less than about 3 inches in diameter and uniformly thick from the tree trunk to the root tip.
Inflorescence
The palm produces both the female and male flowers on the same inflorescence; thus, the palm is monoecious. Other sources use the term polygamomonoecious. The female flower is much larger than the male flower. Flowering occurs continuously. Coconut palms are believed to be largely cross-pollinated, although some dwarf varieties are self-pollinating.
ETYMOLOGY
One of the earliest mentions of the coconut dates back to the One Thousand and One Nights story of Sinbad the Sailor; he is known to have bought and sold coconuts during his fifth voyage. Tenga, its Malayalam and Tamil name, was used in the detailed description of coconut found in Itinerario by Ludovico di Varthema published in 1510 and also in the later Hortus Indicus Malabaricus. Even earlier, it was called nux indica, a name used by Marco Polo in 1280 while in Sumatra, taken from the Arabs who called it جوز هندي jawz hindī. Both names translate to "Indian nut". In the earliest description of the coconut palm known, given by Cosmos of Alexandria in his Topographia Christiana written about 545 AD, there is a reference to the argell tree and its drupe.
Historical evidence favors the European origin of the name "coconut", for no name is similar in any of the languages of India, where the Portuguese first found the fruit; and indeed Barbosa, Barros, and Garcia, in mentioning the Tamil/Malayalam name tenga, and Canarese narle, expressly say, "we call these fruits quoquos", "our people have given it the name of coco", and "that which we call coco, and the Malabars temga".
The OED states: "Portuguese and Spanish authors of the 16th c. agree in identifying the word with Portuguese and Spanish coco "grinning face, grin, grimace", also "bugbear, scarecrow", cognate with cocar "to grin, make a grimace"; the name being said to refer to the face-like appearance of the base of the shell, with its three holes. According to Losada, the name came from Portuguese explorers, the sailors of Vasco da Gama in India, who first brought them to Europe. The coconut shell reminded them of a ghost or witch in Portuguese folklore called coco (also côca). The first known recorded usage of the term is 1555.
The specific name nucifera is Latin for "nut-bearing".
Origin, domestication, and dispersal
ORIGIN
The origin of the plant is the subject of debate. O.F. Cook was one of the earliest modern researchers to draw conclusions about the location of origin of Cocos nucifera based on its current-day worldwide distribution. He hypothesized that the coconut originated in the Americas, based on his belief that American coconut populations predated European contact and because he considered pan-tropical distribution by ocean currents improbable. Thor Heyerdahl later used this hypothesis of the American origin of the coconut to support his theory that the Pacific Islanders originated in South America. However, more evidence exists for an Indo-Pacific origin either around Melanesia and Malesia or the Indian Ocean. The oldest fossils known of the modern coconut dating from the Eocene period from around 37 to 55 million years ago were found in Australia and India. However, older palm fossils such as some of nipa fruit have been found in the Americas. Since 1978, the work on tracing the probable origin and dispersal of Cocos nucifera has only recently been augmented by a publication on the germination rate of the coconut seednut and another on the importance of the coral atoll ecosystem. Briefly, the coconut originated in the coral atoll ecosystem — without human intervention — and required a thick husk and slow germination to survive and disperse.
DOMESTICATION
Coconuts could not reach inland locations without human intervention (to carry seednuts, plant seedlings, etc.) and it was early germination on the palm (vivipary) that was important, rather than increasing the number or size of the edible parts of a fruit that was already large enough. Human cultivation of the coconut selected, not for larger size, but for thinner husks and increased volume of endosperm, the solid “meat” or liquid “water” that provides the fruit its food value. Although these modifications for domestication would reduce the fruit’s ability to float, this ability would be irrelevant to a cultivated population.
Among modern C. nucifera, two major types or variants: a thick-husked, angular fruit and a thin-husked, spherical fruit with a higher proportion of endosperm reflect a trend of cultivation in C. nucifera: the first coconuts were of the niu kafa type, with thick husks to protect the seed, an angular, highly ridged shape to promote buoyancy during ocean dispersal, and a pointed base that allowed fruits to dig into the sand, preventing them from being washed away during germination on a new island. As early human communities began to harvest coconuts for eating and planting, they (perhaps unintentionally) selected for a larger endosperm to husk ratio and a broader, spherical base, which rendered the fruit useful as a cup or bowl, thus creating the niu vai type. The decreased buoyancy and increased fragility of this spherical, thin-husked fruit would not matter for a species that had started to be dispersed by humans and grown in plantations. Harries’ adoption of the Polynesian terms niu kafa and niu vai has now passed into general scientific discourse, and his hypothesis is generally accepted.
Variants of C. nucifera are also categorized as Tall (var. typica) or Dwarf (var. nana). The two groups are genetically distinct, with the Dwarf variety showing a greater degree of artificial selection for ornamental traits and for early germination and fruiting. The Tall variety is outcrossing while Dwarf palms are incrossing, which has led to a much greater degree of genetic diversity within the Tall group. It is believed that the Dwarf subgroup mutated from the Tall group under human selection pressure.
DISPERSAL
It is often stated that coconuts can travel 110 days, or 4,800 km, by sea and still be able to germinate. This figure has been questioned based on the extremely small sample size that forms the basis of the paper that makes this claim. Thor Heyerdahl provides an alternative, and much shorter, estimate based on his first-hand experience crossing the Pacific Ocean on the raft Kon-Tiki: "The nuts we had in baskets on deck remained edible and capable of germinating the whole way to Polynesia. But we had laid about half among the special provisions below deck, with the waves washing around them. Every single one of these was ruined by the sea water. And no coconut can float over the sea faster than a balsa raft moves with the wind behind it." He also notes that several of the nuts began to germinate by the time they had been ten weeks at sea, precluding an unassisted journey of 100 days or more. However, it is more than likely that the coconut variety Heyerdahl chose for his long sea voyage was of the large, fleshy, spherical niu vai type, which Harries observed to have a significantly shorter germination type and worse buoyancy than the uncultivated niu kafa type. Therefore, Heyerdahl’s observations cannot be considered conclusive when it comes to determining the independent dispersal ability of the uncultivated coconut.
Drift models based on wind and ocean currents have shown that coconuts could not have drifted across the Pacific unaided. This provides some circumstantial evidence that Austronesian peoples carried coconuts across the ocean and that they could not have dispersed worldwide without human agency. More recently, genomic analysis of cultivated coconut (Cocos nucifera L.) has shed light on the movements of Austronesian peoples. By examining 10 microsatellite loci, researchers found two genetically distinct subpopulations of coconut - one originating in the Indian Ocean, the other in the Pacific Ocean. However, admixture, the transfer of genetic material, evidently occurred between the two populations. Given that coconuts are ideally suited for ocean dispersal, individuals from one population possibly could have floated to the other. However, the locations of the admixture events are limited to Madagascar and coastal east Africa, and exclude the Seychelles. This pattern coincides with the known trade routes of Austronesian sailors. Additionally, a genetically distinct subpopulation of coconut on the Pacific coast of Latin America has undergone a genetic bottleneck resulting from a founder effect; however, its ancestral population is the Pacific coconut. This, together with their use of the South American sweet potato, suggests that Austronesian peoples may have sailed as far east as the Americas.
DISTRIBUTION
The coconut has spread across much of the tropics, probably aided in many cases by seafaring people. Coconut fruit in the wild are light, buoyant and highly water resistant, and evolved to disperse significant distances via marine currents. Specimens have been collected from the sea as far north as Norway. In the Hawaiian Islands, the coconut is regarded as a Polynesian introduction, first brought to the islands by early Polynesian voyagers from their homelands in Oceania. They have been found in the Caribbean and the Atlantic coasts of Africa and South America for less than 500 years, but evidence of their presence on the Pacific coast of South America predates Christopher Columbus's arrival in the Americas. They are now almost ubiquitous between 26°N and 26°S except for the interiors of Africa and South America.
NATURAL HABITAT
The coconut palm thrives on sandy soils and is highly tolerant of salinity. It prefers areas with abundant sunlight and regular rainfall (1500 mm to 2500 mm annually), which makes colonizing shorelines of the tropics relatively straightforward. Coconuts also need high humidity (70–80%+) for optimum growth, which is why they are rarely seen in areas with low humidity. However, they can be found in humid areas with low annual precipitation such as in Karachi, Pakistan, which receives only about 250 mm of rainfall per year, but is consistently warm and humid.
Coconut palms require warm conditions for successful growth, and are intolerant of cold weather. Some seasonal variation is tolerated, with good growth where mean summer temperatures are between 28 and 37 °C, and survival as long as winter temperatures are above 4–12 °C; they will survive brief drops to 0 °C. Severe frost is usually fatal, although they have been known to recover from temperatures of −4 °C. They may grow but not fruit properly in areas with insufficient warmth, such as Bermuda.
The conditions required for coconut trees to grow without any care are:
- Mean daily temperature above 12–13 °C every day of the year
- Mean annual rainfall above 1000 mm
- No or very little overhead canopy, since even small trees require direct sun
The main limiting factor for most locations which satisfy the rainfall and temperature requirements is canopy growth, except those locations near coastlines, where the sandy soil and salt spray limit the growth of most other trees.
DISEASES
Coconuts are susceptible to the phytoplasma disease lethal yellowing. One recently selected cultivar, the Maypan, has been bred for resistance to this disease.
PESTS
The coconut palm is damaged by the larvae of many Lepidoptera (butterfly and moth) species which feed on it, including Batrachedra spp.: B. arenosella, B. atriloqua (feeds exclusively on C. nucifera), B. mathesoni (feeds exclusively on C. nucifera), and B. nuciferae.
Brontispa longissima (coconut leaf beetle) feeds on young leaves, and damages both seedlings and mature coconut palms. In 2007, the Philippines imposed a quarantine in Metro Manila and 26 provinces to stop the spread of the pest and protect the $800 million Philippine coconut industry.
The fruit may also be damaged by eriophyid coconut mites (Eriophyes guerreronis). This mite infests coconut plantations, and is devastating: it can destroy up to 90% of coconut production. The immature seeds are infested and desapped by larvae staying in the portion covered by the perianth of the immature seed; the seeds then drop off or survive deformed. Spraying with wettable sulfur 0.4% or with neem-based pesticides can give some relief, but is cumbersome and labor-intensive.
In Kerala (India), the main coconut pests are the coconut mite, the rhinoceros beetle, the red palm weevil and the coconut leaf caterpillar. Research into countermeasures to these pests has as of 2009 yielded no results; researchers from the Kerala Agricultural University and the Central Plantation Crop Research Institute, Kasaragode continue to work on countermeasures. The Krishi Vigyan Kendra, Kannur under Kerala Agricultural University has developed an innovative extension approach called the compact area group approach (CAGA) to combat coconut mites.
PRODUCTION AND CULTIVATION
Coconut palms are grown in more than 90 countries of the world, with a total production of 62 million tonnes per year (table). Most of the world production is in tropical Asia, with Indonesia, the Philippines and India accounting collectively for 73% of the world total (table).
CULTIVATION
Coconut trees are hard to establish in dry climates, and cannot grow there without frequent irrigation; in drought conditions, the new leaves do not open well, and older leaves may become desiccated; fruit also tends to be shed.
The extent of cultivation in the tropics is threatening a number of habitats, such as mangroves; an example of such damage to an ecoregion is in the Petenes mangroves of the Yucatán.
HARVESTING
In some parts of the world (Thailand and Malaysia), trained pig-tailed macaques are used to harvest coconuts. Training schools for pig-tailed macaques still exist both in southern Thailand and in the Malaysian state of Kelantan. Competitions are held each year to find the fastest harvester.
INDIA
Traditional areas of coconut cultivation in India are the states of Kerala, Tamil Nadu, Karnataka, Puducherry, Andhra Pradesh, Goa, Maharashtra, Odisha, West Bengal and the islands of Lakshadweep and Andaman and Nicobar. As per 2013-14 statistics from Coconut Development Board of Government of India, four southern states combined account for almost 92% of the total production in the country: Tamil Nadu (31.93%), Kerala (27.54%), Karnataka (23.26%), and Andhra Pradesh (8.43%). Other states, such as Goa, Maharashtra, Odisha, West Bengal, and those in the northeast (Tripura and Assam) account for the remaining productions. Though Kerala has the largest number of coconut trees, in terms of production per hectare, Tamil Nadu leads all other states. In Tamil Nadu, Coimbatore and Tirupur regions top the production list.
Various terms, such as copra and coir, are derived from the native Malayalam language. In Kerala, the coconut tree is called "Thengu" also termed as kalpa vriksham, which essentially means all parts of a coconut tree is useful some way or other. In Tamil Nadu, a coconut tree is called as "Thennai maram" and tender coconut is called as "Ilaneer" in the native language.
MALDIVES
The coconut is the national tree of the Maldives and is considered the most important plant in the country. A coconut tree is also included in the country's national emblem or coat of arms. Coconut trees are grown on all the islands. Before modern construction methods were introduced, coconut leaves were used as roofing material for many houses in the islands, while coconut timber was used to build houses and boats.
MIDDLE EAST
The main coconut-producing area in the Middle East is the Dhofar region of Oman, but they can be grown all along the Persian Gulf, Arabian Sea and Red Sea coasts, because these seas are tropical and provide enough humidity (through seawater evaporation) for coconut trees to grow. The young coconut plants need to be nursed and irrigated with drip pipes until they are old enough (stem bulb development) to be irrigated with brackish water or seawater alone, after which they can be replanted on the beaches. In particular, the area around Salalah maintains large coconut plantations similar to those found across the Arabian Sea in Kerala. The reasons why coconut are cultivated only in Yemen's Al Mahrah and Hadramaut governorates and in the Sultanate of Oman, but not in other suitable areas in the Arabian Peninsula, may originate from the fact that Oman and Hadramaut had long dhow trade relations with Burma, Malaysia, Indonesia, East Africa and Zanzibar, as well as southern India and China. Omani people needed the coir rope from the coconut fiber to stitch together their traditional high seas-going dhow vessels in which nails were never used. The 'know how' of coconut cultivation and necessary soil fixation and irrigation may have found its way into Omani, Hadrami and Al-Mahra culture by people who returned from those overseas areas.
The coconut cultivars grown in Oman are generally of the drought-resistant Indian "West Coast tall" (WC Tall) variety. Unlike the UAE, which grows mostly non-native dwarf or hybrid coconut cultivars imported from Florida for ornamental purposes, the slender, tall Omani coconut cultivars are relatively well-adapted to the Middle East's hot dry seasons, but need longer to reach maturity. The Middle East's hot, dry climate favors the development of coconut mites, which cause immature seed dropping and may cause brownish-gray discoloration on the coconut's outer green fiber.
The ancient coconut groves of Dhofar were mentioned by the medieval Moroccan traveller Ibn Battuta in his writings, known as Al Rihla.[52] The annual rainy season known locally as Khareef or monsoon makes coconut cultivation easy on the Arabian east coast.
Coconut trees also are increasingly grown for decorative purposes along the coasts of the UAE and Saudi Arabia with the help of irrigation. The UAE has, however, imposed strict laws on mature coconut tree imports from other countries to reduce the spread of pests to other native palm trees, as the mixing of date and coconut trees poses a risk of cross-species palm pests, such as rhinoceros beetles and red palm weevils. The artificial landscaping adopted in Florida may have been the cause for lethal yellowing, a viral coconut palm disease that leads to the death of the tree. It is spread by host insects, that thrive on heavy turf grasses. Therefore, heavy turf grass environments (beach resorts and golf courses) also pose a major threat to local coconut trees. Traditionally, dessert banana plants and local wild beach flora such as Scaevola taccada and Ipomoea pes-caprae were used as humidity-supplying green undergrowth for coconut trees, mixed with sea almond and sea hibiscus. Due to growing sedentary life styles and heavy-handed landscaping, there has been a decline in these traditional farming and soil-fixing techniques.
SRI LANKA
An early mention of the planting of coconuts is found in the Mahavamsa during the reign of Agrabodhi II around 589 AD. Coconuts are common in the Sri Lankan diet and the main source of dietary fat.
UNITED STATES
In the United States coconut palms can be grown and reproduced outdoors without irrigation in Hawaii, southern and central Florida, and the territories of Puerto Rico, Guam, American Samoa, the U.S. Virgin Islands, and the Commonwealth of the Northern Mariana Islands.
In Florida, Coconut palms will grow from coastal Pinellas County and St. Petersburg southwards on Florida's west coast, and Melbourne southwards on Florida's east coast. The occasional coconut palm is seen north of these areas in favoured microclimates in Tampa and Clearwater, as well as around Cape Canaveral and Daytona Beach on the east coast. They reach fruiting maturity, but can be damaged or killed by the occasional winter freezes in these areas. In South Texas they may also be grown in favoured microclimates around the Rio Grande Valley near Brownsville, and as far north as Corpus Christi , however more severe cold snaps keep them from producing viable fruit.
AUSTRALIA
Coconuts are commonly grown around the northern coast of Australia, and in some warmer parts of New South Wales.
BERMUDA
Most of the tall mature coconut trees found in Bermuda were shipped to the island as seedlings on the decks of ships. In more recent years, the importation of coconuts was prohibited, therefore, a large proportion of the younger trees have been propagated from locally grown coconuts.
