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Royalty-free border clipart graphic picture of elegant green scrolls along corners of a white background, which would make great stationery sheets.
Sterling silver post earrings made by me. I made these to match a pendant that I recently made.
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An early illuminated talismanic scroll containing one of the earliest complete copies of al-Busiri’s (died circa 1294-6) al-Burdah, a poem in praise of the Prophet Muhammad.
Probably Ilkhanid Iran, late 13th / first half of the 14th century
Arabic manuscript on paper laid down on cloth in scroll form, the text written within alternating cartouches and roundels in naskhi script in black and red ink, small gold dots or large rosettes between verses, titles written in thuluth script in white (now oxidized) or gold incorporated within illuminated panels decorated with gilt floral and vegetal motifs on blue ground, some titles written in smaller naskhi script in maroon ink, interspersed with cornerpieces with similar decoration as that of the title panels, outer bordres with selected verses from the Qur’an written diagonally in larger thuluth script in black ink, large gilt rosettes decorated with alternating gold and blue dots, flanked by an inner and outer band containing surat al-Ikhlas written in smaller naskhi script in red ink and which is repeated in the borders of the whole scroll, eight diagrams containing letters, words or numbers, each within a square or a lozenge and written in black or red ink, with drawings of a sword, spear and bow and arrow
approximately 6 metres 75 cm. x 13.7 cm.
This extremely rare and early talismanic scroll was most probably commissioned by a high ranking official such as a royal or military person to be carried close to the body in battle for protection against the enemy. This is confirmed by the drawings of the sword, spear and bow and arrow which would have been worn and used by such a person during military campaigns. Whereas many talismanic scrolls of the sixteenth-century onwards mostly written in ghubari script in Turkey, Iran, Egypt and India are to be found in abundance, very few early scrolls from the 12th to the 15th centuries did survive the destructive forces of battle and the harsh climate of the above mentioned countries.
The handwriting and the way the numbers 4 and 5 are written indicate a Persian as opposed to a Mamluk provenance, and the scroll must have been produced after the death of al-Busiri around 1294-6, since he is given the title of marhum (deceased, late) at the beginning of the poem.
The texts included in this scroll are as follow:
Two prayers incorporated within an illuminated cartouche and roundel.
Al-Asma’ al-Husna, the Beautiful Names of God or the divine names or epithets of God which are usually ninety-nine in number.
Du’a, a prayer.
Hirz al-Amani, an amulet or talisman for protection.
Du’a ‘azim jalil, a prayer.
Du’a mubarak sharif, a prayer with a diagram of nine squares each containing a number.
There follows seven haykals (structures or temples) each containing a prayer, one for each day of the week.
Hijab sharif ‘azim, amulet or talisman of protection with a diagram composed of thirty-six squares containing words which make up the verse , “there is no fear for the holy men of God”. The diagram is surrounded by numbers on three sides.
A prayer against the enemy (al-‘adu) with drawings of a sword, spear and bow and arrow.
A prayer in relation to Kings (al-muluk) with a diagram containing letters.
A prayer to revoke or invalidate spells( li-ibtal al-sihr) with a diagram containing letters.
A prayer invoking the protection of youth (al-shubban) with a diagram containing letters.
A prayer for healing (shifa’) with a diagram containing numbers.
A prayer for the increase of wealth (al-rizq) and prosperity (al-barakah).
A prayer related to freeing from prisons (al-sujun) with a diagram containing words.
Hirz ‘azim, an amulet or talisman for protection with a diagram containing letters.
A prayer for the deliverance of pregnant women with a diagram containing letters and surrounded by numbers.
Al-Kawakib al-Durriyah fi Madhi Khayr al-Barriyah, Glittering Stars: In Praise of the Best of Creatures, commonly known as al-Burdah, The Mantle. The work is a famous poem in praise in the Prophet Muhammad composed by Sharaf al-Din Abu Abdullah Muhammad bin Sa’id al-Daulasi al-Busiri who imitated the Qasidah of Ka’b bin Zuhair. The author, al-Busiri died in A.H. 694 / A.D. 1294-5 which makes this copy one of earliest of this work, probably written within fifty years of the author’s death. The poem is written in its complete form with 162 verses (bayt).
Another early copy of the poem copied by the scribe Yusuf al-Sara’I at Cairo, dated 16th Sha’ban 707 / 10th February 1308 is in the Chester Beatty Library, see A.J. Arberry, A Handlist of the Arabic Manuscripts, volume V, Dublin, 1962, p.58, no. 4178.
The verses from the Qur’an selected to be written in the outer borders of this scroll were thought to be by many as being effective protection against the dangers encountered in battle. Surah CXII, Al-Ikhlas, Purity, which maintains the unity of God in Islamic belief is associated in popular belief with superstitious practises and which explains why it was repeatedly written around the inner and outer border of this scroll. Another scroll with the same outer bands containing surat al-Ikhlas, and the seven haykals, produced in Mamluk Egypt in the fifteenth century, was sold at Sotheby’s on the 13th October 1980, lot 92.
Bibliography:
F. Maddison & E. Savage-Smith, Tools and Magic, Part 1, London, 1997.
D. James, Islamic Calligraphy, Geneva, exhibition catalogue, 1988, p. 98, no 22.
As I was busy as a volunteer driver for the Ventura Music Festival, I thought this image was apropriate at the time.
This violin is in a glass case in the Festival Office.
Ventura, California.
Skuldafn...Pretty close to how I remember it from Skyrim. Just more "living" vs the hordes of dragur that I've dealt with in Skyrim. I like it.
Little cake for a darling bride. She was supposed to pick it up but I said I would deliver it so I could have more time and I was going by the venue anyway. She was such a joy to work with...such a sweetie. 6, 9" and 12" single layer butterpecan cakes. Royal icing scrolls, lustered pearls and push flowers, hand modeled little people and little butterflies.
Macross Plus (マクロスプラス Makurosu Purasu?) es un OVA de cuatro episodios creado en 1994, con un alto presupuesto en la producción y música de Yōko Kanno, fue distribuido en los Estados Unidos por Manga Entertainment. En 1995, una película recopilatoria se estrenó juntando las cuatro partes y modificando ligeramente el argumento y agregando escenas no vistos en los OVAs.
Esta animación se ambienta treinta años después de la serie original y se desarrolla casi completamente en la colonia planetaria de Edén. Esta serie es más oscura que las otras y se enfoca en una trama dramática. Mucho como la serie original, un triángulo amoroso está presente, así como mucha musical. Ahora, el triángulo amoroso involucra a dos hombres y una mujer que juntos tienen un pasado compartido. El propósito de esta serie es actualizar Macross para pavimentar el camino para la serie de TV Macross 7 que debutó el mismo año.
