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Seattle Hempfest 2012 was an amazing success. I had such a great time hanging out with my activists, friends, Matty Simone, Simmi Dhillion (Twtiter: @SimmiThinks). Check out all of these great photos and please share with your friends and social networks. I love meeting real life investors of my compay $RFMK. There is not a doubt in my mind that CANNACig and RFMK are going straight to the top in not only sales, but in brand name recognition! This is just the beginning! I'm SOOOO psyched!!! If you want to get yours today go to:
www.vinhaler.com/pre-order.html
Interested in investing in the stock that manufactures this amazing product? The stock symbol is RFMK :)
Let's rock it! Spread the word on all of your social networks!
Cheryl Shuman :)
For more information on the CANNACig and RFMK Go to these links :)
CASTING NOW!!! DREAM BIG! Nothing like being featured in a national TV show to gain huge national publicity for your business, career, or yourself!
Hollywood's most celebrated Network & Cable producers are now working with Cheryl Shuman to develop 4 (Four) different reality series evolving around the cannabis community and movement. These will be hits!! Imagine Entourage Meets Sex in the City Meets The Apprentices Meets Top Model Meets The Big C Meets the Cannabis Movement. These new hit shows about real men & women, living captivating lives in LEGAL MEDICAL MARIJUANA are now casting! This upcoming docu-series gives viewers an inside look at Cannabis Communities most intriguing, interesting, compelling, & glamorous individuals. In addition, we will be profiling some of the most compelling patient stories to help promote law reform as well as top political figures during the upcoming election.
The Production Team is currently looking for fabulous men, women and their families who live or work in the cannabis industry as well as main stream cannabis consumers to be on this series. We are searching for outgoing, exciting, strong, self-confident men & women who reside in LEGAL medical cannabis states who want to share their amazing lives!
Theses new docu-series are an amazing platform to promote current or future activism, business endeavors, careers, ideas, etc... you can't beat the huge publicity of a national television show to make you and your ideas/brand a major success!
If you or someone you know is living "the good life" in one of the legal medical marijuana communities, we want to hear from you!
TO SUBMIT:
Be sure to mention you heard about this from Cheryl Shuman for priority consideration, and email ALL the information requested below ASAP to:
BeverlyHillsCannabisClub@gmail.com
Be sure to include:
1. Your name (first and last)
2. Contact phone number
3. City/Zip where you live
4. A short bio about you and your fabulous life and what makes you a fit for this tv show
5. Recent photos of you, your family, and your home/BUSINESS (jpg format please)
6. Be sure to mention you heard about this from Cheryl Shuman for priority consideration!
TO RECEIVE NOTICES LIKE THIS WITH MORE INFO ON ENTERTAINMENT INDUSTRY JOBS, OPPORTUNITIES, AND EVENTS:
Just go to www.BeverlyHillsCannabisClub.com and click Register!
FOR ADDITIONAL INFORMATION COMMENTS AND FB LIKES/TWEETS ON MY ARTICLES! :) THNX :) Check out the Wilfred from FX articles on:
blog.sfgate.com/smellthetruth/2012/06/11/an-inside-look-a... blog.sfgate.com/smellthetruth/2012/06/28/fx-thursday-nigh...
About Cheryl Shuman:
Referred to as the "Martha Stewart of Marijuana," Cheryl Shuman announces the formation of Green Asset International Inc.. Shuman brings 25 years of experience working with media, celebrities, marketing and health care in Beverly Hills. Shuman found her passion in the cannabis movement since 1996 working as an activist and legal cannabis patient. Since using cannabis therapy, she has survived cancer and injuries from two car crashes.
Shuman was the founder of Beverly Hills NORML, founding charter member of the NORML Women's Alliance and served on the steering committee for Public Relations and Marketing on an International platform. Cheryl Shuman is a founding member of the NCIA, National Cannabis Industry Association and served as the Director of Special Projects for the NCIA including the Women's Cannabusiness Network. Cheryl Shuman transformed her non-profit career into a thriving profitable media enterprise.
Cheryl was the Executive Director of Celebrity, Media and Public Relations for the KUSH Brand which includes KUSH Magazine, KUSH Conventions and DailyBuds.com. Cheryl Shuman has been interviewed for television programs, newspapers and magazines, including but not limited to: ABC News, CNN, Fox News, NBC News, Access Hollywood, Entertainment Tonight, Today Show NBC, HBO Entertainment News and more.