In the winter months, the growth rate of coconut trees declines due to cooler temperatures and people have commonly attributed this to the reduced yield of coconuts in comparison to tropical regions. However, whilst cooler winter temperatures may be a factor in reducing fruit production, the primary reason for the reduced yield is a lack of water. Bermuda's soil is generally very shallow (1.5 to 3 feet) and much of a coconut tree's root mass is found in the porous limestone underneath the soil. Due to the porosity of the limestone, Bermuda's coconut trees do not generally have a sufficient supply of water with which they are able to support a large number of fruit as rain water quickly drains down through the limestone layer to the water table which is far too deep for a coconut's roots to reach. This typically leads to a reduction in fruit yield (sometimes as little as one or two mature fruits) as well as a reduced milk content inside the coconut that often causes the fruit to be infertile.
Conversely, trees growing in close proximity to the sea almost universally yield a much greater volume of fruit as they are able to tap directly into the sea water which permeates the limestone in such areas. Not only do these trees produce a significantly higher yield, but also the fruit itself tends to be far more fertile due to the higher milk content. Trees found growing in Bermuda's marshy inland areas enjoy a similar degree of success as they are also able to tap directly into a constant supply of water.
EUROPE
As a tropical plant, coconut is not native to Europe, but grows in tropical territories of European countries, such as Martinique and Guadeloupe (France), the Canary Islands (Spain) and Madeira (Portugal).
COOLER CLIMATES
In cooler climates (but not less than USDA Zone 9), a similar palm, the queen palm (Syagrus romanzoffiana), is used in landscaping. Its fruits are very similar to the coconut, but much smaller. The queen palm was originally classified in the genus Cocos along with the coconut, but was later reclassified in Syagrus. A recently discovered palm, Beccariophoenix alfredii from Madagascar, is nearly identical to the coconut, more so than the queen palm and can also be grown in slightly cooler climates than the coconut palm. Coconuts can only be grown in temperatures above 18 °C and need a daily temperature above 22 °C to produce fruit.
USES
The coconut palm is grown throughout the tropics for decoration, as well as for its many culinary and nonculinary uses; virtually every part of the coconut palm can be used by humans in some manner and has significant economic value. Coconuts' versatility is sometimes noted in its naming. In Sanskrit, it is kalpa vriksha ("the tree which provides all the necessities of life"). In the Malay language, it is pokok seribu guna ("the tree of a thousand uses"). In the Philippines, the coconut is commonly called the "tree of life".
COOKING
The various parts of the coconut have a number of culinary uses. The seed provides oil for frying, cooking, and making margarine. The white, fleshy part of the seed, the coconut meat, is used fresh or dried in cooking, especially in confections and desserts such as macaroons. Desiccated coconut or coconut milk made from it is frequently added to curries and other savory dishes. Coconut flour has also been developed for use in baking, to combat malnutrition. Coconut chips have been sold in the tourist regions of Hawaii and the Caribbean. Coconut butter is often used to describe solidified coconut oil, but has also been adopted as a name by certain specialty products made of coconut milk solids or puréed coconut meat and oil. Dried coconut is also used as the filling for many chocolate bars. Some dried coconut is purely coconut but others are manufactured with other ingredients, such as sugar, propylene glycol, salt, and sodium metabisulfite. Some countries in South East Asia use special coconut mutant called Kopyor (in Indonesian) or macapuno (in Philippines) as a dessert drinks.
NUTRITION
Per 100 gram serving with 354 calories, raw coconut meat supplies a high amount of total fat (33 grams), especially saturated fat (89% of total fat) and carbohydrates (24 grams) (table). Micronutrients in significant content include the dietary minerals, manganese, iron, phosphorus and zinc (table).
COCONUT WATER
Coconut water serves as a suspension for the endosperm of the coconut during its nuclear phase of development. Later, the endosperm matures and deposits onto the coconut rind during the cellular phase. It is consumed throughout the humid tropics, and has been introduced into the retail market as a processed sports drink. Mature fruits have significantly less liquid than young, immature coconuts, barring spoilage. Coconut water can be fermented to produce coconut vinegar.
Per 100 gram (100 ml) serving, coconut water contains 19 calories and no significant content of essential nutrients.
COCONUT MILK
Coconut milk, not to be confused with coconut water, is obtained primarily by extracting juice by pressing the grated coconut white kernel or by passing hot water or milk through grated coconut, which extracts the oil and aromatic compounds. It has a total fat content of 24%, most of which (89%) is saturated fat, with lauric acid as a major fatty acid. When refrigerated and left to set, coconut cream will rise to the top and separate from the milk. The milk can be used to produce virgin coconut oil by controlled heating and removal of the oil fraction.
A protein-rich powder can be processed from coconut milk following centrifugation, separation and spray drying.
COCONUT OIL
Another byproduct of the coconut is coconut oil. It is commonly used in cooking, especially for frying. It can be used in liquid form as would other vegetable oils, or in solid form as would butter or lard.
TODDY AND NECTAR
The sap derived from incising the flower clusters of the coconut is drunk as neera, also known as toddy or tuba (Philippines), tuak (Indonesia and Malaysia) or karewe (fresh and not fermented, collected twice a day, for breakfast and dinner) in Kiribati. When left to ferment on its own, it becomes palm wine. Palm wine is distilled to produce arrack. In the Philippines, this alcoholic drink is called lambanog or "coconut vodka".
The sap can be reduced by boiling to create a sweet syrup or candy such as te kamamai in Kiribati or dhiyaa hakuru and addu bondi in the Maldives. It can be reduced further to yield coconut sugar also referred to as palm sugar or jaggery. A young, well-maintained tree can produce around 300 liters of toddy per year, while a 40-year-old tree may yield around 400 liters.
HEART OF PALM AND COCONUT SPROUT
Apical buds of adult plants are edible, and are known as "palm cabbage" or heart of palm. They are considered a rare delicacy, as harvesting the buds kills the palms. Hearts of palm are eaten in salads, sometimes called "millionaire's salad". Newly germinated coconuts contain an edible fluff of marshmallow-like consistency called coconut sprout, produced as the endosperm nourishes the developing embryo.
INDONESIA
Coconut is an indispensable ingredient in Indonesian cooking. Coconut meat, coconut milk and coconut water are often used in main courses, desserts and soups throughout the archipelago. In the island of Sumatra, the famous Rendang, the traditional beef stew from West Sumatra, chunks of beef are cooked in coconut milk along with other spices for hours until thickened. In Jakarta, "Soto Babat" or beef tripe soup also uses coconut milk. In the island of Java, the sweet and savoury "Tempe Bacem" is made by cooking tempeh with coconut water, coconut sugar and other spices until thickened. "Klapertart" is the famous Dutch-influenced dessert from Manado, North Celebes, that uses young coconut meat and coconut milk. In 2010, Indonesia increased its coconut production. It is now the world's second largest producer of coconuts. The gross production was 15 million tonnes. A sprouting coconut seed is the logo for Gerakan Pramuka Indonesia, the Indonesian Scouting organization. It can be seen on all the scouting paraphernalia that elementary (SMA) school children wear as well as on the scouting pins and flags.
PHILIPPINES
The Philippines is the world's largest producer of coconuts; the production of coconuts plays an important role in the economy. Coconuts in the Philippines are usually used in making main dishes, refreshments and desserts. Coconut juice is also a popular drink in the country. In the Philippines, particularly Cebu, rice is wrapped in coconut leaves for cooking and subsequent storage; these packets are called puso. Coconut milk, known as gata, and grated coconut flakes are used in the preparation of dishes such as laing, ginataan, bibingka, ube halaya, pitsi-pitsi, palitaw, buko and coconut pie. Coconut jam is made by mixing muscovado sugar with coconut milk. Coconut sport fruits are also harvested. One such variety of coconut is known as macapuno. Its meat is sweetened, cut into strands and sold in glass jars as coconut strings, sometimes labeled as "gelatinous mutant coconut". Coconut water can be fermented to make a different product - nata de coco (coconut gel).
VIETNAM
In Vietnam, coconut is grown abundantly across Central and Southern Vietnam, and especially in Bến Tre Province, often called the "land of the coconut". It is used to make coconut candy, caramel, and jelly. Coconut juice and coconut milk are used, especially in Vietnam's southern style of cooking, including kho, chè and curry (cà ri).
INDIA
In southern India, most common way of cooking vegetables is to add grated coconut and then steam them with spices fried in oil. People from southern India also make chutney, which involves grinding the coconut with salt, chillies, and whole spices. Uruttu chammanthi (granulated chutney) is eaten with rice or kanji (rice gruel). It is also invariably the main side dish served with idli, vadai, and dosai. Coconut ground with spices is also mixed in sambar and other various lunch dishes for extra taste. Dishes garnished with grated coconut are generally referred to as poduthol in North Malabar and thoran in rest of Kerala. Puttu is a culinary delicacy of Kerala and Tamil Nadu, in which layers of coconut alternate with layers of powdered rice, all of which fit into a bamboo stalk. Recently, this has been replaced with a steel or aluminium tube, which is then steamed over a pot. Coconut (Tamil: தேங்காய்) is regularly broken in the middle-class families in Tamil Nadu for food. Coconut meat can be eaten as a snack sweetened with jaggery or molasses. In Karnataka sweets are prepared using coconut and dry coconut "copra"., Like Kaie Obattu, Kobri mitai etc.
WIKIPEDIA
Photograph by: Ryan Nyenhuis
Sunday June 15th 2008, Fathers Day. Ryan and I woke with a plan. The plan being to sneak into the abandon R.L. Hearn Thermal Generation Power Plant which is located in the south east area of downtown Toronto. We wanted to photograph the beauty of decay.
We had made a trip over to the power plant a week prior to scout out the area, to see where guards were located and to find easy access inside.
Sneaking past the guard house located at the front of the property and making our way along the north west section of property towards the back of the plant where the barbed wire fence was weakest.
We then smoked three quarters of a joint together before working up the nerve to hop the fence. Ryan went first, watching him hop the fence and dart out into the yard and hiding behind scrap metal for cover then finally making it to the back of the building. Then it was my turn. What excitement that was, knowing your breaking the law to do something adventurous.
After getting onto the property we were standing at the back of the Hearn and looking for our way inside. To do so we had to hop up onto a metal fence post and from there had to reach up and grab a hold of plywood that covered up the tall entrance area. A good 15 foot climb up, over and in.
Once inside the first photo that was taken was the one of Ryan and I standing together, titled "final hours".
This place was like no other we had ever explored together. The shear size of it all was breathtaking and mind blowing at the same time. The beauty of destruction.
After the first photo was taken we started exploring the plant. Taking the necessary precautions we had come prepared with asbestos masks and flashlights.
We had made our way around on the ground floor, through locker rooms, showers, storage rooms. Then we started making our way up stairs to the 2nd and 3rd level offices, had the remainder of our joint together.
From the office levels we went back onto the factory area and started climbing the metal stairs up further still. Some photos show how high up we were in that building.
We then made ourselves up onto the roof. What a view from there looking out over the city core. Looking out over Lake Ontario we saw really dark storm clouds. Ryan pulled out a cigarette and had a smoke.
We were up on the roof for about a half hour before Ryan asked me "what do you want to do now man?". "Do you want to go home now or stay a bit longer and explore?". My camera battery had died at this point and being there any longer served no purpose for me. I was hesitant on a response because at the same time I wanted to keep exploring because the plan was to keep coming back weekend after weekend to explore and document the old structure.
I then agreed to keep exploring. We came in off the roof, coming down a level, walked through a doorway into a long looking dark room. All across the top level of The Hearn runs conveyor belts that run coal from one end to the other. Walking together along the metal grating flooring. Ryan was 2 feet in front of me.
I then ended up tripping over a small extruded piece of metal on the floor, and from that second on I pointed my flashlight directly onto the floor to see where I was walking.
Very shortly after this happens, in mid sentence Ryan just falls into blackness. All I see is from his waist up as he plunges into complete blackness and followed by about 4-5 seconds before hearing a sick crash far below.
I then look 2 feet in front of me and see there is no more floor. My imediant thought is that he is dead. Then my brain clicks "I have to get my best friend out of here".
I then tried my best to back track to get out of the building, taking a route that he and I had not taken to get to this point. All I knew is I had to get out of The Hearn and find someone that could help.
I don't even know how I got out of that place. When I did I came out on the back side of the building, ran around to the guard house screaming for help.
I screamed to the guard that my best friend just fell in there and is hurt really bad, he asked what we were doing in there and I told him we were just taking photos.
The guard then called like every paramedic, fire and police officer in the city. About 10 minutes after the call was made all I could hear were the sirens. Scared and relived at the same time I was.
Once they all showed up I told them Ryan was in there, that we were up high in the building and he fell. All the cops were telling me to retrace my steps, they wanted to see where we came in from. I screamed at them "we don't have time for that right now, my best friend is dying in there". I then started leading them to the front of the Hearn because I knew it was the closet way inside. We get to the front and all entrances were boarded up. One cops said to me "Ian there is no way in through this way, you have to show us where you came in from". I then demanded to the fire fighters that they bust this plywood down to get inside.
Once inside the cops started fucking with my mind, me being in total shock at the time they started asking me where we had explored, they wanted me to take them on what would have been a few hours of exploration, which we didn't have time for.
Then an officer finds his asbestos mask and glasses. My first thought is he was okay, that he somehow managed to crawl out under his own power. I was wrong. His mask and glasses had bounced off of objects on the fall and Ryan was nowhere to be found.
The police tried getting a hold of Rogers Communication to see if they could pin point his location with the cell phone he had on him. They ended up using thermal vision to locate him. He was trapped in a coal hopper located high up in the building.
I was escorted out at this point in time because I was too "hysterical" for the cops liking.
Two and a half hours went by, a fierce thunderstorm was passing through.
While they were working on getting Ryan out I was giving my statement to the police. Never gave one of those in my life. I told them everything that I am writing here right now, everything, even the joint smoking. I had Nothing to hide.
We went in undetected but I didn't care if the whole world was watching at this point, I was doing what any best friend would do. I was trying to save him. City Pulse News was there and I was trying to hide from them. I was scared that this is how his family would find out and how my family would find out, being Fathers days and all.
After two and a half hours of hell they finally got Ryan out. I watched them carry him out on a backboard and I yelled to him that I loved him.
Ryan was rushed to St. Micheal's Hospital, the best in all the city for trauma.
I followed about an hour after him, being escorted in a police car. On the drive one officer said to me "this is going to cost you and your buddy about a hundred thousand dollars for all that had to be done here today". What a jackass thing to say. I responded by saying "I don't give a fuck about money, take all I have from me I don't care, I'm loosing the most important person in my life right now".
We get to the hospital, I enter the trauma wing of St. Micheal's. They told me that I was going to be the one to call the home of the Nyenhuis'. I thought that was insane, and told them I could not make that call, that they would have to.
I then went into the waiting room, sat down. I remember the NBA finals were on the televisions in there and I ended up falling asleep somehow.
Waking to Stevie and Tammy's faces hours later (Stevie being Ryan's room mate and Tammy being Ryan's girlfriend).
Stevie told me that John and Cheryl were on their way and that we could go up stairs to the trauma ward to see Ryan.
The trauma centre, located on the 9th floor of St. Micheal's Hospital.
Hours passed by, as the night went on the news kept getting worse and worse about his condition.
I ended up leaving to come back to my apartment at 6am the following morning, I had to talk to my parents and try and shovel some food into my system. Still being in shock and never got treatment for shock when it happened.
I returned to the hospital at 3pm that day. Only to find nothing had changed with his condition.
Then came the worst words I ever had to hear, Ryan's father coming in the room and telling me it was time to say goodbye to Ryan.
We made our way into where he was being cared for. To see my best friend in the state he was in broke my heart. Blood coming out the back of his head, body black and blue bruised from head to toe, internal damage that could not be repaired, feeling his forehead and it being ice cold. He was laying there in front of us, dead. Machines were the only thing keeping him "alive".
I said my goodbyes to him, telling him that he can't leave me here, he can't leave the creation of Studies In Comfort behind, something that is so brilliant, that we were supposed to take over the world together and do all that was planned. I told him to haunt me.
I then looked at his eyes and saw tears. He may have been brain dead but I know he heard every word I said. Doctors did not give an explanation to what was coming out of his eyes.
If only I had said to Ryan "hey man watch your step" he might still be alive today. I have been told over and over again that I can not blame myself for what happened that day. I sometimes still do.
Ryan and I once had a conversation that if something ever happened to one of us that Studies In Comfort would stop, without a core creator there is no sense to continue it. Well I am going against those wishes. I can't lose what he and I created even before it took off the ground.
I now know my purpose in life. To carry on Studies In Comfort. I must continue on for him, finish off the 3 studio albums we had in the works and continue on with this art form.
Ryan died at the wheel and I have moved his lifeless body to the passengers seat and now a fucking insane madman is driving.
Ryan Nyenhuis, whos favourite artist was Nine Inch Nails, who lived on floor number 9, who wore a roman numeral 9 on his right arm, who died on the 9th floor at St. Micheal's Hospital, Toronto.
Thank you to 55 Division and all the paramedics and fire fighters who helped get Ryan out of that terrible dark place.
Ryan Nyenhuis is survived by his father, John, mother Cheryl, sisters, Jennifer and Leah, their beautiful children, myself and Studies In Comfort.
Ryan John Nyenhuis
July 28th 1981 - June 15th 2008
We love and miss you.
___________________________
All photographs were taken by Ryan Nyenhuis & Ian Levack with a Casio EX-Z1050 camera.
At 21:47 GMT, the equinox happened, and so from then on, light is destined to win over darkness. Which meant, of course, that the day before then was the shortest "day", or amount of daylight.
This is the end of the year, the build up and excitement before Christmas, and at the same time, looking back at the year, and what has happened in the previous 50 or so weeks. So, a time of mixed emotions, good and bad, happy and sad.
But I was on vacation, or not going to work.