[editar]Argumento
Es el año 2040 A.D. En el planeta Eden, un nuevo planeta conquistado por humanos y Zentraedi. La historia se centra en tres amigos: Isamu Dyson, Guld Goa Boman y Myun Fan Lon, los cuales tras un trágico accidente hace siete años terminan separándose.
Isamu es enviado al planeta Eden para cumplir como piloto de pruebas, encontrándose con su anterior amigo Guld.
En la base de New Edwards se lleva a cabo el proyecto Super Nova destinado a probar dos cazas transformables (Valkyries) para la U.N.Spacy: el YF-19 desarrollado por Shinsei Industries pilotado por Isamu y el YF-21 desarrollado por General Galaxy que tiene como piloto a Guld.
Al mismo tiempo Myung llega a Eden siendo representante de la primera cantante con virtual llamada Sharon Apple, lo cual vuelve a unir el triángulo amoroso entre ellos tres.
Esta saga marca un precedente, ya que se comienza a utilizar el 3D, la cual demostrara todo su potencial en ediciones posteriores (Macross Zero), además se le da un tono más adulto y realista destacando el uso de armamento real, ya que no es de poder infinito como en las primeras sagas, esta más acorde a la realidad.
[editar]Personajes
Isamu Dyson (イサム・ダイソン Isamu Daison?); seiyū: Takumi Yamazaki. El nombre Isamu significa en Japonés "valiente". Primer Teniente. Dos cosas distinguen este piloto as de la U.N.Spacy: una proporción de derribos astronómica y una valentía casi estúpida. Es enviado al planeta colonial Edén, como castigo, ya que era un piloto muy rebelde. En Edén, es destinado a la base de New Edwards como piloto de pruebas del nuevo caza, el YF-19.
Guld Goa Bowman (ガルド・ゴア・ボーマン Garudo Goa Bōman?); seiyū: Unshō Ishizuka. Él es uno de los "Hijos de la Paz" de un número creciente de descendientes entre Zentraedis micronizados y Humanos de la Tierra. Su expresión endurecida desmiente una mente inteligente y un temple casi incendiario. La empresa civil General Galaxy le asignó diseñar y pilotar el YF-21. Su contrincante del YF-19 Isamu Dyson, era un viejo amigo de la infancia, pero sucesos del pasado los convirtieron en rivales, teniendo que enfrentarse en forma no muy amistosa y tomando la competencia entre los dos como algo muy personal.
Myun Fan Lon (ミュン・ファン・ローン Myun Fan Rōn?); seiyū: Fukami Rika. Como una niña en Edén, heredó de su padre un amor por las flores, los árboles, los animales y cantar. Sin embargo, un cierto incidente en el cual Isamu y Guld están involucrados, la traumatizó e hizo emigrar a la Tierra. Ahora, unos siete años después, ella vuelve a su hogar de la niñez como la productora y la figura central en el Proyecto Sharon Apple. Cuando cursaba en la escuela Myung fue conocida por una canción que ella escribió la cual llamo "Voices".
Sharon Apple (シャロン・アップル Sharon Appuru?); seiyū: Hyodo Mako. En la más pura tradición de cantantes Idol, esta estrella salió de la oscuridad total en 2039 volviéndose "el ídolo de la nueva generación." Al contrario del resto, Sharon es una cantante virtual generada por computadora. A pesar de esto (o quizás debido a esto), su popularidad explosiva ha crecido en la Tierra y los planetas colonizados por los humanos. "Ella" ha venido a Edén para realizarla su primer concierto allí.
Yang Newmann (ヤン・ノイマン Yan Noiman?); seiyū: Tomohiro Nishimura. El niño prodigio de Industrias Shinsei, de solamente 16 años es el ingeniero en jefe del grupo de desarrollo del prototipo YF-19, el cual ha diseñado gran parte de su corta vida. Es un profundo admirador de Sharon Apple. El desaprueba totalmente los métodos de vuelo de Isamu, pero ambos deben lucha contra Sharon Apple en el incidente en la Tierra.
Lucy McMillan (ルーシー・マクミラン Rūshī Makumiran?); seiyū: Megumi Hayashibara. Ella forma parte del grupo de desarrollo del prototipo YF-19, siendo ella operadora de la base New Edwards. Al pertenecer a ese grupo. conoció al nuevo piloto de prueba, Isamu Dyson, de quien se sintió románticamente atraída. Pero por desgracia para ella, esta atracción la involucro en el reencuentro bastante sombrío de Myung, Isamu y Guld.
Millard Johnson (ミラード・ジョンソン Mirādo Jonson?); seiyū: Kenji Utsumi. El coronel dirige el proyecto de pruebas de vuelo de los VF-X desarrollado en la Base de la Fuerza Aérea de New Edwards (una lesión en batalla relegó a este antiguo piloto a deberes de escritorio). El dirige los ensayos de prueba de los prototipos YF-19 y YF-21. El esta enterado del problema entre Isamu y Guld, pero al parecer no le da mucha importancia.
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Análisis
Ninja Scroll (Jubei Ninpucho) contiene una compleja trama que se va devanando a lo largo de toda la película, donde todo diálogo es significativo. Puede presentar algunas dificultades al espectador occidental, que puede estar poco familiarizado con el lenguaje japonés y sus nombres. Otro problema con la comprensión de la película es que hay que tener un pequeño conocimiento de la historia del Japón de esos tiempos ya que es basada en una época real, y en una figura histórica.
La película nos sumerge en un Japón feudal, mostrando el mundo oculto y místico de los ninjas (también conocidos como Shinobi), el mundo honorable y valiente de los samuráis y rōnins, en el que destacan los duelos a muerte y el compañerismo entre rivales con un fin común. No se deja nada al azar, todo se interrelaciona y tiene una razón de ser.
Fue premiada en 1993 en el festival de cine Yubari International Adventure Fanstastic con el premio Citizen's Award.
[editar]Sinopsis
El filme está basado en una época real del Japón feudal, la acción transcurre después de las guerras civiles, cuando el clan de Ieyasu Tokugawa derrota al clan de Hideyoshi Toyotomi en la batalla de Sekigahara. Es aquí donde el autor entonces introduce lo fantástico de la historia: aparece un misterioso ninja de nombre Genmma seguido por un ejército de poderosos guerreros con técnicas increíbles y sobrenaturales llamados demonios Kimón. Esta amenaza es supuestamente liderada por el "Shogún de las Tinieblas", un personaje tácito posteriormente revelado como un otrora sirviente del clan Toyotomi, cuya cruzada secreta es derrocar al shogunato de Tokugawa, fundado y controlado por los antiguos enemigos de su clan.