Her private medical cannabis collective, "The Beverly Hills Cannabis Club" is unlisted and membership is by referral only. Through her personal relationships and connections within Hollywood, Cheryl Shuman has been named as one of the most influential women in the cannabis reform movement by international media. Her position within the cannabis industry creates the first and only company of its kind and at the forefront of entertainment marketing, celebrity endorsements, product placement integration, sponsorships, production and technology.
Cheryl Shuman serves as media spokesperson for the hot new vaporizer CANNACig Rapid Fire Marketing (pink sheets: RFMK) and conducts their marketing, public relations, product placement, and consulting services.
Cheryl Shuman's "Green Asset International Inc." is a business development company and acquisition vehicle. Green Asset made news with an historic $100 million funding facility dedicated to the cannabis industry with plans to go public by 2014.
--
Cheryl Shuman, C.E.O.
Green Asset International Inc.
Director of Celebrity, Media & Public Relations
"Smell the Truth" - Hearst Digital Media
www.blog.sfgate.com/smellthetruth/
The Truth List
Spokesperson for CANNACig by RFMK
www.vinhaler.com/online-store.html
Beverly Hills Cannabis Club
Join Free Using "Cheryl Shuman" as your invitation code on:
www.BeverlyHillsCannabisClub.com
Social Network Links:
www.BeverlyHillsCannabisClub.com
LinkedIN: www.LinkedIn.com/in/CherylShuman
Facebook: www.FaceBook.com/CherylShumanInc
Twitter: www.Twitter.com/CherylShuman
YouTube: www.YouTube.com/BeverlyHillsCannabis
Vimeo: vimeo.com/cherylshuman
just a wrap
is it not?
freeform
freestyle
for divas
divos
self-confident stargods
but,
of course
stargods are always
self- aware
& shining their light on
the core
of divine energy
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on canonical facts. BEWARE!
Some background:
After the end of Space War I, the VF-1A continued to be manufactured both in the Sol system (notably on the Lunar facility Apollo Base) and throughout the UNG space colonies and had a long service record. One notable operator of the VF-1 was the U.N. Spacy's Zentraedi Fleet, namely SVF-789, which was founded in 2012 as a cultural integration and training squadron with two flights of VF-1 at Tefé in Brazil. This mixed all-Zentraedi/Meltraedi unit was the first in the U.N. Spacy’s Zentraedi Fleet to be completely equipped with the 1st generation Valkyrie, while other units, like SVF-122, even though made up exclusively from Zentraedi loyalists, kept a mixed lot of vehicles.
SVF-789’s flight leaders and some of its instructors were all former Quadrono Battalion aces under the command of the famous Milia Fallyna, later married with Maximilian Jenius, a U.N. Spacy ace. Meltraedi (female of the giant race of warriors known as the Zentradi) pilot Taqisha T’saqeel was a founding member of the squadron and commanded SVF-789’s 3rd Flight.
Almost all future Zentraedi and Meltradi pilots for the U.N. Spacy received their training at Tefé, and the squadron was soon expanded to a total of five flights. During this early phase of the squadron's long career, SVF-789's VF-1s carried a characteristic, dark-green wrap-around scheme, frequently decorated with colorful trim, reflecting the unit’s Zentraedi/Meltraedi heritage (the squadron’s motto and title “Dar es Carrack” meant “Victory is everywhere”, reminiscent of the alien race's martial heritage with a strong warrior and honor codex) and boldly representing the individual flights.
Taqisha T’saqeel was an ace Quimeliquola Queadluun-Rau power armor pilot, originally serving on board an all-female ship in the Lap Lamiz fleet. Taqisha was a self-confident and intelligent officer, and she stood out among other Meltradi through her relatively short size (5' 3.5"/162 cm micronized) and petite figure - even though she compensated for her lack of physical presence through cunningness and a very good tactical understanding.
What made her stand out even more among her brethren was her bright green skin (not unusual among Zentraedi and Meltraedi, but rare in this intensity) and her deep sea green hair.
During the confrontations with the "Miclones" of Earth, and their spacecraft, the SDF-1 Macross, she more than once was involved in direct confrontation with U. N. Spacy forces.
After the end of hostilities in 2012 she met her former commander (and now married), Milia Fallyna Jenius again, who had become micronized and had been allowed to become a member of the U.N. Spacy in her own right, now piloting a red-painted VF-1J Valkyrie Fighter into battle as her husband's wingmate, became fascinated by both the human race and the outlook to carry on here military career, for the sake of her own race (as well as her male Zentraedi brethren) who found themselves stripped off of their warrior "raison d'être".