I am not up to date, but I did all the tasks I was supposed to do, threw a few electronic grenades over the walls, and was now happy not to think of that shit for two whole weeks.
For Jools, however, there was half a day to do, and then her employers paid for all those employed at the factory to go to a fancy place in Folkestone for lunch, drinks at the bar and a bottle of wine between four folks.
It was, in short, a time for celebration. Something I realise has not happened in my job since I left operational quality, to be happy and give thanks to those we work with. And be recognised for the good job we do.
So, I was to take Jools to work, and have the car for the day.
Jools was conscious that my plan for the day involved driving to the far west of Kent, so realised I needed an early start, and not dropping her off in Hythe at seven.
We left after coffee just after six, driving through Dover and Folkestone on the main road and motorway before turning over the downs into Hythe. I dropped her off in the town, so she could get some walking in. She always didn't walk, as waves of showers swept over the town, and me as I drove back home for breakfast and do all the chores before leaving on a mini-churchcrawl.
So, back home for breakfast, more coffee, wash up, do the bird feeders and with postcodes, set out for points in the extreme west. Now, Kent is not a big county, not say, Texas big, but it takes some time to get to some parts of the west of the county. Main roads run mainly from London to the coast, so going cross-country or cross-county would take time.
At first it was as per normal up the A20 then onto the motorway to Ashford then to Maidstone until the junction before the M26 starts. One of the reasons for going later was to avoid rush hours in and around Maidstone, Tonbridge and Tunbridge Wells.
As it was, after turning down the A road, things were fine until I got to Mereworth, but from there the road began to twist and turn until it lead me into Tonbridge. Once upon a time, this was a sleepy village or small town. The the railways came and it became a major junction. The road to Penshurt took me though the one way system, then down the wide High Street, over the river Medway and up the hill the other side.
Two more turns took me to my target, through what were once called stockbroker mansions, then down a hill, with the village laid out before me just visible through the trees.
The village was built around the outskirts of Penshurst Place, home to the Sidney family since Tudor times. Just about everything is named the Leicester something, the village having its own Leicester Square, though with no cinemas, and all timber framed houses and painfully picturesque.
The church lays behind the houses, the tower in golden sandstone topped with four spirelets.
I parked the car, and armed with two cameras, several lenses and a photographer's eye, walked to the church.
The reason for coming was I can only remember a little about my previous visit, but the Leicester name thing triggered in my head the thought the memorials and tombs might be worth a revisit.
So there I was.
Gilbert Scott was very busy here, so there is little of anything prior to the 19th century, but the memorials are there. Including one which features the heads of the children of Robert Sidney (d1702) in a cloud. Including the eldest son who died, apparently, so young he wasn't named, and is recorded as being the first born.
This is in the Sidney Chapel where the great and good are buried and remembered, it has a colourful roof, or roof beams, and heraldic shields. It has a 15th century font, which, sadly, has been brightly painted so is gaudy in the extreme.
I go around getting my shots, leave a fiver for the church. Go back to the car and program Speldhurst into the sat nav.
Its just a ten minute drive, but there is no place to park anywhere near the church. I could see from my slow drive-by the porch doors closed, and I convinced myself they were locked and not worth checking out.
I went on to Groombridge, where there is a small chapel with fabulous glass. I had been here before too, but wanted to redo my shots.
It was by now pouring with rain, and as dark as twilight, I missed the church on first pass, went to the mini-roundabout only to discover that it and the other church in the village were in Sussex. I turned round, the church looked dark and was almost certainly locked. I told myself.
I didn't stop here either, so instead of going to the final village church, I went straigh to Tunbridge Wells where there was another church to revisit.
I drove into the town, over the man road and to the car park with no waiting in traffic, how odd, I thought.
It was hard to find a parking space, but high up in the parking house there were finally spaced. I parked near the stairs down, grabbed my cameras and went down.
I guess I could have parked nearer the church, but once done it would be easier to leave the town as the road back home went past the exit.
I ambled down the hill leading to the station, over the bridge and down the narrow streets, all lined with shops. I think its fair to say that it is a richer town than Dover because on one street there were three stores offering beposke designer kitchens.
The church is across the road from the Georgian square known at The Pantiles, but it was the church I was here to visit.
I go in, and there is a service underway. I decide to sit at the back and observe.
And pray.
I did not take communion, though. The only one there who didn't.
About eight elderly parishioners did, though.
I was here to photograph the ceiling, and then the other details I failed to record when we were last here over a decade ago.
I was quizzed strongly by a warden as to why I was doing this. I had no answer other than I enjoyed it, and for me that is enough.
After getting my shots, I leave and begin the slog back up to the car, but on the way keeping my promise to a young man selling the Big Issue that I would come back and buy a copy. I did better than that in that I gave him a fiver and didn't take a copy.
He nearly burst into tears. I said, there is kindness in the world, and some of us do keep our promises.
By the time I got to the car park, it was raining hard again. I had two and a half hours to get to Folkestone to pick up Jools after her meal.
Traffic into Tunbridge Wells from this was was crazy, miles and miles of queues, so I was more than happy going the other way.
I get back to the M20, cruise down to Ashford, stopping at Stop 24 services for a coffee and something to eat. I had 90 minutes to kill, so eat, drink and scroll Twitter as I had posted yet more stuff that morning. In other news: nothing changed, sadly.
At quarter past four I went to pick up Jools, stopping outside the restaurant. When she got in she declared she had been drinking piña coladas. Just two, but she was bubby and jabbering away all the way home.
With Jools having eaten out, and with snacks I had, no dinner was needed, so when suppertime came round, we dined on cheese and crackers, followed by a large slice of Christmas cake.
She was now done for Christmas too.
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A large sandstone church of nave, aisles, chancel and chapels that was restored by Sir George Gilbert Scott in 1864. It stands in an excellent position set back from the street in a large well-kept churchyard. The tower is of three stages with four pinnacles strangely set well back from the corners. Inside it is obvious that there have been many rebuildings and repairs, leaving a general character of the Victorian period. The good chancel screen is by Bodley and Garner and dates from 1897. Whilst it is well carved the florid design is more suited to a West Country church than to the Garden of England. The fifteenth-century font has been painted in bold colours in a way that can never have been imagined when it was new! Nearby is the Becket window designed by Lawrence Lee in 1970. It is quite unlike any other window in Kent and has an emphasis on heraldry - the figure of Becket and three knights are almost lost in the patchwork effect. Under the tower is the famous Albigensian Cross, a portion of thirteenth-century coffin lid with the effigy of a woman at prayer. The south chapel, which belongs to Penshurst Place, was rebuilt by Rebecca in 1820 and has a lovely painted ceiling. It contains some fine monuments including Sir Stephen de Pencester, a damaged thirteenth-century knight. Nearby is the large standing monument to the 4th Earl of Leicester (d. 1704) designed by William Stanton. It is a large urn flanked by two angels, above which are the heads of the earls children's floating in the clouds!
www.kentchurches.info/church.asp?p=Penshurst
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PENSHURST.
THE next parish eastward from Chidingstone is Penhurst, called in the Textus Roffenfis, Pennesherst. It takes its name from the old British word Pen, the height or top of any thing, and byrst, a wood. (fn. 1) It is called in some antient records, Pen cestre, and more vulgarly, Penchester, from some sortified camp or fortress antiently situated here.
There is a district in this parish, called Hallborough, which is within the lowy of Tunbridge, the manerial rights of which belong to Thomas Streatfeild, esq. and there is another part of it, comprehending the estate of Chafford, which is within the jurisdiction of the duchy court of Lancaster.
THIS PARISH lies in the Weald, about four miles Southward from the foot of the sand hills, and the same distance from Tunbridge town, and the high London road from Sevenoke. The face of the country is much the same as in those parishes last described, as is the soil, for the most part a stiff clay, being well adapted to the large growth of timber for which this parish is remarkable; one of these trees, as an instance of it, having been cut down here, about twenty years ago, in the park, called, from its spreading branches, Broad Oak, had twenty-one ton, or eight hundred and forty feet of timber in it. The parish is watered by the river Eden, which runs through the centre of it, and here taking a circular course, and having separated into two smaller streams, joins the river Medway, which flows by the southern part of the park towards Tunbridge. At a small distance northward stands the noble mansion of Penshurst-place, at the south west corner of the park, which, till within these few years, was of much larger extent, the further part of it, called North, alias Lyghe, and South parks, having been alienated from it, on the grounds of the latter of which the late Mr. Alnutt built his seat of that name, from whence the ground rises northward towards the parish of Lyghe. Close to the north west corner of Penshurst-park is the seat of Redleaf, and at the south west corner of it, very near to the Place, is the village of Penshurst, with the church and parsonage. At a small distance, on the other side the river, southward, is Ford-place, and here the country becomes more low, and being watered by the several streams, becomes wet, the roads miry and bad, and the grounds much covered with coppice wood; whence, about a mile southward from the river, is New House, and the boroughs of Frendings and Kingsborough; half a mile southward from which is the river Medway; and on the further side of it the estate of Chafford, a little beyond which it joins the parish of Ashurst, at Stone cross. In a deep hole, in the Medway, near the lower end of Penshurst-park, called Tapner's-hole, there arises a spring, which produces a visible and strong ebullition on the surface of the river; and above Well-place, which is a farm house, near the south-east corner of the park, there is a fine spring, called Kidder's-well, which, having been chemically analized, is found to be a stronger chalybeate than those called Tunbridge-wells; there is a stone bason for the spring to rise in, and run to waste, which was placed here by one of the earls of Leicester many years ago. This parish, as well as the neighbouring ones, abounds with iron ore, and most of the springs in them are more or less chalybeate. In the losty beeches, near the keeper's lodge, in Penshurst-park, is a noted beronry; which, since the destruction of that in lord Dacre's park, at Aveley, in Effex, is, I believe, the only one in this part of England. A fair is held here on July I, for pedlary, &c.
The GREATEST PART of this parish is within the jurisdiction of the honour of Otford, a subordinate limb to which is the MANOR of PENSHURST HALIMOTE, alias OTFORD WEALD, extending likewise over parts of the adjoining parishes of Chidingstone, Hever, and Cowden. As a limb of that of honour, it was formerly part of the possessions of the see of Canterbury, and was held for a long time in lease of the archbishops, by the successive owners of Penhurst manor, till the death of the duke of Buckingham, in the 13th year of king Henry VIII. in the 29th year of which reign, Thomas Cranmer, archbishop of Canterbury, exchanging Otford with the crown, this, as an appendage, passed with it, and it remained in the hands of the crown till the death of king Charles I. 1648; after which the powers then in being, having seised on the royal estates, passed an ordinance to vest them in trustees, to be sold, to supply the necessities of the state; when, on a survey made of this manor, in 1650, it appeared that the quit-rents due to the lord, from the freeholders in free socage tenure, were 16l. 18s. 3½d. and that they paid a heriot of the best living thing, or in want thereof, 3s. 4d. in money. That there were copyholders holding of it, within this parish, by rent and fine certain; that there was a common fine due from the township or borough of Halebury, and a like from the township of Penshurst, a like from the townships or boroughts of Chidingstone, Standford, and Cowden; and that there was a court baron and a court leet. The total rents, profits, &c. of all which amounted to 23l. and upwards. (fn. 2) After this the manor was sold by the state to colonel Robert Gibbon, with whom it remained till the restoration of king Charles II. when the possession and inheritance of it returned to the crown, where it remains, as well as the honour of Otford, at this time, his grace the duke of Dorset being high steward of both; but the see farm rents of it, with those of other manors belonging to the above mentioned honour, were alienated from the crown in king Charles II.'s reign, and afterwards became the property of Sir James Dashwood, bart. in whose family they still continue.
SOON AFTER the reign of William the Conqueror Penshurst was become the residence of a family, who took their name from it, and were possessed of the manor then called the manor of Peneshurste; and it appears by a deed in the Registrum Roffense, that Sir John Belemeyns, canon of St. Paul, London, was in possession of this manor, as uncle and trustee, in the latter part of king Henry III.'s reign, to Stephen de Peneshurste or Penchester, who possessed it in the beginning of the reign of king Edward I. He had been knighted, and made constable of Dover castle and warden of the cinque ports by Henry III. in which posts he continued after the accession of king Edward I. (fn. 3) He died without issue male, and was buried in the south chancel of this church, under an altar tomb, on which lay his figure in armour, reclining on a cushion. He left Margery, his second wife, surviving, who held this manor at her death, in the 2d year of king Edward II. and two daughters and coheirs; Joane, married to Henry de Cobham of Rundale, second son of John de Cobham, of Cobham, in this county, by his first wife, daughter of Warine Fitz Benedict; (fn. 4) and Alice to John de Columbers, as appears by an inquisition, taken in the 3d year of king Edward II. His arms, being Sable, a bend or, a label of three points argent, still remain on the roof of the cloisters of Canterbury cathedral. Alice, above mentioned, had this manor, with that of Lyghe adjoining, assigned to her for her proportion of their inheritance; soon after which these manors were conveyed to Sir John de Pulteney, son of Adam de Pulteney of Misterton, in Leicestershire, by Maud his wife. In the 15th year of that reign he had licence to embattle his mansion houses of Penshurst, Chenle in Cambridgeshire, and in London. (fn. 5) In the 11th year of king Edward III. Thomas, son of Sir John de Columbers of Somersetshire, released to him all his right to this manor and the advowson of the chapel of Penshurst; (fn. 6) and the year following Stephen de Columbers, clerk, brother of Sir Philip, released to him likewise all his right in that manor and Yenesfeld, (fn. 7) and that same year he obtained a grant for free warren within his demesne lands within the former. He was a person greatly esteemed by that king, in whose reign he was four times lord mayor of London, and is noticed by our historians for his piety, wisdom, large possessions, and magnificent housekeeping. In his life time he performed several acts of public charity and munificence; and among others he founded a college in the church of St. Laurence, since from him named Poultney, in London. He built the church of Little Allhallows, in Thamesstreet, and the Carmelites church, and the gate to their monastery, in Coventry; and a chapel or chantry in St. Paul's, London. Besides which, by his will, he left many charitable legacies, and directed to be buried in the church of St. Laurence above mentioned. He bore for his arms, Argent a fess dancette gules, in chief three leopards heads sable.
By the inquisition taken after his death, it appears, that he died in the 23d year of that reign, being then possessed of this manor, with the advowson of the chapel, Lyghe, South-park, and Orbiston woods, with lands in Lyghe and Tappenash, and others in this county. He left Margaret his wife surviving, who married, secondly, Sir Nicholas Lovaine; and he, in her right, became possessed of a life estate in this manor and the others above mentioned, in which they seem afterwards jointly to have had the see; for Sir William Pulteney, her son, in his life time, vested his interest in these manors and estates in trustees, and died without issue in the 40th year of the same reign, when Robert de Pulteney was found to be his kinsman and next heir, who was ancestor to the late earl of Bath. The trustees afterwards, in the 48th year of it, conveyed them, together with all the other estates of which Sir John Pulteney died possessed, to Sir Nicholas Lovaine and Margaret his wife, and their heirs for ever. Sir Nicholas Lovaine above mentioned was a descendant of the noble family of Lovaine, a younger branch of the duke of Lorraine. Godfrey de Lovaine, having that surname from the place of his birth, possessed lands in England in right of his mother, grand daughter of king Stephen, of whose descendants this Nicholas was a younger branch. He bore for his arms, Gules, a fess argent between fourteen billets or; which arms were quartered by Bourchier earl of Bath, and Devereux earl of Essex. (fn. 8) He died possessed of this manor, leaving one son, Nicholas, who having married Margaret, eldest daughter of John de Vere, earl of Oxford, widow of Henry lord Beaumont, died without issue, and a daughter Margaret, who at length became her brother's heir.
Margaret, the widow of Nicholas the son, on his death, possessed this manor for her life, and was afterwards re-married to Sir John Devereux, who in her right held it. He was descended from a family which had their surname from Eureux, a town of note in Normandy, and there were several generations of them in England before they were peers of this realm, the first of them summoned to parliament being this Sir John Devereux, who being bred a soldier, was much employed in the wars both of king Edward III. and king Richard II. and had many important trusts conferred on him. In the 11th year of the latter reign, being then a knight banneret, he was made constable of Dover castle and warden of the cinque ports. In the 16th year of that reign, he had licence to fortify and embattle his mansion house at Penshurst, the year after which he died, leaving Margaret his wife, surviving, who had an assignation of this manor as part of her dower. She died possessed of it, with Yensfield, and other lands, about the 10th year of king Henry IV. and was succeeded in them by Margaret, sister and heir of her husband, Nicholas Lovaine, who was twice married, first to Rich. Chamberlayn, esq. of Sherburn, in Oxfordshire; and secondly to Sir Philip St. Clere, of Aldham, St. Clere, in Ightham. (fn. 9) Both of these, in right of their wife, seem to have possessed this manor, which descended to John St. Clere, son of the latter, who conveyed it by sale to John duke of Bedford, third son of king Henry IV. by Mary his wife, daughter and coheir of Humphry de Bohun, earl of Hereford, Essex, and Northampton.