Por otro lado Jubei es un rōnin implacable, con un pasado poco conocido pero tumultuoso, que posee un manejo increíble de la espada y es experto en las artes marciales, usando una peculiar técnica de unir su sable a un hilo casi invisible que le permite recuperar su arma al perderla, además otras cosas. Jubei viaja por el país sin rumbo fijo ofreciendo sus servicios a cambio de unas monedas o, si la causa es justa, a cambio de nada y sin proponérselo se verá envuelto en la conspiración del shōgun de las Tinieblas.
Todo comienza cuando la aldea de Shimoda es contagiada por una misteriosa epidemia matando a todos sus habitantes. El pequeño clan Mochizuki sospecha que realmente hay algo más detrás y decide enviar a un grupo de ninjas de Kōga para determinar la causa de la enfermedad. Estos ninjas descubren que las cosas no son en absoluto lo que parecen y son brutalmente asesinados por dos demonios de Kimon; Yurimari que utiliza hilos para electrocutarlos, y un gigantesco hombre con increíbles poderes: Tessai otro de los demonios Kimon. Del grupo de espías sólo se salva Kagero, una temible ninja Kohga la cual ha podido desarrollar una técnica en la que todo hombre que hiciera el amor con ella moriría envenenado.
El demonio Tessai desconociendo el poder mortífero de Kagero la atrapa y comienza a violarla, pero en eso llega Jubei que se encuentra de paso en la aldea y trata de defender a la chica. Por culpa de su intromisión en los planes de Tessai, Jubei más adelante tiene que enfrentarse a este temible oponente originándose una de las batallas más épicas jamás vistas en el animé, con un derramamiento de sangre, tan característico en todas las obras de Yoshiaki Kawajiri. Después de matar a este rival, el protagonista se ve atrapado y sin salida por la venganza de los restantes demonios de Kimón.
Kagero y Jubei prefieren emprender distintos caminos y se separan, más adelante y por coincidencia se reencuentran. Jubei se tropieza entonces con Dakuan, un anciano de aspecto apacible y sabio, aunque realmente es un espía del shogunato (el gobierno dominante en el país) que está intentando averiguar la trama oculta del shōgun de las Tinieblas. Dakuan es un monje anciano típico, pequeño, con sombrero de paja y bastón de acero con sonoros aros en su punta que sorprende con multitud de extrañas técnicas ninja, como la de camuflarse con el entorno, hacer elástico su cuerpo o incluso alargar su bastón (al estilo de Dragon Ball).
Dakuan descubre las grandes cualidades como guerrero de Jubei y pretende que se le una para acabar con el shōgun, pero el ninja rehúsa su oferta. En un momento de descuido es alcanzado por una estrella ninja que es lanzada por el viejo. En un principio Jubei no se preocupa porque solo le ha herido en el hombro pero Dakuwan le revela que cada punta de la estrella contenía un fortísimo veneno. Sólo él conocía el antídoto y si Jubei no le ayudaba en su causa moriría al cabo de pocos días. Más adelante en la película nos enteramos que en la clave del antídoto se encuentra involucrada la chica Kagero.
Pronto el legendario samurái, la mujer kogha y el viejo espía del gobierno, emprenderán un largo camino en una cruzada contra los diferentes demonios de Kimón hasta llegar al inmortal y líder Genmma y quedar revelado sus perversos planes además del verdadero sentido de la película.
[editar]Protagonistas
[editar]Demonios
Hammuro Genmma, como ya mencionamos, es el ninja que fue decapitado por Jubei en una de sus temibles batallas para proteger la ciudad. Años después y mediante una tecnica especial que le permite regenerar y restaurar cualquier celula de su cuerpo, regresa con la intención de robar el oro de una mina oculta y al tiempo vengarse de Jubei, ademas de controlar el mundo. Se le conocerá a partir de ahora como el "Shogun de las Tinieblas", un ser inmortal protegido por poderosos demonios.
Tessai. Este gigantesco ser tiene la facultad de convertirse en piedra por lo que es casi indestructible. A eso se le añade una enorme espada de doble hoja, semejante a cuchillas giratorias que cortan la carne humana y los árboles como mantequilla.
Benisato es la mujer que domina las serpientes. A parte de ser una de las amantes del Shogun, tiene la facultad de hipnotizar a sus enemigos y de que le salgan serpientes de todos los rincones de su cuerpo. Siempre sale desnuda mostrando sus tatuajes de serpientes los cuales cobran vida a su voluntad.
Shijima tiene la facultad de caminar entre las sombras. Se esconde entre ellas y al momento te dispara su garra sujeta con una cadena la cual maneja a su antojo. También tiene la técnica de controlar los movimientos de sus víctimas haciéndolos mover como marionetas.
Yurimari es el más poderoso después del Shogun y segundo al mando. Su técnica consiste en matar a sus víctimas con hilos invisibles los cuales sueltan descargas eléctricas mientras los estrangula.
Mushizo es un enano jorobado con una gran colmena en su espalda, lo que hace poder controlar a las abejas a su antojo. Es muy hábil y rápido, y ataca con un gran tridente.
Zakuro es una mujer que domina a la perfección todo lo relacionado con la pólvora. Su diabólica técnica es el de rellenar de explosivos cuerpos muertos para luego hacerlos explotar. Está enamorada de Yurimari pero el rechazo de este será lo que acabe con él.
Utsutsu Mujuro, el más normal de todos, pero con el defecto físico de ser ciego, aunque a la larga es una virtud pues le permite oír hasta el más mínimo sonido.
[editar]Secuelas
En el año 2003 fue creada una serie animada llamada "Jubei Ninpucho: Ryuhogyoku-hen" que duró 13 episodios. En Europa fue denominada Ninja Scroll: The Series.
[editar]Curiosidades
No existe un manga relacionado al anime, como pasa en muchos casos, por tanto es una idea llevada al celuloide directamente.
El personaje principal, Jubei Kibagami, está basado en un samurái real que vivió y luchó por esa época, el cual se ve reflejado en la obra literaria Crónicas del Viento, un tomo realizado por el aclamado autor Jirō Taniguchi, y es junto con Musashi Miyamoto uno de los samuráis históricos más populares de Japón.
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)
The carved backboard on a 19th century sideboard .
Australian cedar circa 1865 attributed to George Dowden .
Gooloowan sideboard .
Ipswich Art Gallery
Ipswich . Qld.
I never study a church before I go, maybe that's a fault on my part because I might miss something important and so have to go back. But for me, it's the wonder as you walk through the porch or door into the church, not knowing what to expect.
St Mary's looks like a typical Suffolk church from the outside, nice proportioned tower, good quality flint knapping. And yet once you enter, your breath is taken away by the glorious restored ceiling.