When the U.N. Spacy offered both former Zentradi and Meltraedi soldiers to join Earth's forces and create integral squadron, she was quickly willing to take responsibility and became one of SVF-789's flight leaders in late 2012.
In late 2013, SVF-789 embarked upon Breetai Kridanik’s Nupetiet-Vergnitzs-Class Fleet Command Battleship, and the unit's VF-1s received a standard all-grey livery, even though some typical decoration (e. g. the squadron code in Zentraedi symbols, as well as some garish trim in green, blue and violet) remained.
When the UN Spacy eventually mothballed the majority of its legacy Zentraedi ships, the unit was re-assigned to the Tokugawa-class Super Dimensional Carrier UES Xerxes. In 2022, SVF-789 left the Sol System as part of the Pioneer Mission. By this time it had been made part of the Expeditionary Marine Corps and re-equipped with VAF-6 Alphas.
The kit and ist assembly:
A fictional Macross character, inspired by the recent build of two 1:100 VF-1s from the canonical SVF-789 squadron: a dedicated Zentraedi squadron within the human (and foemer enemy) U.N. Spacy, outfitted exclusively with mecha of human origin and established after the end of the Human-Zentraedi War in 2012.
When I built the two Valkyries, I had originally a simple, basic VF-1A in mind, but also a more outstanding, flashy flight leader's machine. The latter became the fictional SVF-789'S "300". From that, I spun the idea and story further - into the depiction of "300"'s pilot character with a figure.
I initally tried to find a suitable Macross character/figure - Miria was my first choice, because I wanted a female character. But there was nothing to be found, and since I am no sculptor I had to revert to a stock figure kit and convert it to my ideas.
After a long search I eventually found a suitable basis in the character Christina MacKenzie from Gundam (War in the Pocket), of which several garage kits and recasts are around. I settled upon an 1:8 resin kit of that character in her pilot suit and with the helmet held in her hand - mostly because it was the only option at hand, found on ebay for a reasonable price.
As always, there's the issue of originals and recasts - blunt and sometimes crappy copies of finely sculpted and expensive originals. Since I'd convert the figure, anyway, I did not pay much attention to this, but it seems as if I actually got hold of an original kit made by Over Dard. If ot's a copy, then it is of very high quality, because many fine details like clothing seams or even a profile under the figure's feet are there and crisply moulded.
Thankfully, Gundam pilot outfits do not differ much from those from the Macross universe pilot suits. Since the Christina MacKenzie figure comes with a rather simple and clean jumpsuit with a rocket-satchel on her back and a helmet held in her hand over the shoulder, I just added some small details that would take the figure closer to the Macross universe.
Head and face were taken OOB, as well as the arms. On the helmet I added a characteristic visor fairing with a piece of styrene sheet, and on the body I added a belt with some small pouches and a typical harness over bust and shoulders - both created from styrene strips and other small bits. As a side effect, these "horizontal" lines somewhat redude the tall and sleek silhouette of the figure, and the harness helps distract a little from the rather sturdy bust - IMHO a bit too oversized for my taste, but since cosmetic surgery in this figure area is rather hazardous I was happy about the visual reduction of the figure's bust size.
Size is generally an issue with this kit: it's labelled 1:8 scale, but the model appears to be smaller - even if the character was Japanese. Actually, Christina MacKenzie would be only 148cm(!) tall, if the scale was correct. While overall proportions are fine, the whole thing rather looks and feels like 1:9 or even 1:10!
Painting and markings:
Authentic early Macross pilot suits were the benchmark, but since the Zentraedi/Meltraedi "world" has a very distinct color code I tried to incorporate some of that into the pilot suit. Basically, some general suit design elements were taken over, but I changed the colors a little - for instance, the typical white/red jumpsuit became light grey/violet - the grey was chosen because it would look more like a fabric suit, and it would add some contrast to the pure white which was used on the suit's hard parts like the helmet, backpack as well as the shoulder and shank protectors.
Other highlights and contrasts were set with blue trim on the arms and the collar and a very dark brown stripe under the armpit, reaching down under the hips.
In order to set the figures bright green skin and hair evebn more apart I added a red lining to the jumpsuit - a color that pops up on the shoulders (decals from a 1:100 VF-1, together with Macross roundels) and the shank protectors.
The dark brown was repeated on the boots, so that - despite many different colors - the overall look is pretty balanced.