The duke of Bedford was the great support and glory of this kingdom in the beginning of the reign of his infant nephew, king Henry VI. his courage was unequalled, and was followed by such rapid success in his wars in France, where he was regent, and commanded the English army in person, that he struck the greatest terror into his enemies. The victories he acquired so humbled the French, that he crowned king Henry VI. at Paris, in which city he died greatly lamented, in the 14th year of that reign, (fn. 10) and was buried in the cathedral church of Roan. He was twice married, but left issue by neither of his wives. He died possessed of the manors of Penshurst, Havenden-court, and Yensfield, as was then found by inquisition; in which he was succeeded by his next brother, Humphry duke of Gloucester, fourth son of king Henry IV. by Mary his wife, daughter and coheir of Humphry de Bohun, earl of Hereford, &c. who in the 4th year of king Henry V. had had the offices of constable of Dover castle and warden of the cinque ports, granted to him for the term of his life; and in the 1st year of king Henry VI. was, by parliament, made protector of England, during the king's minority; and the same year he was constituted chamberlain of England, at the coronation of that prince was appointed high steward of England.
The duke was, for his virtuous endowments, surnamed the Good, and for his justice was esteemed the father of his country, notwithstanding which, after he had, under king Henry VI. his nephew, governed this kingdom twenty-five years, with great applause, he was, by the means of Margaret of Aujou, his nephew's queen, who envied his power, arrested at the parliament held at St. Edmundsbury, by John lord Beaumont, then high constable of England, accompanied by the duke of Buckingham and others; and the night following, being the last of February, anno 25 king Henry VI. he was found dead in his bed, it being the general opinion that he was strangled; though his body was shewn to the lords and commons, with an account of his having died of an apoplexy or imposthume; after which he was buried in the abbey of St. Alban, near the shrine of that proto-martyr, and a stately monument was erected to his memory.
This duke married two wives; first Jaqueline, daughter and heir of William duke of Bavaria, to whom belonged the earldoms of Holand, Zeland, and Henault, and many other rich seignories in the Netherlands; after which he used these titles, Humphrey, by the grace of God, son, brother, and uncle to kings; duke of Gloucester; earl of Henault, Holand, Zeland, and Pembroke; lord of Friesland; great chamberlain of the kingdom of England; and protector and defender of the kingdom and church of England. But she having already been married to John duke of Brabant, and a suit of divorce being still depending between them, and the Pope having pronounced her marriage with the duke of Brabant lawful, the duke of Gloucester resigned his right to her, and forthwith, after this, married Eleanor Cobham, daughter of Reginald, lord Cobham of Sterborough, who had formerly been his concubine. A few years before the duke's death she was accused of witchcrast, and of conspiring the king's death; for which she was condemned to solemn pennance in London, for three several days, and afterwards committed to perpetual imprisonment in the isle of Man. He built the divinity schools at Oxford, and laid the foundation of that famous library over them, since increased by Sir Thomas Bodley, enriching it with a choice collection of manuscripts out of France and Italy. He bore for his arms, Quarterly, France and England, a berdure argent. (fn. 11)
By the inquisition, taken after his death, it appears, that he died possessed of the manors of Penshurst, Havenden-court, and Yensfield, in this county, and that dying, without issue, king Henry VI. was his cousin and next heir.
¶The manor of Penshurst thus coming into the hands of the crown, was granted that year to Humphrey Stafford, who, in consideration of his near alliance in blood to king Henry VI. being the son of Edmund earl of Stafford, by Anne, eldest daughter of Thomas of Woodstock, duke of Gloucester, sixth and youngest son of king Edward III. Mary, the other daughter and coheir, having married Henry of Bullingbroke, afterwards king Henry IV. and grandfather of king Henry VI. (fn. 12) as well as for his eminent services to his country, had been, in the 23d year of that reign, created duke of Buckingham. He was afterwards slain in the battle of Northampton, sighting valiantly there on the king's part. By the inquisition, taken after his death, it appears that he died in the 38th year of that reign possessed of this manor of Penshurst, among others in this county and elsewhere; which afterwards descended down to his great grandson, Edward duke of Buckingham, but in the 13th year of Henry VIII. this duke being accused of conspiring the king's death, he was brought to his trial, and being found guilty, was beheaded on Tower-hill that year. In the par liament begun April 15, next year, this duke, though there passed an act for his attainder, yet there was one likewise for the restitution in blood of Henry his eldest son, but not to his honors or lands, so that this manor, among his other estates, became forseited to the crown, after which the king seems to have kept it in his own hands, for in his 36th year, he purchased different parcels of land to enlarge his park here, among which was Well-place, and one hundred and seventy acres of land, belonging to it, then the estate of John and William Fry, all which he inclosed within the pale of it, though the purchase of the latter was not completed till the 1st year of king Edward VI. (fn. 13) who seems to have granted the park of Penshurst to John, earl of Warwick, for that earl, in the 4th year of that reign, granted this park to that king again in exchange for other premises. In which year the king granted the manor of Penshurst, with its members and appurtenances, late parcel of the possessions of the duke of Buckingham, to Sir Ralph Fane, to hold in capite by knight's service, being the grandson of Henry Vane, alias Fane, of Hilsden Tunbridge, esq. but in the 6th year of that reign, having zealously espoused the interests of the duke of Somersee, he was accused of being an accomplice with him, and being found guilty, was hanged on Tower-hill that year.
PENSHURST is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop of Canterbury, is as such within the deanry of Shoreham.
The church, which is a large handsome building, is dedicated to St. John Baptist. It consists of three isles, a cross isle, and three chancels, having a tower steeple at the west end.
Among other monuments and inscriptions in this church are the following:—In the middle isle, a grave-stone, with the figure of a man and his two wives, now torn off, but the inscription remains in black letter, for Watur Draynowtt, and Johanna and Anne his wives, obt. 1507; beneath are the figures of four boys and three girls, at top, arms, two lions passant, impaling or, on a chief, two lions heads erased; a memorial for Oliver Combridge, and Elizabeth his wife, obt. 1698. In the chancel, memorials on brass for Bulman and Paire; within the rails of the altar a gravestone for William Egerton, LL. D. grandon of John, earl of Bridgwater, rector of Penshurst and Allhallows, Lombard-street, chancellor and prebendary of Hereford, and prebendary of Can terbury, he left two daughters and one son, by Anne, daughter of Sir Francis Head, obt. Feb. 26, 1737; on the south side of the altar, a memorial in brass for John Bust, God's painful minister in this place for twenty-one years; on the north side a mural monument for Gilbert Spencer, esq. of Redleafe-house, obt. 1709, arms, Spencer, an escutcheon of pretence for Combridge; underneath is another stone, with a brass plate, and inscription for William Darkenol, parson of this parish, obt. July 12, 1596; on grave-stones are these shields in brass, the figures and inscriptions on which are lost, parted per fess, in chief two lions passant guardant in base, two wolves heads erased; on another, the same arms, impaling a chevron between three padlocks; another, a lion rampant, charged on the shoulder with an annulet, and another, three lions passant impaling parted per chevron, the rest defaced. In the south chancel, on a stone, the figures of a man and woman in brass, and inscription in black letter, for Pawle Yden, gent. and Agnes his wife, son of Thomas Yden, esq. obt. 1564, beneath is the figure of a girl, arms, four shields at the corner of the stone, the first, Yden, a fess between three helmets; two others, with inscriptions on brass for infant children of the Sidney family; a small grave-stone, on which is a cross gradated in brass, and inscription in black letter, for Thomas Bullayen, son of Sir Thomas Bullayen; here was lately a monument for lady Mary . . . . . . eldest daughter of the famous John, duke of Northumberland, and sister to Ambrose, earl of Warwick, Robert, earl of Leicester, and Catharine, countess of Huntingdon, wife of the right hon. Sir Henry Sidney, knight of the garter, &c. at the west end of the chancel, a mural monument for Sir William Coventry, youngest son of Thomas, lord Coventry, he died at Tunbridge-wells, 1686; on the south side a fine old monument of stone, under which is an altar tomb, and on the wall above it a brass plate, with inscription in black letter, for Sir William Sidney, knightbanneret, chamberlain and steward to king Edward VI. and the first of the name, lord of the manor, of Penshurst, obt. 1553; on the front are these names, Sir William Dormer, and Mary Sidney, Sir William Fitzwilliam, Sir James Haninngton, Anne Sidney, and Lucy Sidney; on the south side a handsome monument, with the arms and quarterings of the Sidney family, and inscription for lord Philip Sidney, fifth earl of Leicester, &c. obt. 1705, and was succeeded by John, his brother and heir; for John, sixth earl of Leicester, cosin and heir of Henry Sidney, earl of Romney, &c. obt. 1737, his heirs Mary and Elizabeth Sidney, daughters and heirs of his brother the hon. Thomas Sidney, third surviving son of Robert, earl of Leicester, became his joint heirs, for Josceline, seventh earl of Leicester, youngest brother and heir male of earl John, died s. p. in 1743, with whom the title of earl of Leicester expired; the aforesaid Mary and Elizabeth, his nieces, being his heirs, of whom the former married Sir Brownlow Sherard, bart. and Elizabeth, William Perry, esq. on the monument is an account of the several personages of this noble family, their descent, marriages and issue, too long by far to insert here; on the north side is a fine monument for several of the infant children of this family, and beneath is an urn and inscriptions for Frances Sidney, fourth daughter, obt. 1692, æt. 6; for Robert Sidney, earl of Leicester, &c. fourth earl of this family, who married lady Elizabeth Egerton, by whom he had fifteen children, of whom nine died young, whose figures, as cherubims, are placed above, obt. 1702; Robert, the eldest son, obt. 1680, æt. 6; Elizabeth, countess of Leicester, obt. 1709, and buried here in the same vault with her lord. In the same chancel is a very antient figure in stone of a knight in armour, being for Sir Stephen de Penchester, lord warden and constable of Dover-castle in the reign of king Edward I. It was formerly laid on an altar tomb in the chancel, but is now placed erect against the door on the south side, with these words painted on the wall above it, SIR STEPHEN DE PENCHESTER. In the fourth window of the north isle, are these arms, very antient, within the garter argent a fess gules in chief, three roundels of the second, being those of Sir John Devereux, K. G. lord warden and constable, and steward of the king's house in king Richard II's reign; near the former was another coat, nothing of which now remains but the garter. In the same windows are the arms of Sidney; in the second window is this crest, a griffin rampant or. In the east window of the great chancel are the arms of England. In the east window of the south chancel are the arms of the Sidney family, with all the quarterings; there were also, though now destroyed, the arms of Sir Thomas Ratcliff, earl of Sussex, and lady Frances Sidney.
This church was of the antient patronage of the see of Canterbury, and continued so till the 3d year of queen Elizabeth, when Matthew, archbishop of Canterbury, granted it to that queen in exchange for the parsonage of Earde, alias Crayford; and though in the queen's letters patent dated that year, confirming this exchange, there is no value expressed, yet in a roll in the queen's office, it is there set down, the tenth deducted, at the clear yearly value of 32l. 1s. 9d. (fn. 24)
¶Soon after which the queen granted the church of Penshurst to Sir Henry Sidney, whose descendants, earls of Leicester, afterwards possessed it; from whom it passed, in like manner as Penshurst manor and place, to William Perry, esq. who died possessed of it in 1757, leaving Elizabeth his wife surviving, who continued proprietor of the advowson of this church at the time of her death in 1783; she by her last will devised it to trustees for the use of her eldest grandson, John Shelley, esq who has since taken the name of Sidney, and is the present owner of it.
In the 15th year of king Edward I. this church was valued at thirty marcs. By virtue of the commission of enquiry into the value of ecclesiastical livings, taken in 1650, issuing out of chancery, it was returned that the tithes belonging to the parsonage of Penshurst were one hundred and ten pounds per annum, and the parsonage house and glebe lands about fifty pounds per annum, the earl of Leicester being patron, and master Mawdell, minister, who received the profits for his salary. (fn. 25)
The annual value of it is now esteemed to be four hundred pounds and upwards. The rectory of Penshurst is valued in the king's books at 30l. 6s. 0½d. and the yearly tenths at 3l. 0s. 7½d. (fn. 26)
John Acton, rector of this parish, in 1429, granted a lease for ninety-nine years, of a parcel of his glebe land, lying in Berecroft, opposite the gate of the rectory, containing one acre one rood and twelve perches, to Thomas Berkley, clerk, Richard Hammond, and Richard Crundewell, of Penshurst, for the purpose of building on, at the yearly rent of two shillings, and upon deaths and alienations, one shilling to be paid for an heriot, which lease was confirmed by the archbishop and by the dean and chapter of Canterbury. (fn. 27)
Shiva, meaning "The Auspicious One"), also known as Mahadeva ("Great God"), is a popular Hindu deity. Shiva is regarded as one of the primary forms of God. He is the Supreme God within Shaivism, one of the three most influential denominations in contemporary Hinduism. He is one of the five primary forms of God in the Smarta tradition, and "the Destroyer" or "the Transformer" among the Trimurti, the Hindu Trinity of the primary aspects of the divine.
Shiva has many benevolent and fearsome forms. At the highest level Shiva is limitless, transcendent, unchanging and formless. In benevolent aspects, he is depicted as an omniscient Yogi who lives an ascetic life on Mount Kailash, as well as a householder with wife Parvati and his two children, Ganesha and Kartikeya and in fierce aspects, he is often depicted slaying demons. Shiva is also regarded as the patron god of yoga and arts.
The main iconographical attributes of Shiva are the third eye on his forehead, the snake Vasuki around his neck, the crescent moon adorning, the holy river Ganga flowing from his matted hair, the trishula as his weapon and the damaru as his instrument.
Shiva is usually worshiped in the aniconic form of Lingam. Temples of Lord Shiva are called shivalayam.
ETYMOLOGY & OTHER NAMES
The Sanskrit word Shiva (Devanagari: शिव, śiva) comes from Shri Rudram Chamakam of Taittiriya Samhita (TS 4.5, 4.7) of Krishna Yajurveda. The root word śi means auspicious. In simple English transliteration it is written either as Shiva or Siva. The adjective śiva, is used as an attributive epithet not particularly of Rudra, but of several other Vedic deities.
The other popular names associated with Shiva are Mahadev, Mahesh, Maheshwar, Shankar, Shambhu, Rudra, Har, Trilochan, Devendra (meaning Chief of the gods) and Trilokinath (meaning Lord of the three realms).
The Sanskrit word śaiva means "relating to the God Shiva", and this term is the Sanskrit name both for one of the principal sects of Hinduism and for a member of that sect. It is used as an adjective to characterize certain beliefs and practices, such as Shaivism. He is the oldest worshipped Lord of India.
The Tamil word Sivan, Tamil: சிவன் ("Fair Skinned") could have been derived from the word sivappu. The word 'sivappu' means "red" in Tamil language but while addressing a person's skin texture in Tamil the word 'Sivappu' is used for being Fair Skinned.
Adi Sankara, in his interpretation of the name Shiva, the 27th and 600th name of Vishnu sahasranama, the thousand names of Vishnu interprets Shiva to have multiple meanings: "The Pure One", or "the One who is not affected by three Gunas of Prakrti (Sattva, Rajas, and Tamas)" or "the One who purifies everyone by the very utterance of His name."Swami Chinmayananda, in his translation of Vishnu sahasranama, further elaborates on that verse: Shiva means "the One who is eternally pure" or "the One who can never have any contamination of the imperfection of Rajas and Tamas".
Shiva's role as the primary deity of Shaivism is reflected in his epithets Mahādeva ("Great God"; mahā "Great" and deva "god"), Maheśvara ("Great Lord"; mahā "great" and īśvara "lord"), and Parameśvara ("Supreme Lord").
There are at least eight different versions of the Shiva Sahasranama, devotional hymns (stotras) listing many names of Shiva. The version appearing in Book 13 (Anuśāsanaparvan) of the Mahabharata is considered the kernel of this tradition. Shiva also has Dasha-Sahasranamas (10,000 names) that are found in the Mahanyasa. The Shri Rudram Chamakam, also known as the Śatarudriya, is a devotional hymn to Shiva hailing him by many names.
The worship of Shiva is a pan-Hindu tradition, practiced widely across all of India, Nepal and Sri Lanka.
ASSIMILATION OF TRADITIONS
The figure of Shiva as we know him today was built up over time, with the ideas of many regional sects being amalgamated into a single figure. How the persona of Shiva converged as a composite deity is not well documented. According to Vijay Nath:
Visnu and Siva [...] began to absorb countless local cults and deities within their folds. The latter were either taken to represent the multiple facets of the same god or else were supposed to denote different forms and appellations by which the god came to be known and worshipped. [...] Siva became identified with countless local cults by the sheer suffixing of Isa or Isvara to the name of the local deity, e.g., Bhutesvara, Hatakesvara, Chandesvara."
Axel Michaels the Indologist suggests that Shaivism, like Vaishnavism, implies a unity which cannot be clearly found either in religious practice or in philosophical and esoteric doctrine. Furthermore, practice and doctrine must be kept separate.
An example of assimilation took place in Maharashtra, where a regional deity named Khandoba is a patron deity of farming and herding castes. The foremost center of worship of Khandoba in Maharashtra is in Jejuri. Khandoba has been assimilated as a form of Shiva himself, in which case he is worshipped in the form of a lingam. Khandoba's varied associations also include an identification with Surya and Karttikeya.
INDUS VALLEY ORIGINS
Many Indus valley seals show animals but one seal that has attracted attention shows a figure, either horned or wearing a horned headdress and possibly ithyphallic figure seated in a posture reminiscent of the Lotus position and surrounded by animals was named by early excavators of Mohenjo-daro Pashupati (lord of cattle), an epithet of the later Hindu gods Shiva and Rudra. Sir John Marshall and others have claimed that this figure is a prototype of Shiva and have described the figure as having three faces seated in a "yoga posture" with the knees out and feet joined.