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It is not easy to find Huntingfield; even the signposts do not bear its name until you are within the parish boundary. Yet this shallow valley, divided by the infant river Blyth, with church and parsonage on one bank and manor house on the other, has been owned by some notable families in England's history.
The church is a Grade 1 Listed Building, largely due to its amazing Victorian painted ceiling.
The existing church certainly dates from the 11th century but there are signs that there had been a chapel here long before.
Some fragments of carved stones are set into the wall of the tower. At the beginning of this century they were turned up by a ploughman in a field called 'Chapel Field', a little to the south of the present church. They are fragments from a Saxon stone coffin and standing cross of the 10th century, long since disappeared.
The oldest part of the church is the wall between the nave and the north aisle which was the solid outer wall of the original twelfth century church. That church would have been small and dark, the whole building probably standing within the area of the present nave. The light would have come from small high windows of which one still remains above the two round-headed arches.
This wall has been altered at least twice. It was first broken through when the north aisle was built, and again in the nineteenth century when the arches were given their present 'Norman' curves. That first church was built by the family who took their name from the village and lived in the manor for 250 years, the Lords de Huntingfield.
The chancel was added in the thirteenth century.
By the end of the fourteenth, the south side of the nave had been altered and both aisles had been built in the fashionable Gothic style with its pointed arches. The five small high, or clerestory, windows on the south side of the nave would have provided light into the nave, the advent of affordable glass having made such things possible.
The east window of the south aisle has all that remains of the medieval glass that would once have filled many of the windows. There is a record of what was still to be seen here in the sixteenth century which lists the memorial windows with the coats of arms borne by the families who once owned the Manor.
The windows of the south aisle are particularly pretty and date from the fifteenth century. Their Perpendicular style is indicated by their familiar flat-topped shape. The porch is also from the fifteenth century.
The font dates from the fourteenth century.
The ceiling painting is very special and is explained on a separate page. The work was carried out in the 19th century while William Holland was rector. At the same time the organ and vestry were added with the Vanneck family vault beneath.
The ceiling is a masterpiece of Victorian church decoration, painted from end to end in brilliant colours, with carved and coloured angels, with banners, crowns and shields, all in the medieval style and of a most intricate and detailed finish.
The scheme of decoration is important as it reflects the ecclestiastical devotion of the late Victorian period clergy and their patrons, combined with the heightened liturgical practices of the Oxford Movement.
It was painted by Mildred Holland, the wife of William Holland who was rector for 44 years from 1848 until his death in 1892. The church was closed for eight months from September 1859 to April 1860 while she painted the chancel roof. Tradesmen provided scaffolding and prepared the ceiling for painting but there is no record to show that she had any help with the work, and legend has it that she did much of it lying on her back. We may imagine Victorian ladies wearing tight laced corsets and many petticoats, and wonder how she managed the ladders, scaffolding and hard labour of painting. She had an adviser on her schemes, a Mr. E. L. Blackburne F.S.A., an authority on medieval decoration.
The twelve large panels of the chancel ceiling each show an angel holding either a scroll with the words of the canticle 'Blessed be the Lord God of Israel', or the emblems of the Passion: the cross, the hammer and nails, the scourge, the lance, the crown of thorns and the reed.
Two pelicans in their piety (pecking their breasts to feed their young) are in the last small panels.
Between the beam ends of the chancel roof there are Bible verses in Gothic lettering,
then two tiers of panels; the lower have pictures of the Lamb of God alternating with`the Keys of Heaven. Above, are crowned monograms.
Above the Chancel Arch, the Lamb of God is depicted with the words 'Glory, Honour, Praise and Power unto the Lamb for Ever and Ever', lines taken from the Book of Revelation.
Three years later Mildred Holland began to paint again in the nave. In 1866 her husband William makes a note 'scaffolding finally taken down, September Ist'. The whole cost of repairing the nave roof, preparing it for painting and for materials amounted to £247.10s.7d of which £16.7s.6d was for 225 books of gold leaf and £72 for colours. William Holland's notes show that between 1859 and 1882 a total of £2,034. 10s.0d was spent on the church restoration, of which, apparently, he gave all but £400.
Recent research has found the complete record of William Holland's work in restoring and furnishing the church. These are available for interested students.
The figures on the nave roof are of the twelve apostles and two female saints. Each is painted in the lower tier with their traditional symbols and again in the upper tier clothed in heavenly raiment holding scrolls bearing their names.
Note that Saints Margaret and Andrew are both included as there is a tradition that these two saints were specially venerated here. There are niches for statues in the south aisle which may have held statues of them. The cult of St Margaret of Antioch grew in the 10th century and her veneration was brought back to England by crusaders. Her inclusion here may hint at an early date for the church's foundation.
Mildred Holland died in 1878; William served on until 1892, a total of forty years. He gave the font cover in memory of his wife and also the brass lectern with its graceful angels and winged dragons. Their graves are in the churchyard to the west of the entrance gates. Side by side they lie, beneath a table tomb alongside a standing cross.
It is natural to speculate about the roof. It is of a single hammer-beam construction, arch-braced principals alternating with hammer-beams ending in carved angels. The angels in the nave carry a crown or a banner, those in the chancel have heraldic shields bearing arms. The question all ask is: are these angels genuinely medieval work which escaped the axes of the post-Reformation Puritans, (and remember that William Dowsing, the arch-destroyer, came from nearby Laxfield) or are they all the handiwork of Victorian craftsmen?
Traditional East Anglian hammer-beam roofs generally terminate in a carving of some sort, and the de la Poles made angel roofs in the churches of their manors, even taking Suffolk carpenters to Ewelme in Oxfordshire to make one there. But our angels are too perfect to be so old. Entries in a tradesman's account of 1865 would seem to settle the matter; or do they?
The fourteenth and fifteenth centuries were times of great development and two families, both wealthy and influential, used their means to beautify and rebuild the churches on their manors including St Mary's. Keeping up with the neighbours is not a new fashion. Both left their marks on the font which, standing on restored steps and with a splendid cover, shows two heraldic shields.
The shield facing south depicts the arms of de Ufford while that on the north side is of de la Pole.
The de Ufford shield is that of Sir William de Ufford, Earl of Suffolk during the reign of Edward III. He held Framlingham Castle for the King and owned several manors in Suffolk. Among these were Parham, where he built the church, and Huntingfield.
The other shield is that of Michael de la Pole, Lord Chancellor and Earl of Suffolk, who married Catherine, daughter and heiress of Sir John Wingfield of Wingfield Castle. He succeeded to the manor of Huntingfield through his wife, and died in 1389. The shield shows both of their arms.
Michael de la Pole's has three polecat faces while Catherine Wingfield's has three open wings. Both are puns on their names. (For another heraldic pun look for the arms of Huntingfield being held by one of the angels in the roof: three hunting horns on a 'field'.)