As per usual, the figure was painted with brushes and enamels, on top of a coat of grey acrylic primer. Some post-shading was done in order to add light effects (which make IMHO sense at 1:8 scale and less). The hair was painted with enamels, too, but in this case the highlights and effects were directly created with a wet-in-wet method, in order to avoid a rather weathered look. A light black ink wash was applied to the non-facial areas in order to emphasize edges and contrast lines. The blue visor or the helmet was created with clear paint on top of an acrylic silver basis.
Finally, the kit was sealed with matt acrylic varnish.
Well, "something different" from the usual model kit building business - and a real distraction from standard routines. While the finish on this one is not as good as I hoped it to be (the relatively small size and the conversion work took some toll), I am nevertheless quite happy with the result - with the bright green skin and hair the figure/character looks positively exotic and unusual, while I think that I could conserve and convey the Macross heritage through the mods and the painting?
My first Photo-Model when i started to try Portraits... Taking photos of him is always very uncomplicated... he´s very self-confident and has a lot of facial expressions to share ;)
Solar Plexus: The Secret Gravitational System
ISBN: 1456300474
Whiffs of Bliss
RESOURCES / BIBLIOGRAPHY:
1 Abraham | Esther & Jerry Hicks
Law of Attraction in Action [series]
The Vortex
Ask and It is Given
2Paris Hilton
Confessions of an Heiress: A Tongue-in-Chic Peek Behind the Pose (p.10)
3 Michael J. Losier
www.lawofattractionbook.com.au
4 Gravity | Gravitation | Gravitational Waves + Radiation
•Gravity
zebu.uoregon.edu/~soper/Orbits/newtongrav.html
www.pbs.org/wgbh/nova/elegant/glossary.html
science.howstuffworks.com/environmental/earth/geophysics/...
•Gravitation
www.google.com/dictionary?aq=f&langpair=en|en&q=gravitation&hl=en
•Gravitational Waves
www.npr.org/programs/atc/features/2002/sept/gravitywaves/...
science.nasa.gov/science-news/science-at-nasa/2008/19mar_...
•Gravitational Radiation
nedwww.ipac.caltech.edu/level5/ESSAYS/Boughn/boughn.html
5 Vibration | Schumann Resonance
•Vibes: www.google.com/dictionary?aq=f&langpair=en|en&q=vibration&hl=en
•Schumann Resonance: www.earthbreathing.co.uk/sr.htm
6 Sonia Ricotti
The Law of Attraction, Plain and Simple
7 Anthony Robbins
8 Alan Cohen
Why Your Life Sucks, and What to Do About It
9 Florence Scovel Shinn
The Wisdom of Florence Scovel Shinn: The Game of Life and How to Play It
florencescovelshinn | www.florence-scovel-shinn.com/
10 Karla McLaren
The Language of Emotions: What Your Feelings Are Trying to Tell You
Candace Pert
Molecules of Emotion
11 Story of Stuff
12 The Quantum Activist [DVD]: quantumactivist.com/
Amit Goswami: www.amitgoswami.org
13 Cocos Island | Blue Planet
•Cocos Island: Discover Planet Ocean: The World Beneath [DVD]
•Blue Planet: dsc.discovery.com/tv/blue-planet/blue-planet.html
14 Ramtha
Create Your Day [CD]
God Only Knows What You Know [CD]
15 Fred Alan Wolf
Mind into Matter: A New Alchemy of Science and Spirit
Dr. Quantum’s Little Book Of Big Ideas: Where Science Meets Spirit
16 What the Bleep Do We Know?! [DVD] | Down the Rabbit Hole [DVD]
•John Hagelin
•Joe Dispenza
•Masaru Emoto
The Hidden Messages in Water
•Stuart Hameroff
•Jeffrey Satinover
17 The Truman Show [DVD]
•Star Wars
18 Canticle to the Cosmos [DVD]
Brian Swimme
19 Dr. Joseph Murphy
20 Space Tourism
www.spacetourismsociety.org/Space_Tourism_Society/Welcome...