This claim has been criticised, with some academics like Gavin Flood and John Keay characterizing them as unfounded. Writing in 1997 Doris Srinivasan said that "Not too many recent studies continue to call the seal's figure a 'Proto-Siva'", rejecting thereby Marshall's package of proto-Siva features, including that of three heads. She interprets what John Marshall interpreted as facial as not human but more bovine, possibly a divine buffalo-man. According to Iravatham Mahadevan symbols 47 and 48 of his Indus script glossary The Indus Script: Texts, Concordance and Tables (1977), representing seated human-like figures, could describe Hindu deity Murugan, popularly known as Shiva and Parvati's son.
INDO-EUROPEAN ORIGINS
Shiva's rise to a major position in the pantheon was facilitated by his identification with a host of Vedic deities, including Purusha, Rudra, Agni, Indra, Prajāpati, Vāyu, and others.
RUDRA
Shiva as we know him today shares many features with the Vedic god Rudra, and both Shiva and Rudra are viewed as the same personality in Hindu scriptures. The two names are used synonymously. Rudra, the god of the roaring storm, is usually portrayed in accordance with the element he represents as a fierce, destructive deity.
The oldest surviving text of Hinduism is the Rig Veda, which is dated to between 1700 and 1100 BCE based on linguistic and philological evidence. A god named Rudra is mentioned in the Rig Veda. The name Rudra is still used as a name for Shiva. In RV 2.33, he is described as the "Father of the Rudras", a group of storm gods. Furthermore, the Rudram, one of the most sacred hymns of Hinduism found both in the Rig and the Yajur Vedas and addressed to Rudra, invokes him as Shiva in several instances, but the term Shiva is used as an epithet for the gods Indra, Mitra and Agni many times. Since Shiva means pure, the epithet is possibly used to describe a quality of these gods rather than to identify any of them with the God Shiva.
The identification of Shiva with the older god Rudhra is not universally accepted, as Axel Michaels explains:
Rudra is called "The Archer" (Sanskrit: Śarva), and the arrow is an essential attribute of Rudra. This name appears in the Shiva Sahasranama, and R. K. Sharma notes that it is used as a name of Shiva often in later languages.
The word is derived from the Sanskrit root śarv-, which means "to injure" or "to kill", and Sharma uses that general sense in his interpretive translation of the name Śarva as "One who can kill the forces of darkness". The names Dhanvin ("Bowman") and Bāṇahasta ("Archer", literally "Armed with arrows in his hands") also refer to archery.
AGNI
Rudra and Agni have a close relationship. The identification between Agni and Rudra in the Vedic literature was an important factor in the process of Rudra's gradual development into the later character as Rudra-Shiva. The identification of Agni with Rudra is explicitly noted in the Nirukta, an important early text on etymology, which says, "Agni is also called Rudra." The interconnections between the two deities are complex, and according to Stella Kramrisch:
The fire myth of Rudra-Śiva plays on the whole gamut of fire, valuing all its potentialities and phases, from conflagration to illumination.
In the Śatarudrīya, some epithets of Rudra, such as Sasipañjara ("Of golden red hue as of flame") and Tivaṣīmati ("Flaming bright"), suggest a fusing of the two deities. Agni is said to be a bull, and Lord Shiva possesses a bull as his vehicle, Nandi. The horns of Agni, who is sometimes characterized as a bull, are mentioned. In medieval sculpture, both Agni and the form of Shiva known as Bhairava have flaming hair as a special feature.
INDRA
According to Wendy Doniger, the Puranic Shiva is a continuation of the Vedic Indra. Doniger gives several reasons for his hypothesis. Both are associated with mountains, rivers, male fertility, fierceness, fearlessness, warfare, transgression of established mores, the Aum sound, the Supreme Self. In the Rig Veda the term śiva is used to refer to Indra. (2.20.3, 6.45.17, and 8.93.3.) Indra, like Shiva, is likened to a bull. In the Rig Veda, Rudra is the father of the Maruts, but he is never associated with their warlike exploits as is Indra.
The Vedic beliefs and practices of the pre-classical era were closely related to the hypothesised Proto-Indo-European religion, and the Indo-Iranian religion. According to Anthony, the Old Indic religion probably emerged among Indo-European immigrants in the contact zone between the Zeravshan River (present-day Uzbekistan) and (present-day) Iran. It was "a syncretic mixture of old Central Asian and new Indo-European elements", which borrowed "distinctive religious beliefs and practices" from the Bactria–Margiana Culture. At least 383 non-Indo-European words were borrowed from this culture, including the god Indra and the ritual drink Soma. According to Anthony,
Many of the qualities of Indo-Iranian god of might/victory, Verethraghna, were transferred to the adopted god Indra, who became the central deity of the developing Old Indic culture. Indra was the subject of 250 hymns, a quarter of the Rig Veda. He was associated more than any other deity with Soma, a stimulant drug (perhaps derived from Ephedra) probably borrowed from the BMAC religion. His rise to prominence was a peculiar trait of the Old Indic speakers.
LATER VEDIC LITERATURE
Rudra's transformation from an ambiguously characterized deity to a supreme being began in the Shvetashvatara Upanishad (400-200 BCE), which founded the tradition of Rudra-Shiva worship. Here they are identified as the creators of the cosmos and liberators of souls from the birth-rebirth cycle. The period of 200 BCE to 100 CE also marks the beginning of the Shaiva tradition focused on the worship of Shiva, with references to Shaiva ascetics in Patanjali's Mahabhasya and in the Mahabharata.
Early historical paintings at the Bhimbetka rock shelters, depict Shiva dancing, Shiva's trident, and his mount Nandi but no other Vedic gods.
PURANIC LITERATURE
The Shiva Puranas, particularly the Shiva Purana and the Linga Purana, discuss the various forms of Shiva and the cosmology associated with him.
TANTRIC LITERATURE
The Tantras, composed between the 8th and 11th centuries, regard themselves as Sruti. Among these the Shaiva Agamas, are said to have been revealed by Shiva himself and are foundational texts for Shaiva Siddhanta.
POSITION WITHIN HINDUISM
SHAIVISM
Shaivism (Sanskrit: शैव पंथ, śaiva paṁtha) (Kannada: ಶೈವ ಪಂಥ) (Tamil: சைவ சமயம்) is the oldest of the four major sects of Hinduism, the others being Vaishnavism, Shaktism and Smartism. Followers of Shaivism, called "Shaivas", and also "Saivas" or "Saivites", revere Shiva as the Supreme Being. Shaivas believe that Shiva is All and in all, the creator, preserver, destroyer, revealer and concealer of all that is. The tantric Shaiva tradition consists of the Kapalikas, Kashmir Shaivism and Shaiva Siddhanta. The Shiva MahaPurana is one of the purāṇas, a genre of Hindu religious texts, dedicated to Shiva. Shaivism is widespread throughout India, Nepal, and Sri Lanka, mostly. Areas notable for the practice of Shaivism include parts of Southeast Asia, especially Malaysia, Singapore, and Indonesia.
PANCHAYATANA PUJA
Panchayatana puja is the system of worship ('puja') in the Smarta sampradaya of Hinduism. It is said to have been introduced by Adi Shankara, the 8th century CE Hindu philosopher. It consists of the worship of five deities: Shiva, Vishnu, Devi, Surya and Ganesha. Depending on the tradition followed by Smarta households, one of these deities is kept in the center and the other four surround it. Worship is offered to all the deities. The five are represented by small murtis, or by five kinds of stones, or by five marks drawn on the floor.
TRIMURTI
The Trimurti is a concept in Hinduism in which the cosmic functions of creation, maintenance, and destruction are personified by the forms of Brahmā the creator, Vishnu the maintainer or preserver and Śhiva the destroyer or transformer. These three deities have been called "the Hindu triad" or the "Great Trinity", often addressed as "Brahma-Vishnu-Maheshwara."
ICONOGRAPHY AND PROPERTIES
ATTRIBUTES
Shiva's form: Shiva has a trident in the right lower arm, and a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He wears five serpents and a garland of skulls as ornaments. Shiva is usually depicted facing the south. His trident, like almost all other forms in Hinduism, can be understood as the symbolism of the unity of three worlds that a human faces - his inside world, his immediate world, and the broader overall world. At the base of the trident, all three forks unite.
Third eye: (Trilochana) Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam" (Sanskrit: त्र्यम्बकम् ), which occurs in many scriptural sources. In classical Sanskrit, the word ambaka denotes "an eye", and in the Mahabharata, Shiva is depicted as three-eyed, so this name is sometimes translated as "having three eyes". However, in Vedic Sanskrit, the word ambā or ambikā means "mother", and this early meaning of the word is the basis for the translation "three mothers". These three mother-goddesses who are collectively called the Ambikās. Other related translations have been based on the idea that the name actually refers to the oblations given to Rudra, which according to some traditions were shared with the goddess Ambikā. It has been mentioned that when Shiva loses his temper, his third eye opens which can destroy most things to ashes.
Crescent moon: (The epithets "Chandrasekhara/Chandramouli")- Shiva bears on his head the crescent moon. The epithet Candraśekhara (Sanskrit: चन्द्रशेखर "Having the moon as his crest" - candra = "moon"; śekhara = "crest, crown") refers to this feature. The placement of the moon on his head as a standard iconographic feature dates to the period when Rudra rose to prominence and became the major deity Rudra-Shiva. The origin of this linkage may be due to the identification of the moon with Soma, and there is a hymn in the Rig Veda where Soma and Rudra are jointly implored, and in later literature, Soma and Rudra came to be identified with one another, as were Soma and the moon. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end.
Ashes: (The epithet "Bhasmaanga Raaga") - Shiva smears his body with ashes (bhasma). The ashes are said to represent the end of all material existence. Some forms of Shiva, such as Bhairava, are associated with a very old Indian tradition of cremation-ground asceticism that was practiced by some groups who were outside the fold of brahmanic orthodoxy. These practices associated with cremation grounds are also mentioned in the Pali canon of Theravada Buddhism. One epithet for Shiva is "inhabitant of the cremation ground" (Sanskrit: śmaśānavāsin, also spelled Shmashanavasin), referring to this connection.
Matted hair: (The epithet "Jataajoota Dhari/Kapardina") - Shiva's distinctive hair style is noted in the epithets Jaṭin, "the one with matted hair", and Kapardin, "endowed with matted hair" or "wearing his hair wound in a braid in a shell-like (kaparda) fashion". A kaparda is a cowrie shell, or a braid of hair in the form of a shell, or, more generally, hair that is shaggy or curly. His hair is said to be like molten gold in color or being yellowish-white.
Blue throat: The epithet Nīlakaṇtha (Sanskrit नीलकण्ठ; nīla = "blue", kaṇtha = "throat"). Since Shiva drank the Halahala poison churned up from the Samudra Manthan to eliminate its destructive capacity. Shocked by his act, Goddess Parvati strangled his neck and hence managed to stop it in his neck itself and prevent it from spreading all over the universe, supposed to be in Shiva's stomach. However the poison was so potent that it changed the color of his neck to blue. (See Maha Shivaratri.)
Sacred Ganges: (The epithet "Gangadhara") Bearer of Ganga. Ganges river flows from the matted hair of Shiva. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges also represents the nectar of immortality.
Tiger skin: (The epithet "Krittivasana").He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis.
Serpents: (The epithet "Nagendra Haara" or 'Vasoki"). Shiva is often shown garlanded with a snake.
Deer: His holding deer on one hand indicates that He has removed the Chanchalata of the mind (i.e., attained maturity and firmness in thought process). A deer jumps from one place to another swiftly, similar to the mind moving from one thought to another.
Trident: (Trishula): Shiva's particular weapon is the trident. His Trisul that is held in His right hand represents the three Gunas— Sattva, Rajas and Tamas. That is the emblem of sovereignty. He rules the world through these three Gunas. The Damaru in His left hand represents the Sabda Brahman. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound.
Drum: A small drum shaped like an hourglass is known as a damaru (ḍamaru). This is one of the attributes of Shiva in his famous dancing representation known as Nataraja. A specific hand gesture (mudra) called ḍamaru-hasta (Sanskrit for "ḍamaru-hand") is used to hold the drum. This drum is particularly used as an emblem by members of the Kāpālika sect.
Axe: (Parashu):The parashu is the weapon of Lord Shiva who gave it to Parashurama, sixth Avatar of Vishnu, whose name means "Rama with the axe" and also taught him its mastery.
Nandī: (The epithet "Nandi Vaahana").Nandī, also known as Nandin, is the name of the bull that serves as Shiva's mount (Sanskrit: vāhana). Shiva's association with cattle is reflected in his name Paśupati, or Pashupati (Sanskrit: पशुपति), translated by Sharma as "lord of cattle" and by Kramrisch as "lord of animals", who notes that it is particularly used as an epithet of Rudra. Rishabha or the bull represents Dharma Devata. Lord Siva rides on the bull. Bull is his vehicle. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.
Gaṇa: The Gaṇas (Devanagari: गण) are attendants of Shiva and live in Kailash. They are often referred to as the bhutaganas, or ghostly hosts, on account of their nature. Generally benign, except when their lord is transgressed against, they are often invoked to intercede with the lord on behalf of the devotee. Ganesha was chosen as their leader by Shiva, hence Ganesha's title gaṇa-īśa or gaṇa-pati, "lord of the gaṇas".
Mount Kailāsa: Mount Kailash in the Himalayas is his traditional abode. In Hindu mythology, Mount Kailāsa is conceived as resembling a Linga, representing the center of the universe.
Varanasi: Varanasi (Benares) is considered to be the city specially loved by Shiva, and is one of the holiest places of pilgrimage in India. It is referred to, in religious contexts, as Kashi.
LINGAM
Apart from anthropomorphic images of Shiva, the worship of Shiva in the form of a lingam, or linga, is also important. These are depicted in various forms. One common form is the shape of a vertical rounded column. Shiva means auspiciousness, and linga means a sign or a symbol. Hence, the Shivalinga is regarded as a "symbol of the great God of the universe who is all-auspiciousness". Shiva also means "one in whom the whole creation sleeps after dissolution". Linga also means the same thing—a place where created objects get dissolved during the disintegration of the created universe. Since, according to Hinduism, it is the same god that creates, sustains and withdraws the universe, the Shivalinga represents symbolically God Himself. Some scholars, such as Monier Monier-Williams and Wendy Doniger, also view linga as a phallic symbol, although this interpretation is disputed by others, including Christopher Isherwood, Vivekananda, Swami Sivananda, and S.N. Balagangadhara.
JYOTIRLINGA
The worship of the Shiva-Linga originated from the famous hymn in the Atharva-Veda Samhitâ sung in praise of the Yupa-Stambha, the sacrificial post. In that hymn, a description is found of the beginningless and endless Stambha or Skambha, and it is shown that the said Skambha is put in place of the eternal Brahman. Just as the Yajna (sacrificial) fire, its smoke, ashes, and flames, the Soma plant, and the ox that used to carry on its back the wood for the Vedic sacrifice gave place to the conceptions of the brightness of Shiva's body, his tawny matted hair, his blue throat, and the riding on the bull of the Shiva, the Yupa-Skambha gave place in time to the Shiva-Linga. In the text Linga Purana, the same hymn is expanded in the shape of stories, meant to establish the glory of the great Stambha and the superiority of Shiva as Mahadeva.
The sacred of all Shiva linga is worshipped as Jyotir linga. Jyoti means Radiance, apart from relating Shiva linga as a phallus symbol, there are also arguments that Shiva linga means 'mark' or a 'sign'. Jyotirlinga means "The Radiant sign of The Almighty". The Jyotirlingas are mentioned in Shiva Purana.
SHAKTI
Shiva forms a Tantric couple with Shakti [Tamil : சக்தி ], the embodiment of energy, dynamism, and the motivating force behind all action and existence in the material universe. Shiva is her transcendent masculine aspect, providing the divine ground of all being. Shakti manifests in several female deities. Sati and Parvati are the main consorts of Shiva. She is also referred to as Uma, Durga (Parvata), Kali and Chandika. Kali is the manifestation of Shakti in her dreadful aspect. The name Kali comes from kāla, which means black, time, death, lord of death, Shiva. Since Shiva is called Kāla, the eternal time, Kālī, his consort, also means "Time" or "Death" (as in "time has come"). Various Shakta Hindu cosmologies, as well as Shākta Tantric beliefs, worship her as the ultimate reality or Brahman. She is also revered as Bhavatārini (literally "redeemer of the universe"). Kālī is represented as the consort of Lord Shiva, on whose body she is often seen standing or dancing. Shiva is the masculine force, the power of peace, while Shakti translates to power, and is considered as the feminine force. In the Vaishnava tradition, these realities are portrayed as Vishnu and Laxmi, or Radha and Krishna. These are differences in formulation rather than a fundamental difference in the principles. Both Shiva and Shakti have various forms. Shiva has forms like Yogi Raj (the common image of Himself meditating in the Himalayas), Rudra (a wrathful form) and Natarajar (Shiva's dance are the Lasya - the gentle form of dance, associated with the creation of the world, and the Tandava - the violent and dangerous dance, associated with the destruction of weary worldviews – weary perspectives and lifestyles).
THE FIVE MANTRAS
Five is a sacred number for Shiva. One of his most important mantras has five syllables (namaḥ śivāya).
Shiva's body is said to consist of five mantras, called the pañcabrahmans. As forms of God, each of these have their own names and distinct iconography:
Sadyojāta
Vāmadeva
Aghora
Tatpuruṣha
Īsāna
These are represented as the five faces of Shiva and are associated in various texts with the five elements, the five senses, the five organs of perception, and the five organs of action. Doctrinal differences and, possibly, errors in transmission, have resulted in some differences between texts in details of how these five forms are linked with various attributes. The overall meaning of these associations is summarized by Stella Kramrisch:
Through these transcendent categories, Śiva, the ultimate reality, becomes the efficient and material cause of all that exists.