In Ufford church you can see a medieval font cover which was a model for ours when it was made in the nineteenth century. In Wingfield church there is a font so like ours that it was probably made by the same craftsman.
www.stmaryshuntingfield.org.uk/history.htm
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There is nowhere else in Suffolk quite like St Mary. Huntingfield is one of the county's most obscure villages; there are hardly any signposts to it. It is the nearest village to the great pile of Heveningham Hall, and perhaps these two facts are not unconnected. But it is worth getting out the old Ordnance Survey map, because here at St Mary was a remarkable 19th century restoration.
In the second half of that century, many parish churches were drawn by the excitement of the age into major reconstructions and revisions. They often looked to London stars like Scott and Butterfield, or local plodders like Phipson, or else mavericks like Salvin. The demands of the new liturgical arrangements, coupled with a renewed sense of the need to glorify God, led them into what was often a rebuilding rather than a restoration. Internal decorations were, perhaps, the bespoke work of the architect; witness Phipson's meticulous attention to detail at St Mary le Tower, Ipswich.
Other restorers relied on the big picture, a vision that encompassed walls and floors, but left the fittings to others; as, for example, Salvin's Flixton St Mary. What was the driving force behind Victorian revisionism? Essentially, what happened in England between about 1830 and 1870 was a cultural revolution, a ferment of new ideas and the reaction to them. The changes proposed by the Oxford Movement were, at first, objectionable, and then merely controversial; but gradually, they seeped into the mainstream, until by about 1890 they had become as natural as the air we breathe.
By the centenary of the movement in the 1930s, one Anglican clergyman could observe "It is as if the Reformation had never happened". Well, not quite. And now, the pendulum has swung the other way, leaving the ritualists high and dry. But the evidence of the energy of those days survives, especially at Huntingfield, where it was the local vicar who drove the Oxford Movement through the heart of the parish, like a motorway through a Site of Special Scientific Interest.
What the vicar of Huntingfield had, and many other ministers didn't, was a visionary wife. Between 1859 and 1866, Mrs Mildred Holland planned, designed and executed the most elaborate redecoration of a church this county had seen since the Reformation. For seven years, she lay on her back at the top of scaffolding, first in the chancel (angels) and then in the nave (saints on the ceilure, fine angels on the beam ends), gilding, lettering and painting this most glorious of small church roofs. Her husband, the Reverend William Holland, kept a journal throughout this period, and there is no suggestion that she had any assistance, beyond that of workmen to raise the scaffolding, and a Mr E.L. Blackburne FSA, who was, apparently, an 'authority on medieval decoration'.
J.P. St Aubyn was responsible for the structural restoration of this largely 15th century building, and it is very restrained and merciful. He did, however, refit the little windows in the south clerestory. But you come here to see the painted roofs, which are perfectly splendid. Beware if you come with children, or it will cost you a fortune in pound coins to activate the illuminations.
The font cover is not part of Mildred Holland's work; rather, it is her memorial, as is the art nouveau lectern. It is as if her art was a catalyst, inspiring others to acts of beauty. She died in the 1870s, predeceasing her husband by twenty years. They are both now buried by the churchyard gate. How fitting, that they should lie in the graveyard of the church they loved so much, and to which they gave so much of their time, energy and money.
Curiously, Ann Owen, the wife of the vicar of nearby Heveningham, produced the stained glass there; a novel is waiting to be written about these two women.
For such an obscure village, St Mary has had its share of influential patrons. Four major families in particular have left their mark here. Before the Reformation, the de la Poles and Uffords, whose shields you'll find on the font, and in later years the Cokes and the Pastons, both more usually associated with Norfolk.
But, as I have said, you don't come to Huntingfield because of important dead people. Look up, look all around, and see the true memorial to Mrs Holland. It does not have the gravitas of Lound, or the piety of Kettlebaston. And I really love it for that. I think this is a place that should be better known, and not just because of the way it contrasts with the less successful 19th century restorations at neighbouring Cookley and Walpole.
What we have here is as fine a display of 19th century folk art as you'll find anywhere in the county.
Simon Knott, 2001 (updated 2007)
The litter (or Palaquin) is a class of wheelless vehicles, a type of human-powered transport, for the transport of persons. Examples of litter vehicles include lectica (ancient Rome), kiệu [轎] (Vietnam), sedan chair (Britain), litera (Spain), palanquin (France, India, Ghana), jiao (China), liteira (Portugal), wo (วอ, Chinese style known as kiao เกี้ยว) (Thailand), gama (Korea), koshi, ren and kago [駕籠] (Japan) and tahtırevan (Turkey).
Smaller litters may take the form of open chairs or beds carried by two or more carriers, some being enclosed for protection from the elements. Larger litters, for example those of the Chinese emperors, may resemble small rooms upon a platform borne upon the shoulders of a dozen or more people. To most efficiently carry a litter, porters will attempt to transfer the load to their shoulders, either by placing the carrying poles upon their shoulders, or the use of a yoke to transfer the load from the carrying poles to the shoulder.
DEFINITIONS
A simple litter, often called a king carrier, consists of a sling attached along its length to poles or stretched inside a frame. The poles or frame are carried by porters in front and behind. Such simple litters are common on battlefields and emergency situations, where terrain prohibits wheeled vehicles from carrying away the dead and wounded.
Litters can also be created by the expedient of the lashing of poles to a chair. Such litters, consisting of a simple cane chair with maybe an umbrella to ward off the elements and two stout bamboo poles, may still be found in Chinese mountain resorts such as the Huangshan Mountains to carry tourists along scenic paths and to viewing positions inaccessible by other means of transport.
A more luxurious version consists of a bed or couch, sometimes enclosed by curtains, for the passenger or passengers to lie on. These are carried by at least two porters in equal numbers in front and behind, using wooden rails that pass through brackets on the sides of the couch. The largest and heaviest types would be carried by draught animals.
Another form, commonly called a sedan chair, consists of a chair or windowed cabin suitable for a single occupant, also carried by at least two porters in front and behind, using wooden rails that pass through brackets on the sides of the chair. These porters were known in London as "chairmen". These have been very rare since the 19th century, but such enclosed portable litters have been used as an elite form of transport for centuries, especially in cultures where women are kept secluded.
Sedan chairs, in use until the 19th century, were accompanied at night by link-boys who carried torches. Where possible, the link boys escorted the fares to the chairmen, the passengers then being delivered to the door of their lodgings. Several houses in Bath, Somerset, England still have the link extinguishers on the exteriors, shaped like outsized candle snuffers. In the 1970s, entrepreneur and Bathwick resident, John Cuningham, revived the sedan chair service business for a brief amount of time.