According to the Pañcabrahma Upanishad:
One should know all things of the phenomenal world as of a fivefold character, for the reason that the eternal verity of Śiva is of the character of the fivefold Brahman. (Pañcabrahma Upanishad 31)
FORMES AND ROLES
According to Gavin Flood, "Shiva is a god of ambiguity and paradox," whose attributes include opposing themes.[168] The ambivalent nature of this deity is apparent in some of his names and the stories told about him.
DESTROYER AND BENEFACTOR
In the Yajurveda, two contrary sets of attributes for both malignant or terrific (Sanskrit: rudra) and benign or auspicious (Sanskrit: śiva) forms can be found, leading Chakravarti to conclude that "all the basic elements which created the complex Rudra-Śiva sect of later ages are to be found here". In the Mahabharata, Shiva is depicted as "the standard of invincibility, might, and terror", as well as a figure of honor, delight, and brilliance. The duality of Shiva's fearful and auspicious attributes appears in contrasted names.
The name Rudra (Sanskrit: रुद्र) reflects his fearsome aspects. According to traditional etymologies, the Sanskrit name Rudra is derived from the root rud-, which means "to cry, howl". Stella Kramrisch notes a different etymology connected with the adjectival form raudra, which means "wild, of rudra nature", and translates the name Rudra as "the wild one" or "the fierce god". R. K. Sharma follows this alternate etymology and translates the name as "terrible". Hara (Sanskrit: हर) is an important name that occurs three times in the Anushasanaparvan version of the Shiva sahasranama, where it is translated in different ways each time it occurs, following a commentorial tradition of not repeating an interpretation. Sharma translates the three as "one who captivates", "one who consolidates", and "one who destroys". Kramrisch translates it as "the ravisher". Another of Shiva's fearsome forms is as Kāla (Sanskrit: काल), "time", and as Mahākāla (Sanskrit: महाकाल), "great time", which ultimately destroys all things. Bhairava (Sanskrit: भैरव), "terrible" or "frightful", is a fierce form associated with annihilation.
In contrast, the name Śaṇkara (Sanskrit: शङ्कर), "beneficent" or "conferring happiness" reflects his benign form. This name was adopted by the great Vedanta philosopher Śaṇkara (c. 788 - 820 CE), who is also known as Shankaracharya. The name Śambhu (Sanskrit: शम्भु), "causing happiness", also reflects this benign aspect.
ASCETIC AND HOUSEHOLDER
He is depicted as both an ascetic yogi and as a householder, roles which have been traditionally mutually exclusive in Hindu society.[185] When depicted as a yogi, he may be shown sitting and meditating. His epithet Mahāyogi ("the great Yogi: Mahā = "great", Yogi = "one who practices Yoga") refers to his association with yoga. While Vedic religion was conceived mainly in terms of sacrifice, it was during the Epic period that the concepts of tapas, yoga, and asceticism became more important, and the depiction of Shiva as an ascetic sitting in philosophical isolation reflects these later concepts. Shiva is also depicted as a corpse below Goddess Kali, it represents that Shiva is a corpse without Shakti. He remains inert. While Shiva is the static form, Mahakali or Shakti is the dynamic aspect without whom Shiva is powerless.
As a family man and householder, he has a wife, Parvati and two sons, Ganesha and Kartikeya. His epithet Umāpati ("The husband of Umā") refers to this idea, and Sharma notes that two other variants of this name that mean the same thing, Umākānta and Umādhava, also appear in the sahasranama. Umā in epic literature is known by many names, including the benign Pārvatī. She is identified with Devi, the Divine Mother; Shakti (divine energy) as well as goddesses like Tripura Sundari, Durga, Kamakshi and Meenakshi. The consorts of Shiva are the source of his creative energy. They represent the dynamic extension of Shiva onto this universe. His son Ganesha is worshipped throughout India and Nepal as the Remover of Obstacles, Lord of Beginnings and Lord of Obstacles. Kartikeya is worshipped in Southern India (especially in Tamil Nadu, Kerala and Karnataka) by the names Subrahmanya, Subrahmanyan, Shanmughan, Swaminathan and Murugan, and in Northern India by the names Skanda, Kumara, or Karttikeya.
Some regional deities are also identified as Shiva's children. As one story goes, Shiva is enticed by the beauty and charm of Mohini, Vishnu's female avatar, and procreates with her. As a result of this union, Shasta - identified with regional deities Ayyappa and Ayyanar - is born. Shiva is also mentioned in some scriptures or folktales to have had daughters like the serpent-goddess Manasa and Ashokasundari. Even the demon Andhaka is sometimes considered a child of Shiva.
NATARAJA
he depiction of Shiva as Nataraja (Tamil: நடராஜா,Kannada: ನಟರಾಜ, Telugu: నటరాజు, Sanskrit: naṭarāja, "Lord of Dance") is popular. The names Nartaka ("dancer") and Nityanarta ("eternal dancer") appear in the Shiva Sahasranama. His association with dance and also with music is prominent in the Puranic period. In addition to the specific iconographic form known as Nataraja, various other types of dancing forms (Sanskrit: nṛtyamūrti) are found in all parts of India, with many well-defined varieties in Tamil Nadu in particular. The two most common forms of the dance are the Tandava, which later came to denote the powerful and masculine dance as Kala-Mahakala associated with the destruction of the world. When it requires the world or universe to be destroyed, Lord Śiva does it by the tāṇḍavanṛtya. and Lasya, which is graceful and delicate and expresses emotions on a gentle level and is considered the feminine dance attributed to the goddess Parvati. Lasya is regarded as the female counterpart of Tandava. The Tandava-Lasya dances are associated with the destruction-creation of the world.
DAKSHINAMURTHY
Dakshinamurthy, or Dakṣiṇāmūrti (Tamil:தட்சிணாமூர்த்தி, Telugu: దక్షిణామూర్తి, Sanskrit: दक्षिणामूर्ति), literally describes a form (mūrti) of Shiva facing south (dakṣiṇa). This form represents Shiva in his aspect as a teacher of yoga, music, and wisdom and giving exposition on the shastras. This iconographic form for depicting Shiva in Indian art is mostly from Tamil Nadu. Elements of this motif can include Shiva seated upon a deer-throne and surrounded by sages who are receiving his instruction.
ARDANARISHVARA
An iconographic representation of Shiva called (Ardhanārīśvara) shows him with one half of the body as male and the other half as female. According to Ellen Goldberg, the traditional Sanskrit name for this form (Ardhanārīśvara) is best translated as "the lord who is half woman", not as "half-man, half-woman". According to legend, Lord Shiva is pleased by the difficult austerites performed by the goddess Parvati, grants her the left half of his body. This form of Shiva is quite similar to the Yin-Yang philosophy of Eastern Asia, though Ardhanārīśvara appears to be more ancient.
TRIRUPANTAKA
Shiva is often depicted as an archer in the act of destroying the triple fortresses, Tripura, of the Asuras. Shiva's name Tripurantaka (Sanskrit: त्रिपुरान्तक, Tripurāntaka), "ender of Tripura", refers to this important story.[216] In this aspect, Shiva is depicted with four arms wielding a bow and arrow, but different from the Pinakapani murti. He holds an axe and a deer on the upper pair of his arms. In the lower pair of the arms, he holds a bow and an arrow respectively. After destroying Tripura, Tripurantaka Shiva smeared his forehead with three strokes of Ashes. This has become a prominent symbol of Shiva and is practiced even today by Shaivites.
OTHER FORMS, AVATARS IDENTIFICATIONS
Shiva, like some other Hindu deities, is said to have several incarnations, known as Avatars. Although Puranic scriptures contain occasional references to "ansh" avatars of Shiva, the idea is not universally accepted in Saivism. The Linga Purana speaks of twenty-eight forms of Shiva which are sometimes seen as avatars. According to the Svetasvatara Upanishad, he has four avatars.
In the Hanuman Chalisa, Hanuman is identified as the eleventh avatar of Shiva and this belief is universal. Hanuman is popularly known as “Rudraavtaar” “Rudra” being a name of “Shiva”. Rama– the Vishnu avatar is considered by some to be the eleventh avatar of Rudra (Shiva).
Other traditions regard the sage Durvasa, the sage Agastya, the philosopher Adi Shankara, as avatars of Shiva. Other forms of Shiva include Virabhadra and Sharabha.
FESTIVALS
Maha Shivratri is a festival celebrated every year on the 13th night or the 14th day of the new moon in the Shukla Paksha of the month of Maagha or Phalguna in the Hindu calendar. This festival is of utmost importance to the devotees of Lord Shiva. Mahashivaratri marks the night when Lord Shiva performed the 'Tandava' and it is the day that Lord Shiva was married to Parvati. The holiday is often celebrated with special prayers and rituals offered up to Shiva, notably the Abhishek. This ritual, practiced throughout the night, is often performed every three hours with water, milk, yogurt, and honey. Bel (aegle marmelos) leaves are often offered up to the Hindu god, as it is considered necessary for a successful life. The offering of the leaves are considered so important that it is believed that someone who offers them without any intentions will be rewarded greatly.
BEYOND HINDUISM
BUDDHISM
Shiva is mentioned in Buddhist Tantra. Shiva as Upaya and Shakti as Prajna. In cosmologies of buddhist tantra, Shiva is depicted as active, skillful, and more passive.
SIKHISM
The Japuji Sahib of the Guru Granth Sahib says, "The Guru is Shiva, the Guru is Vishnu and Brahma; the Guru is Paarvati and Lakhshmi." In the same chapter, it also says, "Shiva speaks, the Siddhas speak."
In Dasam Granth, Guru Gobind Singh have mentioned two avtars of Rudra: Dattatreya Avtar and Parasnath Avtar.
OTHERS
The worship of Lord Shiva became popular in Central Asia through the Hephthalite (White Hun) Dynasty, and Kushan Empire. Shaivism was also popular in Sogdiana and Eastern Turkestan as found from the wall painting from Penjikent on the river Zervashan. In this depiction, Shiva is portrayed with a sacred halo and a sacred thread ("Yajnopavita"). He is clad in tiger skin while his attendants are wearing Sodgian dress. In Eastern Turkestan in the Taklamakan Desert. There is a depiction of his four-legged seated cross-legged n a cushioned seat supported by two bulls. Another panel form Dandan-Uilip shows Shiva in His Trimurti form with His Shakti kneeling on her right thigh. It is also noted that Zoroastrian wind god Vayu-Vata took on the iconographic appearance of Shiva.
Kirant people, a Mongol tribe from Nepal, worship a form of Shiva as one of their major deity, identifying him as the lord of animals. It is also said that the physical form of Shiva as a yogi is derived from Kirants as it is mentioned in Mundhum that Shiva took human form as a child of Kirant. He is also said to give Kirants visions in form of a male deer.
In Indonesia, Shiva is also worshiped as Batara Guru. His other name is "Sang Hyang Jagadnata" (king of the universe) and "Sang Hyang Girinata" (king of mountains). In the ancient times, all kingdoms were located on top of mountains. When he was young, before receiving his authority of power, his name was Sang Hyang Manikmaya. He is first of the children who hatched from the eggs laid by Manuk Patiaraja, wife of god Mulajadi na Bolon. This avatar is also worshiped in Malaysia. Shiva's other form in Indonesian Hindu worship is "Maharaja Dewa" (Mahadeva). Both the forms are closely identified with the Sun in local forms of Hinduism or Kebatinan, and even in the genie lore of Muslims. Mostly Shiva is worshipped in the form of a lingam or the phallus.
WIKIPEDIA
McKibbin Bros Cullybackey County Antrim
SAME tractor looks to be in particularly poor shape. These are fairly rare now so would be good to see restored but the rust has fairly taken hold on this one.
Part of the McKibbin Bros collection pictured at the Killyless Open Day 2016
Sometimes I notice the weirdest stuff. I'm pretty sure I can blame Betty Edward's book, "Drawing on the Right Side of the Brain." It was required reading for one of the many Art classes I took at the local Community College back in the eighties. I still have that same used book in my '"studio" and maybe once every few years I'll blow the dust off the top and flip through it. Is there an influence like that in your life?
Same view as in 2020, probably the same tenants as well.
At least I didn't accidentally drop my camera on the floor this time :-)
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Please do not use this image without first asking for permission. Thank you.
ANSWERING TO THE DARKNESS
sameer thahir is an Indian cinematographer. Sameer grew up in the city of Cochin in Kerala, India.
as a Cinematographer he has done - BIG B & DADDY COOL
visit my website
Drawn with a Sharpie fine point in my pocket-sized Moleskine. This one is about the same size as the Orb Weaver on the previous upload. Much prettier, I think. I remember these all over the place every summer in southeastern Ohio, where I grew up. That silvery zig-zag is hers. Some think it may be to warn off large flying insects and birds, as her orb web is so wide - three to four feet. But if she catches something - even a small bird - she will kill and devour it. Now, no more spiders for a while.
Same festival as the previous photo, Deventer op Stelten. This is a shot from the show 'Asas do Destino' from Theatro Ka (Portugal). You see the angel who wants to protect an old man. He is full of love and in his eyes you can see how he cares. Later on I will post more of this show.
I don't know what happened all I did was wash my hair in the same old way. it was only when I came to style it that I noticed my hair had started going pink!!!!!!!
Must be something in the hair....erm sorry something in the air.
Well you have to have some fun with this trans thing!
Photograph by: Ryan Nyenhuis
Sunday June 15th 2008, Fathers Day. Ryan and I woke with a plan. The plan being to sneak into the abandon R.L. Hearn Thermal Generation Power Plant which is located in the south east area of downtown Toronto. We wanted to photograph the beauty of decay.
We had made a trip over to the power plant a week prior to scout out the area, to see where guards were located and to find easy access inside.
Sneaking past the guard house located at the front of the property and making our way along the north west section of property towards the back of the plant where the barbed wire fence was weakest.
We then smoked three quarters of a joint together before working up the nerve to hop the fence. Ryan went first, watching him hop the fence and dart out into the yard and hiding behind scrap metal for cover then finally making it to the back of the building. Then it was my turn. What excitement that was, knowing your breaking the law to do something adventurous.
After getting onto the property we were standing at the back of the Hearn and looking for our way inside. To do so we had to hop up onto a metal fence post and from there had to reach up and grab a hold of plywood that covered up the tall entrance area. A good 15 foot climb up, over and in.
Once inside the first photo that was taken was the one of Ryan and I standing together, titled "final hours".
This place was like no other we had ever explored together. The shear size of it all was breathtaking and mind blowing at the same time. The beauty of destruction.
After the first photo was taken we started exploring the plant. Taking the necessary precautions we had come prepared with asbestos masks and flashlights.
We had made our way around on the ground floor, through locker rooms, showers, storage rooms. Then we started making our way up stairs to the 2nd and 3rd level offices, had the remainder of our joint together.
From the office levels we went back onto the factory area and started climbing the metal stairs up further still. Some photos show how high up we were in that building.
We then made ourselves up onto the roof. What a view from there looking out over the city core. Looking out over Lake Ontario we saw really dark storm clouds. Ryan pulled out a cigarette and had a smoke.
We were up on the roof for about a half hour before Ryan asked me "what do you want to do now man?". "Do you want to go home now or stay a bit longer and explore?". My camera battery had died at this point and being there any longer served no purpose for me. I was hesitant on a response because at the same time I wanted to keep exploring because the plan was to keep coming back weekend after weekend to explore and document the old structure.
I then agreed to keep exploring. We came in off the roof, coming down a level, walked through a doorway into a long looking dark room. All across the top level of The Hearn runs conveyor belts that run coal from one end to the other. Walking together along the metal grating flooring. Ryan was 2 feet in front of me.
I then ended up tripping over a small extruded piece of metal on the floor, and from that second on I pointed my flashlight directly onto the floor to see where I was walking.
Very shortly after this happens, in mid sentence Ryan just falls into blackness. All I see is from his waist up as he plunges into complete blackness and followed by about 4-5 seconds before hearing a sick crash far below.
I then look 2 feet in front of me and see there is no more floor. My imediant thought is that he is dead. Then my brain clicks "I have to get my best friend out of here".
I then tried my best to back track to get out of the building, taking a route that he and I had not taken to get to this point. All I knew is I had to get out of The Hearn and find someone that could help.
I don't even know how I got out of that place. When I did I came out on the back side of the building, ran around to the guard house screaming for help.
I screamed to the guard that my best friend just fell in there and is hurt really bad, he asked what we were doing in there and I told him we were just taking photos.
The guard then called like every paramedic, fire and police officer in the city. About 10 minutes after the call was made all I could hear were the sirens. Scared and relived at the same time I was.
Once they all showed up I told them Ryan was in there, that we were up high in the building and he fell. All the cops were telling me to retrace my steps, they wanted to see where we came in from. I screamed at them "we don't have time for that right now, my best friend is dying in there". I then started leading them to the front of the Hearn because I knew it was the closet way inside. We get to the front and all entrances were boarded up. One cops said to me "Ian there is no way in through this way, you have to show us where you came in from". I then demanded to the fire fighters that they bust this plywood down to get inside.
Once inside the cops started fucking with my mind, me being in total shock at the time they started asking me where we had explored, they wanted me to take them on what would have been a few hours of exploration, which we didn't have time for.
Then an officer finds his asbestos mask and glasses. My first thought is he was okay, that he somehow managed to crawl out under his own power. I was wrong. His mask and glasses had bounced off of objects on the fall and Ryan was nowhere to be found.
The police tried getting a hold of Rogers Communication to see if they could pin point his location with the cell phone he had on him. They ended up using thermal vision to locate him. He was trapped in a coal hopper located high up in the building.
I was escorted out at this point in time because I was too "hysterical" for the cops liking.
Two and a half hours went by, a fierce thunderstorm was passing through.
While they were working on getting Ryan out I was giving my statement to the police. Never gave one of those in my life. I told them everything that I am writing here right now, everything, even the joint smoking. I had Nothing to hide.
We went in undetected but I didn't care if the whole world was watching at this point, I was doing what any best friend would do. I was trying to save him. City Pulse News was there and I was trying to hide from them. I was scared that this is how his family would find out and how my family would find out, being Fathers days and all.
After two and a half hours of hell they finally got Ryan out. I watched them carry him out on a backboard and I yelled to him that I loved him.
Ryan was rushed to St. Micheal's Hospital, the best in all the city for trauma.
I followed about an hour after him, being escorted in a police car. On the drive one officer said to me "this is going to cost you and your buddy about a hundred thousand dollars for all that had to be done here today". What a jackass thing to say. I responded by saying "I don't give a fuck about money, take all I have from me I don't care, I'm loosing the most important person in my life right now".
We get to the hospital, I enter the trauma wing of St. Micheal's. They told me that I was going to be the one to call the home of the Nyenhuis'. I thought that was insane, and told them I could not make that call, that they would have to.
I then went into the waiting room, sat down. I remember the NBA finals were on the televisions in there and I ended up falling asleep somehow.
Waking to Stevie and Tammy's faces hours later (Stevie being Ryan's room mate and Tammy being Ryan's girlfriend).
Stevie told me that John and Cheryl were on their way and that we could go up stairs to the trauma ward to see Ryan.
The trauma centre, located on the 9th floor of St. Micheal's Hospital.
Hours passed by, as the night went on the news kept getting worse and worse about his condition.
I ended up leaving to come back to my apartment at 6am the following morning, I had to talk to my parents and try and shovel some food into my system. Still being in shock and never got treatment for shock when it happened.
I returned to the hospital at 3pm that day. Only to find nothing had changed with his condition.
Then came the worst words I ever had to hear, Ryan's father coming in the room and telling me it was time to say goodbye to Ryan.
We made our way into where he was being cared for. To see my best friend in the state he was in broke my heart. Blood coming out the back of his head, body black and blue bruised from head to toe, internal damage that could not be repaired, feeling his forehead and it being ice cold. He was laying there in front of us, dead. Machines were the only thing keeping him "alive".
I said my goodbyes to him, telling him that he can't leave me here, he can't leave the creation of Studies In Comfort behind, something that is so brilliant, that we were supposed to take over the world together and do all that was planned. I told him to haunt me.
I then looked at his eyes and saw tears. He may have been brain dead but I know he heard every word I said. Doctors did not give an explanation to what was coming out of his eyes.
If only I had said to Ryan "hey man watch your step" he might still be alive today. I have been told over and over again that I can not blame myself for what happened that day. I sometimes still do.
Ryan and I once had a conversation that if something ever happened to one of us that Studies In Comfort would stop, without a core creator there is no sense to continue it. Well I am going against those wishes. I can't lose what he and I created even before it took off the ground.
I now know my purpose in life. To carry on Studies In Comfort. I must continue on for him, finish off the 3 studio albums we had in the works and continue on with this art form.
Ryan died at the wheel and I have moved his lifeless body to the passengers seat and now a fucking insane madman is driving.
Ryan Nyenhuis, whos favourite artist was Nine Inch Nails, who lived on floor number 9, who wore a roman numeral 9 on his right arm, who died on the 9th floor at St. Micheal's Hospital, Toronto.
Thank you to 55 Division and all the paramedics and fire fighters who helped get Ryan out of that terrible dark place.
Ryan Nyenhuis is survived by his father, John, mother Cheryl, sisters, Jennifer and Leah, their beautiful children, myself and Studies In Comfort.
Ryan John Nyenhuis
July 28th 1981 - June 15th 2008
We love and miss you.
___________________________
All photographs were taken by Ryan Nyenhuis & Ian Levack with a Casio EX-Z1050 camera.
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This is a short-long report on the feast that the country of Trecastagni (Sicily) celebrates in honor of the Three Saints Martyred Brothers Alfio, Cirino and Filadelfo, which takes place every year on 10 May at the Sanctuary with the same name (probably the name of the village of Trecastagni takes its origin from the three brothers: Tres Casti Agni, may be come from Three Mild Lambs). In the night between nine and 10 May, hundreds of devotees come to the shrine to ask a favor, or in thanksgiving for favors received: many devotees come carrying a lighted candle on their shoulders, some devotees are barefoot, others called " i nuri "(the nudes) that can be stripped to the waist, but also have a white shirt with a red sash over his shoulder. Devotees arrive on foot at night, coming from near and far towns (even 30 or 40 km)
The three brothers, Alfio, Cirino and Philadelphus, were the sons of two nobles who had embraced the Christian faith, we are near the end of the year 251 in Vaste (Lecce); the three brothers to have declared to be their of Christian religion, they were brought in chains to Rome, in an attempt to get them to desist from that their conviction; then they were brought in Pozzuoli, and then in Sicily (at each stage was followed by an interrogation in a vain attempt to get them to change the religion in which they firmly believed). In Sicily they underwent a process in Taormina (Messina), they went from Trecastagni (Catania), and finally arrived in Lentini (Syracuse) where they were killed May 10 by 253: Alfio was torn tongue, making it the patron saint of dumb people; he was 22 years and 7 months; Philadelphus was burned on a burning grill, he was 21; Cirino who was 19 years and eight months, was immersed in a kettle full of boiling oil.
The feast of Saint Alfio of Trecastagni is characterized by the arrival of many typical Sicilian carts, from stalls selling votive objects and not, and the sale of fragrant bouquets of fresh garlic.
This my report was produced in two years (2014 and 2015).
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Questo è un report breve e lungo, che ho realizzato nell'arco di due anni (2014 e 2015) sulla festa che si tiene nel paese di Trecastagni (Sicilia - CT), e che si celebra in onore dei tre fratelli martiri Alfio, Filadelfo e Cirino, e che, pur avendo luogo dall'1 fino al 17 Maggio, trova la sua massima espressione il 10, quando le statue dei Tre Santi Fratelli, che si trovano nel Santuario, di antiche origini Normanne, vengono esposte al pubblico (la cosiddetta "svelata") poichè vengono aperti i battenti della cosiddetta "cameretta", entro la quale restano per tutto l'anno (tranne in questa occasione, dal 10 Maggio, fino alla prima domenica di Giugno). Sembra che il paese di Trecastagni deve questo nome poichè vi passarono i Tre Fratelli: Trecastagni potrebbe essere una forma contratta del termine latino "tres casti agni", ovvero tre casti agnelli. Durante la notte, tra il 9 ed il 10 di Maggio, centinaia di devoti giungono dai paesi viciniori, percorrendo a piedi anche lunghe tratte (anche 30 o 40 Km), spesso con ceri votivi più o meno pesanti, arrivando quindi al santuario chi per chiedere una intercessione, chi per ringraziare di una grazia ricevuta, chi semplicemente per pregare e partecipare a questo sentito appuntamento; alcuni devoti camminano scalzi in segno di pentimento e devozione, ci sono anche i devoti chiamati "nudi" che indossano solo un pantaloncino (a volte indossando una maglietta bianca), con una fascia rossa sul torace ed un cero votivo acceso portato in spalla; spesso questi devoti, giunti nel Santuario, vengono colti da una violenta emozione, che li porta a spendere le loro ultime energie, correndo verso l'altare, a volte implorando a voce alta l'intercessione dei Tre Fratelli in un dialogo "a tu per tu".
I tre fratelli, Alfio, Filadelfo e Cirino, erano i figli di due patrizi che avevano abbracciato la fede Cristiana, siamo verso la fine dell'anno 251 in quel di Vaste (Lecce); l'essersi dichiarati, i tre fratelli, di fede cristiana, fu per loro causa di condanna, per cui furono portati in catene dapprima a Roma, nel tentativo di farli desistere da quel loro convincimento; poi furono portati a Pozzuoli, e quindi in Sicilia (ad ogni tappa faceva seguito un interrogatorio nel vano tentativo di farli recedere da quel culto Cristiano nel quale credevano fermamente). In Sicilia subirono un processo a Taormina (Messina), passarono quindi da Trecastagni (Catania), ed infine giunsero a Lentini (Siracusa) ove li vennero trucidati il 10 maggio del 253: ad Alfio venne strappata la lingua, diventando così il Santo Patrono delle persone affette da mutismo, aveva 22 anni e 7 mesi; Filadelfo fu bruciato su di una graticola ardente, aveva 21 anni; Cirino che aveva 19 anni ed 8 mesi, venne immerso in una caldaia colma di olio bollente.
La festa di S. Alfio di Trecastagni si caratterizza anche per altre tradizioni: si assiste all'arrivo di molti coloratissimi e pittoreschi carretti siciliani, si assiste ad una gara di spettacolari fuochi pirotecnici, c'è la vendita di mazzi profumatissimi di aglio fresco (cu và a Sant'Affiu e nun ccatta l'agghi, quannu gira 'a casa trova l'imbrogghi ...); piacevolissimo è camminare nella via principale del paese letteralmente presa d'assalto da bancarelle che vendono oggetti-generi alimentari di ogni tipo e genere.
This week I've started reading up on the ancient-Greek philosopher Socrates. He died in 399BC aged about 71, coincidentally the same age as myself. So far I've learned neither of us feared death, even though in our younger years we'd both experienced active military service. We'd also both realised early in life the importance of maintaining moral virtues to protect our own mental heath and spirituality. There were also other things in common. We and our fathers had all dabbled with stonemasonry. I like that bit. Furthermore, Socrates and I each grew full beards and preferred to go bare footed whenever possible. Unfortunately we were both considered to have grown uglier as we aged. Unlike me, Socrates wasn't a writer, his wisdom is dependent on the veracity of secondary sources such as Plato, Xenophon and Wikipedia, all of which I intend to delve into for a while. I also own a weighty copy of the 800 page Oxford history of the classical world.
fremantlebiz.livejournal.com/2016/07/13/
For no particular reason other than it being almost the end of the year, I was wondering last night what I had been writing about on this date in the three earliest years of Fremantlebiz. In those days I didn't have a digital camera, so more words were the thing. Much more than what I write now. I used to write quite provocatively about all manner of serious subjects, some of which can easily read by clicking the links below for the three 28 Decembers of 2004, 2005 and 2006:
www.livejournal.com/users/fremantlebiz/2004/12/28/
www.livejournal.com/users/fremantlebiz/2005/12/28/
This set mixes it up a bit with both a pretty blonde and brunette goddess! You can see them both modeling the Gold 45 Revolver swimsuits as well as a 45SURFER camera bracket mount for shooting stills & video at the same time.
Here's some epic video of the beautiful goddesses:
www.youtube.com/watch?v=txvupr5xOZ4 (modeling swimsuit)
www.youtube.com/watch?v=4G5w3u6L8x8 (modeling swimsuit)
www.youtube.com/watch?v=4pYrQbPayZs (modeling the bracket)
www.youtube.com/watch?v=BGSVw9jbAR0 (pretty closeups!)
Nikon D800 Photos of Brunette and Blonde Swimsuit Bikini Goddesses with Pretty Green Eyes and Pretty Blue Eyes shot with the Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens!
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 4 ! :)
All the Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
Modeling both the the Gold 45 Revolver(TM) Gold'N'Virtue(TM) Black Bikini and the Red, White, an Blue American flag bikini!
May the HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey! all the bets on your Heroic Journey from Johnny Ranger McCoy!
June 2014
Illustration of The Armed Man composed by Karl Jenkins
June 2014
Illustration of The Armed Man composed by Karl Jenkins
SECTION 1: L'Homme Arme
This piece is based on the 15th century French Renaissance song of the same title. It is thought to have been composed for the lead up to a new crusade against the Turks. It roughly translates to ‘The man, the man, the armed man, the armed man, the armed man should be feared, should be feared. Everywhere it has been proclaimed, that each man shall arm himself, with a coat of iron mail.’ As chainmail is so heavily referenced, I decided to start with this. I went to the National Army Museum in Chelsea and looked at different kinds of uniform and armour, but found most of it was too contemporary for this piece, although much of it was of use for later sections of the scroll. I then went to the Wallace Collection, also in London, and looked particularly at the European armour and chainmail. I drew some examples and wrote notes about which types were particularly useful for the design I wanted to create, so I looked at the 4-1 method of chainmail manufacture, as it was used closest to the time of the song, and also looks aesthetically pleasing. From the 14th century onwards, rivets were used so that the structure of the mail is strong, enabling it to stand the blows of swords and arrows. The repetitive structure of the chainmail links well to the music, as it is a repeated melody. The actual score of the music has repeated motifs, the notes are equidistant and follow a pattern. This instantly made me look into print making, in order to achieve the effect of chainmail and demonstrate my understanding of rhythm in the composition and the music. I also looked into Morse code as this is a typical ‘language’ associated with warfare. However, I found that circles of chainmail was more effective to use when printing. I measured my section of the scroll and found that in order to have a successful pattern, I needed to have each circle roughly 1 inch diameter and a half drop pattern, fitting in with the 4-1 pattern of chainmail. I also used imagery from a famous World War One photograph, showing exhausted soldiers walking in a line. I chose to show just their silhouettes, and to rip the paper to show the damage war has inflicted on them, and to contrast with the cleaner prints of the chainmail.
SECTION 2: Adhaan
This piece is the Islamic call to prayer, or Adhaan, sang by a Muezzin soloist. My choir performed this in a church, which gave an interesting contrast to the traditional Christian architecture and imagery, by having this beautiful Arabic voice praising Allah. I went to the V&A museum in London to look at the screens and tiles on display, focusing mainly on geometric repeating patterns. I happened to discover the Jameel Prize exhibition on my way out, which is a collection of modern Islamic art, often inspired by more traditional pieces. One piece was an installation looking at a prayer’s soundwaves, and how the sound looks when printed out. Another looked like a huge, moving machine made up of many different pieces of calligraphy arranged in circles. I found these pieces extremely influential to my work, and used both traditional and contemporary research to develop my own pattern and design for this section. Also, in the summer, I went to an exhibition in Amsterdam on Escher and his works relationship with Islamic art. I found one particular screen that I felt captured the essence of war; the pattern is beautiful, yet the shape used could be seen as an axe, a hammer or another weapon. I tried to replicate the pattern using graph paper, like Islamic architects used when designing their patterns, then used stencil card, string blocks and tracing paper to transfer the design onto the scroll. I also used a photo of a typical Islamic skyline to break up the pattern, and give a border to the two tones used; a sandy earth colour, and grey scale.
SECTION 3: Kyrie
Kyrie refers to a lamp lighting ceremony in Jerusalem, so I decided to look at effects of dark and light in contrast. I used ink, paint and charcoal for the dark, and wax, paint and bleach for the light. It reminded me of a quote from Anne Frank, ‘look how this candle both defies and defines the darkness’, which I thought summarises this section perfectly. You cannot have light without dark, just as you cannot have peace without war. This piece is probably the most influenced by my mark making drawings of the music. The direction for the piece is ‘compassionate, pitying’, and I wanted to reflect this in my work. ‘Kyrie eleison’ (lord, have mercy) is the main repeated phrase, which I found had a particular set of marks in my drawing, so I used these lines to represent each time the phrase is sang. When at the V&A I noticed a display highlighting the similarities in a sun motif between a catholic priests robe and an Islamic pattern. I wanted to show that my motif was similar to written Arabic, particularly to the call of prayer. This links Islam and Catholicism in my work, also as the two sections are next to each other. Impressionism was the style I was aiming to reference, as the music is blurred and beautiful, and I wanted to suggest a feeling, rather than state one. Debussy’s view on impressionist music supports my ideas, as he used chords for the colours, and harmonies for tone. Music and art are the same thing, just using different words.
SECTION 4: Save Me From Bloody Men
This piece uses text from the Book of Psalms, documenting a plea for God’s help. The piece is sung in the style of a Gregorian Chant, so all male voices (TB) and no orchestra. It is extremely powerful and sounds incredible in a church, as it echoes and creates a feeling of menace and foreboding. The percussion beat at the end made a lot of people jump when we performed it, as it’s incredibly loud and sudden, like a gunshot. I wanted to focus on this key moment, so I looked at William Klein’s Tokyo series of a boxer punching a wall with paint. I wanted to recreate this violence, so made myself a boxing/paint brush, and experimented by listening to the track and punching the wall on the drum beat. I used lots of paint on the glove to give a spattering effect, to show the echo of the music, but also of war. War is not a single clean battle, it is the echoes of conflict that continue the destruction. I used my mark making to describe the voices singing, and found that sharp lines and square shapes worked best for the rich, low tone of the music. It also reminded me of morse code, so I combined some words in code into the marks. I wanted to find a way of incorporating the punch, so I used fragile tissue paper as an overlay. This is in contrast to the strong, thick lines and large punch mark.
SECTION 5: Sanctus
This piece is also a part of the traditional Catholic mass, but uses a repeating bass line of ‘Sanctus’ (Holy) as a beat, giving it an ever more sinister and menacing feel as the music goes on. For this reason, I decided to use red paint sparingly at the left side, then more frequently and finally culminating in a frenzy of slashes and spatters. To reference the Catholic roots, I decided to observe church spires, both locally and worldwide, as traditionally these were very high to link God and the congregation, or heaven and earth. This also links to the line ‘Hosannah in excelsis’ which is sudden, loud and high pitched, especially in the part I sing as I am a first soprano. I used very careful observations of church spires and towers to the left, then gradually getting more fractured and shattered as the piece goes on. Both the music and art get steadily more sinister and abstract, giving a sense of unease to the viewer, and suggesting that battle is imminent.