ANTIQUITY
In pharaonic Egypt and many oriental realms such as China, the ruler and divinities (in the form of an idol) were often transported in a litter in public, frequently in procession, as during state ceremonial or religious festivals.
The ancient Hebrews fashioned the Ark of the Covenant to resemble and function as a litter for the ten commandments and presence of God.
In Ancient Rome, a litter called lectica or "sella" often carried members of the imperial family, as well as other dignitaries and other members of the rich elite, when not mounted on horseback.
The habit must have proven quite persistent, for the Third Council of Braga in 675 AD saw the need to order that bishops, when carrying the relics of martyrs in procession, must walk to the church, and not be carried in a chair, or litter, by deacons clothed in white.
In the Catholic Church, Popes were carried the same way in Sedia gestatoria, which was replaced later by the Popemobile.
IN ASIA
CHINA
In Han China the elite travelled in light bamboo seats supported on a carrier's back like a backpack. In the Northern Wei Dynasty and the Northern and Southern Song Dynasties, wooden carriages on poles appear in painted landscape scrolls.
A commoner used a wooden or bamboo civil litter (Chinese: 民轎; pinyin: min2 jiao4), while the mandarin class used an official litter (Chinese: 官轎; pinyin: guan1 jiao4) enclosed in silk curtains.
The chair with perhaps the greatest importance was the bridal chair. A traditional bride is carried to her wedding ceremony by a "shoulder carriage" (Chinese: 肩輿; pinyin: jiān yú), usually hired. These were lacquered in an auspicious shade of red, richly ornamented and gilded, and were equipped with red silk curtains to screen the bride from onlookers.
Sedan chairs were once the only public conveyance in Hong Kong, filling the role of cabs. Chair stands were found at all hotels, wharves, and major crossroads. Public chairs were licensed, and charged according to tariffs which would be displayed inside. Private chairs were an important marker of a person's status. Civil officers' status was denoted by the number of bearers attached to his chair. Before Hong Kong's Peak Tram went into service in 1888, wealthy residents of The Peak were carried on sedan chairs by coolies up the steep paths to their residence including Sir Richard MacDonnell's (former Governor of Hong Kong) summer home, where they could take advantage of the cooler climate. Since 1975 an annual sedan chair race has been held to benefit the Matilda International Hospital and commemorate the practice of earlier days.
KOREA
In Korea, royalty and aristocrats were carried in wooden litters called gama. Gamas were primarily used by royalty and government officials. There were six types of gama, each assigned to different government official rankings. In traditional weddings, the bride and groom are carried to the ceremony in separate gamas. Because of the difficulties posed by the mountainous terrain of the Korean peninsula and the lack of paved roads, gamas were preferred over wheeled vehicles.
JAPAN
As the population of Japan increased, less and less land was available as grazing for the upkeep of horses. With the availability of horses restricted to martial uses, human powered transport became more important and prevalent.
Kago (Kanji: 駕籠, Hiragana: かご) were often used in Japan to transport the non-samurai citizen. Norimono were used by the warrior class and nobility, most famously during the Tokugawa period when regional samurai were required to spend a part of the year in Edo (Tokyo) with their families, resulting in yearly migrations of the rich and powerful (Sankin-kōtai) to and from the capital along the central backbone road of Japan.
Somewhat similar in appearance to kago are the portable shrines that are used to carry the "god-body" (goshintai), the central totemic core normally found in the most sacred area of Shinto Shrines, on a tour to and from a shrine during some religious festivals.
THAILAND
In Thailand, the royalty were also carried in wooden litters called wo ("พระวอ" Phra Wo, literally, "Royal Sedan") for large ceremonies. Wos were elaborately decorated litters that were delicately carved and colored by gold leaves. Stained glass is also used to decorate the litters. Presently, Royal Wos and carriages are only used for royal ceremonies in Thailand. They are exhibited in the Bangkok National Museum.
INDONESIA
In traditional Javanese society, the generic palanquin or joli was a wicker chair with a canopy, attached to two poles, and borne on men's shoulders, and was available for hire to any paying customer. As a status marker, gilded throne-like palanquins, or jempana, were originally reserved solely for royalty, and later co-opted by the Dutch, as a status marker: the more elaborate the palanquin, the higher the status of the owner. The joli was transported either by hired help, by nobles' peasants, or by slaves.
Historically, the palanquin of a Javanese king (raja), prince (pangeran), lord (raden mas) or other noble (bangsawan) was known as a jempana; a more throne-like version was called a pangkem. It was always part of a large military procession, with a yellow (the Javanese colour for royalty) square canopy. The ceremonial parasol (payung) was held above the palanquin, which was carried by a bearer behind and flanked by the most loyal bodyguards, usually about 12 men, with pikes, sabres, lances, muskets, keris and a variety of disguised blades. In contrast, the canopy of the Sumatran palanquin was oval-shaped and draped in white cloth; this was reflective of greater cultural permeation by Islam. Occasionally, a weapon or heirloom, such as an important keris or tombak, was given its own palanquin. In Hindu culture in Bali today, the tradition of using palanquins for auspicious statues, weapons or heirlooms continues, for funerals especially; in more elaborate rituals, a palanquin is used to bear the body, and is subsequently cremated along with the departed.
INDIA
A palanquin, also known as palkhi, is a covered sedan chair (or litter) carried on four poles. It derives from the Sanskrit word for a bed or couch, pa:lanka.
Palanquins were one of the luxurious methods used by the rich and noblemen for travelling. This was primarily used in the past to carry a deity or idol of a God, and many temples have sculptures of God being carried in a palki. Later on, it was primarily used by European noblemen and ladies from the upper classes of society prior to the advent of the railways in India. Modern use of the palanquin is limited to Indian weddings and Pilgrimage.
Palanquins are mentioned in literature as early as the Ramayana (c. 250BC).
Palanquins began to fall out of use after rickshaws (on wheels, more practical) were introduced in the 1930s.
The doli (also transliterated from Hindi as dhooly or dhoolie) is a cot or frame, suspended by the four corners from a bamboo pole. Two or four men would carry it. In the time of the British in India, dhooly-bearers were used to carry the wounded from the battlefield and transport them.
Today in numerous areas of India including at the Hindu pilgrimage site of Amarnath Temple in Kashmir, palanquins can be hired to carry the customer up steep hills.
IN AFRICA
GHANA
In Southern Ghana the Akan and the Ga-Dangme carry their chiefs and kings in palanquins when they appear in their state durbars. When used in such occasions these palanquins may be seen as a substitutes of a state coach in Europe or a horse used in Northern Ghana. The chiefs of the Ga (mantsemei) in the Greater Accra Region (Ghana) use also figurative palanquins which are built after a chief's family symbol or totem. But these day the figurative palanquins are very seldom used. They are related with the figurative coffins which have become very popular among the Ga in the last 50 years. Since these figurative coffins were shown 1989 in the exhibition "Les magicians de la terre" in the Centre Pompidou in Paris they were shown in many art museums around the world.
ANGOLA
From at least the 15th century until the 19th century, litters of varying types known as tipoye were used in the Kingdom of Kongo as a mode of transportation for the elites. Seat-style litters with a single pole along the back of the chair carried by two men (usually slaves) were topped with an umbrella. Lounge-style litters in the shape of a bed were used to move one to two people with porter at each corner. Due to the tropical climate, horse were not native to the area nor could they survive very ong once introduced by the Portuguese. Human portage was the only mode of transportation in the region and became highly adept with missionary accounts claiming the litter transporters could move at speeds 'as fast as post horses at the gallop'.
IN THE WEST
EUROPE
Portuguese and Spanish navigators and colonistics encountered litters of various sorts in India, Mexico, and Peru. They were imported into Spain and spread into France and then Britain. All the names for these devices are ultimately derived from the root sed- in Latin sedere, "sit," which gave rise to seda ("seat") and its diminutive sedula ("little seat"), the latter of which was contracted to sella, the traditional Latin name for a carried chair. The carried chair met instant success in Europe, whose city streets were often a literal mess of mud and refuse: Where cities and towns did not enjoy the presence of sewage systems left over from Imperial Roman days, it was common to empty chamber pots and discard kitchen refuse from windows down into the adjacent streets. Affluent and well-to-do citizens often found it hazardous and impractical to negotiate those avenues, and sedan chairs allowed them to remain prim and spotless while the carrying valets had to contend with the mud and the filth.
In Europe, Henry VIII of England was carried around in a sedan chair — it took four strong chairmen to carry him towards the end of his life — but the expression "sedan chair" was not used in print until 1615. It does not seem to take its name from the city of Sedan. Trevor Fawcett notes that British travellers Fynes Moryson (in 1594) and John Evelyn (in 1644-5) remarked on the seggioli of Naples and Genoa, which were chairs for public hire slung from poles and carried on the shoulders of two porters.
From the mid-17th century, visitors taking the waters at Bath would be conveyed in a chair enclosed in baize curtains, especially if they had taken a heated bath and were going straight to bed to sweat. The curtains kept off a possibly fatal draft. These were not the proper sedan chairs "to carry the better sort of people in visits, or if sick or infirmed" (Celia Fiennes). In the 17th and 18th centuries, the chairs stood in the main hall of a well-appointed city residence, where a lady could enter and be carried to her destination without setting foot in a filthy street. The neoclassical sedan chair made for Queen Charlotte remains at Buckingham Palace.
By the mid-17th century, sedans for hire were a common mode of transportation. In London, "chairs" were available for hire in 1634, each assigned a number and the chairmen licensed because the operation was a monopoly of a courtier of Charles I. Sedan chairs could pass in streets too narrow for a carriage and were meant to alleviate the crush of coaches in London streets, an early instance of traffic congestion. A similar system was later used in Scotland. In 1738, a fare system was established for Scottish sedans, and the regulations covering chairmen in Bath are reminiscent of the modern Taxi Commission's rules. A trip within a city cost six pence and a day's rental was four shillings. A sedan was even used as an ambulance in Scotland's Royal Infirmary.
Chairmen moved at a good clip. In Bath they had the right-of-way and pedestrians hearing "By your leave" behind them knew to flatten themselves against walls or railings as the chairmen hustled through. There were often disastrous accidents, upset chairs, and broken glass-paned windows.
Sedan chairs were also used by the wealthy in the cities of colonial America. Benjamin Franklin used a sedan chair late in the 18th century.
COLONIAL PRACTICE
In various colonies, litters of various types were maintained under native traditions, but often adopted by the white colonials as a new ruling and/or socio-economic elite, either for practical reasons (often comfortable modern transport was unavailable, e.g. for lack of decent roads) and/or as a status symbol. During the 17-18th centuries, palanquins (see above) were very popular among European traders in Bengal, so much so that in 1758 an order was issued prohibiting their purchase by certain lower-ranking employees.
THE END OF TRADITION
In Great Britain, in the early 19th century, the public sedan chair began to fall out of use, perhaps because streets were better paved or perhaps because of the rise of the more comfortable, companionable and affordable hackney carriage. In Glasgow, the decline of the sedan chair is illustrated by licensing records which show twenty-seven sedan chairs in 1800, eighteen in 1817, and ten in 1828. During that same period the number of registered hackney carriages in Glasgow rose to one hundred and fifty.
THE TRAVELLING "SILLA" OF LATIN AMERICA
A similar but simpler palanquin was used by the elite in parts of 18th- and 19th-century Latin America. Often simply called a silla (Spanish for seat or chair), it consisted of a simple wooden chair with an attached tumpline. The occupant sat in the chair, which was then affixed to the back of a single porter, with the tumpline supported by his head. The occupant thus faced backwards during travel. This style of palanquin was probably due to the steep terrain and rough or narrow roads unsuitable to European-style sedan chairs. Travellers by silla usually employed a number of porters, who would alternate carrying the occupant.
A chair borne on the back of a porter, almost identical to the silla, is used in the mountains of China for ferrying older tourists and visitors up and down the mountain paths. One of these mountains where the silla is still used is the Huangshan Mountains of Anhui province in Eastern China.
WIKIPEDIA
My first blackwork. By Infinity Stitches. I originally planned a dark teal opalescent fabric but could not find the holes so switched to Jamaica Sparkle from Needleworkers Delight. I hope to frame it in the vintage hoop sooner rather than later.
This is a piece I did for Scroll Magazine, issue 2! It's a pretty great magazine, very nice paper and great contributors (oh, but the paper.)
I wanted to showcase the multitude of armor and weapon options you have in the game, as well as the whole crazy angel thing the main character has going on. I like drawing wings.
Check out Scroll 2 here: scroll.vg/blog/scroll-02-quests.html , and thanks to Ray for the cool opportunity!
I'm pretty sure I got this coin when I bought the boxed copy of the Elder Scrolls: Oblivion a few years ago.
At Sudeley Castle & Gardens on the Early May Bank Holiday.
It is near Winchcombe in Gloucestershire.
The castle was home to Queen Katherine Parr, 6th and final wife of King Henry VIII. She lived here after his death with her final husband Thomas Seymour (uncle of King Edward VI).
Nature Walk
Tithe Barn on the right and the castle seen to the far left.
The Tithe Barn is Grade I listed.