SECTION 6: Hymn Before Action
The text from this piece is taken from the first two stanzas of Rudyard Kiplings poem of the same title. The words conjure a lot of imagery surrounding war, preparing for battle and patriarchy. The last line, ‘lord grant us strength to die’ is repeated three times, highlighting the plea and linking to the previous piece, ‘Save Us From Bloody Men’. I have been inspired by ‘The Book Thief’ by Markus Zusak, in which Death, the narrator, describes his experience of war. This book has been very influential, as its descriptions use colour and strong imagery to describe war, rather than conventional writing techniques, for example, ‘A single hour can consist of thousands of different colors. Waxy yellows, cloud-spat blues. Murky darknesses. In my line of work, I make it a point to notice them. ‘ I wanted my work to give a similar effect; not using figurative studies, instead creating a feeling using colours and shapes. I went to the Wallace Collection and looked at mostly Iranian, Indian and European daggers and swords, both functional and ceremonial. I drew some of these, and found the detail used on these horrific weapons to be incredibly intricate, which caused a juxtaposition of creation and destruction on the same object. There was even a gun, beautifully carved with inlay of gold, pearl and coral, which had a small detail on the barrel of a couple having sexual intercourse. I felt this shocking contrast was important to explore in my work, so experimented by using destructive techniques to create art. Destruction is creation. After all, a drawing is a destroyed pencil and paper. I used a white background of acrylic paint to give a base to this section, as I wanted a greater contrast between black and white, war and peace. I simplified the intricate swords into simpler shapes suitable for printing, and cut stencils. I used black and crimson to symbolise blood, giving the viewer a sense of foreboding about the next section.\
SECTION 7: Charge!
I chose to use this piece of music for my final piece because it is central to the message of the music. It is the 7th in 13 songs, so in the middle, and is also the longest and most dramatic. It covers the lead up to battle, preparations and arming, and then the charge, increasing in tempo and volume until 8 drum beats, then a crescendo of screaming. The direction in the music score has no notes; just a written description, ‘sing any notes and randomly gliss. up & down until ‘J’, then hold. Breathe individually as necessary. Convey horror.’ Jenkins culminates this section with an ffff direction for all voices and instruments- very very loud. Then, a roughly 30 second long silence gives time for the audience to reflect, and the echoes to die down. A lone bugler plays ‘The Last Post’ offstage. I left a large space of blank wood to symbolise the silence, then interpreted The Last Post into small black marks around the edge.The other side features camouflage typically used by the French in the Somme in the First World War. Continuing on this theme, I researched the trenches and incorporated a map of Flanders into the left side. This emotionally harrowing piece struck me as something that was not contained in the bounds of the scroll, and therefore I decided to use a larger piece to convey the emotion, horror and overall power that this piece has. I chose a circle because it remarks on the fact that war and peace are a never ending cycle, and that you cannot have one without the other. I also wanted it to look similar to some of the weapons I have been researching, chiefly the shields in the Wallace collection. I noticed that a great deal of them had large spikes pushing out from the centre. From the side, these were sharp and but not particularly menacing; yet from the front on, it seemed that the spike was coming directly at you, giving an extremely threatening feel. I wanted to recreate this feeling of terror when something is advancing straight for you, and so made my own spike for the centre of my shield. I chose a particular shape when creating it, to reference how a crescendo is written in music (<) as this piece continually gets louder towards the climax. I experimented with the Ready Morse method typography to write ‘Charge’ on the spike, and used photograms to capture it. I felt this was appropriate because a photogram switches black and white, light and dark, just as war turns everything on its head. I want the viewer to feel frightened, confused and like they are in the middle of the conflict. For this reason, I chose to incorporate a broken mirror into my design, as the viewer will move along the scroll, feeling somewhat separate from the action, as none of this horror happened in their life. Then, at eye level, a broken mirror puts them directly inside the artwork, and they see that anyone can be affected by war. I broke it because I wanted to explore violence in creation, and the act of smashing something creates a new effect. It also means that the viewer may not initially recognise themselves in the reflection, as they are distorted and manipulated, similar to wars effect on people and nature. Broken mirrors were also used by a group of rebel fighters, The West Side Boys, in the Sierra Leone conflict. They used the mirrors to deflect attention from their positions and confuse the enemy. Additionally, I want to remind people that war is not something separate to humans; it is started, fought and ended by us. Yet the effects of war render us dehumanised. As Death, the narrator of The Book Thief remarks, ‘A small but noteworthy note. I've seen so many young men over the years who think they're running at other young men. They are not. They are running at me.’
SECTION 8: Angry Flames
Angry flames was written by Sankichi Toge, who survived the Hiroshima bombings. It documents the destruction he saw, and his feelings. I have always been interested in photojournalism, particularly work by Don McCullin, so decided to research more photos like his. I focused mainly on black and white ones, and most importantly, images that told a story. I compiled all these images using pinterest (www.pinterest.com/pshelleysmith/the-armed-man/ ) and used emulsion printing to capture these on my scroll. This printing technique symbolises the strange effect that the atomic blast had on humans; it would cast a sort of black shadow of their form onto the ground, wherever they fell, as the heat of the explosion was so great. I chose to use white paint to capture the images to contrast with this horrific phenomenon, photographs of this can be seen on my pinterest board. I then used charcoal, as it is burnt wood, to draw a mushroom cloud over the images, and chalk to create highlights. When standing back, the full mushroom cloud is visible, and when up close, the photographs come into focus. This is similar to how the bomb was created; it was designed to destruct, but the true horror is only visible when up close. Photojournalism is the bridge between the victims and the public, just as my work is a bridge between music and art. I also wanted the photos incorporated in my piece to create a sort of memorial to the suffering that was endured in the lead up to each photo, during, and afterwards; not just the subject of the photo but also the photographer, who is often forgotten. A great many journalists risk and sometimes lose their lives to report on conflict.
SECTION 9: Torches
This piece has text taken from the Mahabharata, an Indian epic narrative thought to date back to 400BC. It is the longest poem ever written, and documents the conflict of the Kurukshetra War and the fates of the Kaurava and the Pandava princes. This particular section describes animals and humans fleeing from a fire. At the Wallace Collection, I looked at a great deal of armour, particularly European. The helmets were intimidating and dehumanising, showing only a glimpse of eyes beneath a towering mass of metal. They were often distorted and given sharp points and exaggerated features to scare the enemy. Horses were also concealed in this way, given horns or tusks perhaps as weapons, or just decoration. I read poetry documenting the First World War, particularly poems by Wilfred Owen and Siegfried Sassoon. One poem, Mental Cases, compares the soldiers to animals, ‘Drooping tongues from jaws that slob their relish, Baring teeth that leer like skulls' tongues wicked’ I found this poem extremely powerful and hard hitting, as it shows that war is not a human affair. Therefore I developed unhuman, monstrous creatures to show a more abstract vision of war and destruction, inspired by the helmets, poems and work by Francis Bacon. Another piece that influenced this decision is Guernica by Picasso. The scale of the work is colossal, and must be intimidating to view. I wanted to capture this feeling of discomfort when viewing something truly horrific. I again used charcoal, as it is living flesh destroyed by fire. The majority of this piece of music seems fairly bland in comparison to the other sections; it uses a fairly regular rhythm, and emphasises a few of the phrases, with alto and soprano dominant and occasional use of all four parts. However, at the end, percussion and an ff direction causes the repetition of ‘torches’ to shock the audience. In a way, the slow, chanting rhythm of the rest of the piece bares a contrast to these last few bars, and makes it seem more horrific. A Hindu method of storytelling is to remain completely detached from the story, and let the words speak for themselves. Perhaps Jenkins was using this technique to emphasise the horror.
SECTION 10: Agnus Dei
This piece is also based on the traditional catholic mass, where Agnus Dei translates to ‘Lamb of God’. I decided to look at influential figures and words of war, from both sides as it were, so ranging from Hitler to Anne Frank, Gandhi, Churchill, J.F. Kennedy, protesters boards, Wilfred Owen, Vera Brittain, many other war poems, songs, films and books, and even biblical passages. I separated these by having the more destructive, pro war quotes on the left, towards the destruction, and the positive, pacifist ones on the right. I see this section of music as the turning point in the piece, as it begins to introduce a more positive sound, and soft, lilting melody. It reminded me of rivers or the sea, and the marks I made while listening to it also had this look of ripples and swirls. Therefore, I grouped the text in a similar way, sketching out first then filling in the quotes. They do not all read perfectly in order, as I chose to mix them up slightly. This has the effect of showing that after war, even though the right intentions are there, the world is forever in turmoil, and the order of peace cannot be restored.
SECTION 11: Now The Guns Have Stopped
The lyrics of this piece were written by Guy Wilson, the master of the Royal Armouries museum, as part of a display on the guilt that was felt by surviving soldiers of WW1. It reminded me of the poetry I had studied from the First World War, and I decided to find out more about this time. I researched uniforms, cap badges, gas masks and memoirs, particularly English ones about guilt and grief. I felt the most powerful imagery of this time was the mass graves in France and Belgium, the rows of white crosses. I decided to draw these recognisable symbols, but do so in a style that was rough and free, rather than perfectly measured crosses. I experimented ways of creating these iconic crosses using a variety of media; I used masking tape, masking fluid and wax to leave areas white, and then a black ink wash, and finally white acrylic paint and bleach to reveal sections. The bleach reacted with the paint to give a rusty red colour, reminding the viewer of blood. The dark ink gives a stark contrast to the sections either side of it, and makes the crosses seem even brighter. Appropriately, this is the 11th section of the music and my artwork.
SECTION 12: Benedictus
This piece starts with a long and stunningly beautiful cello solo, with a repeating melody that the choir sings later. However, it also has a sad undertone, specifically when the choir sings ‘Hosanna in Excelsis’. I went to a talk hosted by the Royal British Legion to draw, which had three speakers; a Naval officer from the Cold War, an intelligence worker responsible for electronic CSAR units (combat search and rescue) used from the Vietnamese war up to today’s conflict in Afghanistan. The last speaker impacted me the most, as he was a rear gunner in the RAF. He was 94, yet stood for the duration of his speech, and told many jokes, despite his difficult subject matter. He described his training and first operations, and how he signed up; he went to the registry office, gave his true age, 17, to the officer. The officer told him to walk outside and try again. He came back, said he was 19, and was immediately accepted. I drew him as he spoke, and the sketch that is most poignant in my opinion is the one when he was speaking about the death of his childhood best friend, and his feeling of guilt that he would come home to his family, while at his friend’s house, there would be a feeling of emptiness. His eyes started to water at this point, even after 70 odd years. I felt my drawing captured the beauty and sadness of this piece, and so scaled up and developed the sketch for the final draft of the scroll.
SECTION 13: Better Is Peace
The final piece is a reprise of L’Homme Armé, but is in a major key, giving a more positive sound. The lyrics are sometimes replaced with ‘better is peace than always war’, and the piece is sung by soloists and choir SATB. I chose to look at traditional symbols of peace, particularly the dove, as this is used as the album artwork and on posters relating to the music. I looked at symbolism of birds flying upwards to indicate peace, positivity and happiness, and a bird flying down being a bad omen for war, death and destruction. I therefore decided to draw birds. Unfortunately, while I was studying birds, perhaps as another strange moment of fate, my mum ran over a pure white pigeon (by accident). We took it home and I photographed and drew this beautiful and tragic creature, and developed my idea of having two birds in the image; one to the left, dead and seemingly flying down, to indicate the death and destruction that my piece has journeyed through, and a second bird to the right, flying upwards in a burst of light to symbolise the new hope for peace expressed through the lyrics. Between the two, I decided to give a reprise of the chainmail print from the first section, like the reprise in the music, but this time printed using very light grey and pure white. Additionally, I included the marks I made when listening to the piece, this time done in a white oily pencil. The second part of this piece, ‘God shall wipe away all tears…’ strips back the orchestra for the choir to sing a capella in beautiful harmonies. For our performance, the orchestra joined in to sing with us. In the music score, there is an optional solo part at the very end of this piece for the soprano soloist. The official The Armed Man CD does not include this last note, but in our performance, the soloist decided to do it. It is right at the very end, when all other parts gradually fall into a beautiful harmony, one voice soars above the rest, a very pure and high note. This reminded me of the dove flying upwards, and I wanted to recreate this ascent, perhaps to heaven, to peace, and to hope.
The house has changed little in 300 years, and the same applies to its formal gardens, which feature the oldest Orangery in Britain, an icehouse and a dairy. The National Trust has a tea room for visitors.
The house is said to be haunted by the Duchess of Lauderdale and her dog, which a number of visitors claim to have seen running down the corridors (no dogs are allowed in the building). The house was subject to a year long investigation by the Ghost Club which recorded a number of phenomena that remain 'unexplained'.
Hammerton's Ferry links the gardens to Marble Hill House on the opposite bank of the river.
A 400-year-old treasure trove waiting to be discovered and one of a series of grand houses and palaces alongside the River Thames. Ham House and Garden is an unusually complete survival of the 17th century that impressed in its day and continues to do so today. Rich in history and atmosphere, Ham is largely the vision of Elizabeth Murray, Countess of Dysart, who was deeply embroiled in the politics of the English Civil War and subsequent restoration of the monarchy. Discover the fine interiors and historic gardens that make Ham an unusual and fascinating place to visit
Little changed at Ham between the 6th Earl's death in 1821 and 1884 when William Tollemache, 9th Earl of Dysart came of age. Sixty years of benign neglect had left the house and its contents in urgent need of repair and Lord Dysart embarked on a thorough restoration campaign.
The roof was renewed, electricity and heating installed, and much of the 17th Century furniture repaired. The 9th Earl died in 1935, when Ham passed to his second cousin, Sir Lyonel Tollemache. Sir Lyonel and his son, Cecil, gave Ham House to the National Trust in 1948. The House has appeared frequently on film, such as in the third episode of the 2007 BBC television adaptation of Sense and Sensibility (in which it played Cleveland), and in the films To Kill a King and Spice World.
Ham House, also doubles as Kensington Palace, where the young Victoria grew up, in 2009 film The Young Victoria starring Emily Blunt and Rupert Friend.
wikipedia
On the north side of the chancel altar is a tomb which possibly doubled up as the Easter Sepulchre
The Lysons brothers who visited in 1817 recorded :
"In the parish church under a richly-ornamented arch on the north aisle is a handsome monument for one of the Grey family, Sir Henry de Grey of Shirland, (died 19 Rich II - 1396 ) who was summoned to Parliament as a Baron in the reign of Edward III" Whilst the knight's effigy was mutilated by 1817, it was "richly ornamented with scrolls of foliage" and "the side is covered with shields of arms".
Sadly the effigy has disappeared since then and it may be it was similar to his brother in law Sir Richard Willoughbys +++ . All that remains today is a large ogee recess in the chancel's north wall that contains a chest carved with the shields
Henry was born c 1340 in Wilton, Herefordshire to Reynold de Grey, 4th Lord Grey of Wilton 1370 and wife Maud Boutetout 1391 who both died in Shirland
His maternal grandparents were Margaret & Sir John de Botetourt
His paternal grandparents were Henry de Grey, 3rd Lord Grey of Wilton and Anne daughter of Ralph de Rockley and Isabel Clare
He had two sisters ;
1. Maud m1 Sir Richard Willoughby dsp 1369 +++ flic.kr/p/wsQrRE of Willoughby on the Wolds ; m2 John Tuchet 1372 m3 John Daubridgecourt 1415
2. Agnes m Robert de Clifton 1376
Henry fought in Gascony in 1366.
He m Elizabeth c1353 - 1401/2 daughter of Gilbert Talbot 1387 3rd Lord of Goodrich Castle Herefordshire by 1st wife Petronella / Pernel 1368 daughter of James Butler / Boteler , 1st Earl of Ormond & Eleanor (Bohun) Dagworth
Children
1.. Margaret de Grey c 1378-1 Jun 1454 m1 John 5th Baron Darcy of Knaith 1411 (buried in Selby Abbey flic.kr/p/To1eZ3 ) son of Philip d’Arcy 1399 & Elizabeth de Grey 1412; m2 Thomas 1432 son of Hugh Swynford Catherine de Roet 1403 flic.kr/p/pSWsqM later 3rd wife of John of Gaunt ).
2. Richard 6th Baron Grey 1442 (buried at Bletchley) m1 d Matilda daughter of Roger le Scrope 1403 & Margaret de Tybotot 1431 ; m2 Blanche Vache; m3 Margaret Ferrers 1452.
3. Petronilla dc 1414 m (1st wife) Gerard Braybrooke 1422 who m2 Joan daughter of Thomas Raleigh & Joan Astley
Sir Henry died on April 22nd, 1396.
- Church of St Leonard Shirland Derbyshire
mathcs.clarku.edu/~djoyce/gen/oldfolks/rr05/rr05_303.html...
www.wikitree.com/wiki/Grey-225
Picture with many thanks - copyright John Hawes flic.kr/p/feCG6D
I took this the same day I took this photo.
I wasn't sure how much I liked the photo originally, but since looking at it more, I like it more. I like how the barndoor to camera right has just lightly highlighted the edge of Oli, while the barndoor to camera left is harsher, fitting with the vibe I attempted to create. I also like the slightly dulled, almost de-saturated look of the skin tones.