Sudeley Castle, Tithe Barn, Sudeley
SUDELEY -
SP 0227-0327
14/149 Sudeley Castle, Tithe Barn
(formerly listed as part of
4.7.60 Sudeley Castle and remains of the
Grange)
GV I
Former tithe barn, now ruin. Second half C15 for Ralph Boteler.
Squared, coursed stone. Thirteen bay barn. Front towards Castle:
angled buttress each end, buttresses between bays; plinth.
Original pattern tall slit air vent in each bay, with small, square
hole at head each side. First bay plain, second standard, third
small doorway, chamfered arris, 4-centred head. Three bays of wall
missing, except for end stubs up to air vent; wide double doorway
with 4-centred arch and moulded arris, originally to threshing
floor. Three normal bays; short slit with 2-light mullioned
window over (mullion missing); to left chute angled downwards
through wall by buttress. Short, wide doorway, 4-centred arch with
moulded arris; similar window over. Last bay short slit, 2-light
mullioned window over, single-light above. Parapet gables each end
with cross gablet and carved finial to left. Top of side wall
missing. Interior, low doors in back wall opposite main entrances:
wall posts originally below trusses, rising from corbels. End 3
bays on left lofted at 2 levels at some stage, may be alteration:
holes for ends of cross beams and corbels below survive: end bays
were separated from rest of barn by timber-framed wall.
(P.A. Faulkner, in Archaeological Journal, 1965; D. Verey,
Gloucestershire, The Cotswolds, 1970)
Listing NGR: SP0306727809
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
The castle is Grade I listed.
SUDELEY -
SP 0227-0327
14/143 Sudeley Castle
(formerly listed as part of Sudeley
4.7.60 Castle and remains of the Grange)
GV I
Former castle, now country house. Mid C15 for Ralph Boteler; late
C15 for Richard III; much altered c1572 for Lord Chandos, mid C19
for J. Dent by Sir G.G. Scott, later C19 for Mrs. E. Dent by J.D.
Wyatt, early C20 by M. Anderson, 1930's by W.H. Godfrey for Major
Dent-Brocklehurst. Coursed, squared stone and ashlar, stone slate
roofs, lead flats, probably Welsh slate roofs. Large, rectangular
outer courtyard, west wing extended as side of inner courtyard,
opposite side ruins of Great Presence Chamber: 2 and 3 storeys,
higher towers. North, exterior face: late C19 tower on left,
plinth, 3-light mullion and transom window to ground and first
floors, string courses as hoodmoulds, 2-light similar above,
moulded head on consoles, string course, crenellations, higher at
corners. To right, C16 work: 4-light mullion and transom, with
king mullion, 6-light similar above with 2 king mullions. Wall
sets forward slightly to right, double boarded doors to gate in 4-
centred arch, 2-light mullion each side; above 2 oriel windows,
each with 2-light mullion and transom windows, hipped roofs. Set
back on right, 2 and 4-light mullioned or mullion and transom
windows, above three 4-light mullion and transom, one 6-light.
Moulded string course and crenellations run through from corner
tower, hipped roof, 6 chimneys, moulded caps. Inner walls of outer
courtyard: north side, corner turrets at ends; plinth, boarded
door, moulded arris to opening, 4-centred head with plain
spandrels; 2-light mullion on left return of turret; to left wide
archway, 4-centred head, chamfer to arris, single-light window each
side. Beyond 4-light mullion window each side of half-glazed door
in opening as first door: corner turret with boarded door on right
return as first, 2-light mullioned window main face. Above, string
course as hoodmould; 2-light mullion window each face of corner
turrets; between three 4-light mullion and transom windows, king
mullion, moulded string course, crenellated parapet. Right, east
wing; windows all 4-light mullion and transom, reserved chamfer,
king mullion, string course as hoodmould: doors boarded, moulded
surround, 4-centred arch, plain spandrel. Ground floor, plinth,
single window each end, 4 doors with 2 windows between each; first
floor 8 windows; crenellated parapet, 5 ashlar chimneys with
moulded caps. Great Presence Chamber at end of east range: east
and north walls only remain. From outside, octagonal stair turret
on right, lancets, string course and moulded head. To left,
plinth, 2 former mullion and transom windows, tracery gone,
relieving arch over, scrolls to flat hoodmould on left. Chimney
breast, 4-light mullion and transom window, cusped heads to lights,
flat head, hoodmould with scrolled ends. Above: 4-light mullioned
window, king mullion, 2 transoms, crenellations to sill; buttress
and high up each side 4-light window, as main but no transoms,
plain sill. Below left window open back to fireplace and flue.
Oriel window to left, 3-light mullioned window, 2 transoms. Inside
flying 4-centred arch to right ground-floor window, panelled vault
behind in wall thickness. Above, floor gone: fireplace with flat
stone lintel, moulded arris, blind tracery to reveals of tall
windows, moulded sill to shorter, start of fan vaulting over
oriel. On left return 9-light mullioned window high up, 4 king
mullions, moulded sill, end lights blind, 3-centred arch.
Interior north and east range: ground floor on east; Library,
bolection-moulded panelling, wide c1572 stone fireplace reset from
elsewhere in building, fluted columns each side, carved heads on
cornice, egg-and-dart frieze; carved panels over doors, stained
glass to upper parts of windows. Adjoining panelled room, Ionic
pilasters above dado, moulded cornice, stone fireplace surround.
Main stairs; open well, moulded string and rail, spiral balusters,
square newels with knob finials, dado panelling, 1580 stained glass
in windows. First floor, Katherine Parr room to south, largely
1847ff decoration, stone door surrounds, 4-centred arches, ornate
timber surrounds with crocketed frieze, linen-fold panelling,
ornate fireplace surround and overmantel with nodding ogee head:
carved wooden cornice, moulded plaster ceiling with pendants,
stained glass to windows, some C17. North drawing room 12-panelled
doors, ornate carved surround to fireplace: some C17 glass to
north stair windows, otherwise C19 painted. Room over gateway:
wide stone fireplace with 1930's strapwork frieze, 12 panel doors,
moulded plaster ceiling. Billiard room beyond, small-panelled
panelling, dado, strapwork Corinthian pilasters, carved frieze,
strapwork doors, ornate surround and overmantel to fireplace,
moulded plaster ceiling, stained glass to upper part windows. Last
home of Katherine Parr, Henry VIII's widow; castle slighted 1649,
purchased by Dents in 1837 and restored by them.
(S. Rudder, A New History of Gloucestershire, 1779; papers at
Sudeley Castle; Country Life, 1940; P.A. Faulkner, Archaeological
Journal, 1965; D. Verey, Gloucestershire, The Cotswolds, 1970)
Listing NGR: SP0310027668
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
Panoramic made in Photoshop Elements. #1