21 Entanglement
plato.stanford.edu/entries/qt-entangle/
www.youtube.com/watch?v=Jh8uZUzuRhk
www.youtube.com/watch?v=9lOWZ0Wv218
22 David Hawkins
Truth vs. Falsehood
robertdecker.com/hawkins/welcome.htm
www.beyondtheordinary.net/drhawkins.shtml
23 TAO
•Fritjof Capra
The Tao of Physics
•Benjamin Hoff
The Tao of Pooh
24 Caroline M. Sutherland
The Body Knows
25 Deepak Chopra
26 Eckhart Tolle
27 Deanna Davis
The Law of Attraction in Action
28 Louise Hay
Heal Your Body
You Can Heal Your Life [DVD]
www.youcanhealyourlifemovie.com
Gregg Braden
29 Kristen & David Morelli
30 Max Planck [Planck Scale]
www.pbs.org/wgbh/aso/databank/entries/bpplan.html
31 The History Channel
The Universe: “Gravity” [Season 2]
www.history.com/shows/the-universe/episodes/season-2
www.history.com/shows/the-universe
The Universe: “Ask”
www.history.com/shows/the-universe/videos/matter-or-energ...
32 Bruce Lipton: Biology of Belief
33 Magnetite: wordnetweb.princeton.edu/perl/webwn
Magnetite in Human Tissues: A Mechanism for the Biological Effects of Weak ELF Magnetic Fields
Joseph L Kirschvink, Atsuko Kobayashi-Kirschvink, Juan C Diaz-Ricci, and Steven J Kirschvink
Division of Geological and Planetary Sciences, The California Institute of Technology,
Pasadena, California (J. L. K., A. K. -K., J. C. D.); Department of Mathematics, San Diego State University,
San Diego, California (S. J. K.)
www.pnas.org/content/89/16/7683.full.pdf
34 Electromagnetism
www.google.com/dictionary?langpair=en|en&q=Electromagnetism&hl=en&aq=f
hyperphysics.phy-astr.gsu.edu/hbase/magnetic/elemag.html
www.britannica.com/EBchecked/topic/183324/electromagnetism
www.phy.syr.edu/courses/modules/LIGHTCONE/maxwell.html
•Electricity's Attraction [DVD]
store.discoveryeducation.com/product/show/48342
35 Sir Isaac Newton
Principia
www.fordham.edu/halsall/mod/newton-princ.html
csep10.phys.utk.edu/astr161/lect/history/newtongrav.html
36 Neil deGrasse Tyson
My Favorite Universe [DVD]
The Teaching Company: 12 Lectures
On Being Round
37 Hannah Holmes
The Secret Life of Dust
38 GRAVITATIONAL WAVE OBSERVATORIES
www.aei.mpg.de/english/research/observatories/index.html
•Laser Interferometer Space Antenna (LISA): lisa.nasa.gov/
•LIGO: www.ligo-la.caltech.edu/
•Fermilab: www.fnal.gov/
•CERN: www.cern.ch
public.web.cern.ch/public/en/science/higgs-en.html
39 Travis S Taylor
The Science Behind The Secret: Decoding the Law of Attraction
40 Potential & Kinetic Energy
hyperphysics.phy-astr.gsu.edu/hbase/gpot.html
41 Albert Einstein: Theory of Relativity
•Relativity: The Special and General Theory, XIX - The Gravitational Field (p. 74)
By Albert Einstein, Robert W. Lawson
•Theory of Relativity: Three Hundred Years of Gravitation
Stephen W. Hawking, W. Israel
•PBS: www.pbs.org/wgbh/nova/einstein/relativity/
•Max Born: Einstein’s Theory of Relativity
www.hawking.org.uk/index.php/about-stephen
42 Brian Greene
The fabric of the Cosmos: Space, Time, and the Texture of Reality
www.columbia.edu/cu/physics/fac-bios/Greene/faculty.html
43 Ed Fomalont, Astronomer of the National Radio Astronomy Observatory (NRAO)
Sergei Kopeikin, Physicist at the University of Missouri-Columbia
www.csa.com/discoveryguides/gravity/overview.php
44 Lightspeed relative to Gravity
fascistsoup.com/2010/05/14/the-speed-of-gravity-why-einst...
www.lbl.gov/Science-Articles/Archive/Phys-speed-of-gravit...
www.metaresearch.org/cosmology/speed_of_gravity.asp
www.desy.de/user/projects/Physics/Relativity/GR/grav_spee...
45 An Attempt to Prove the Motion of the Earth by Observations
By: Robert Hooke (1674), Fellow of the Royal Society.
*Senec. Nat. Qu. lib. I. cap. 30.
roberthooke.com/motion_of_the_earth_001.htm
www.bbc.co.uk/history/british/civil_war_revolution/hooke_...
46 “Dark Energy,88 Dark Matter87 & the Unknown Cosmos:”
www.youtube.com/watch?v=pHXv-NuSnP0
•Rhawn Joseph, Ph.D.
Astrobiology: The Origin of Life and the Death of Darwinism
www.brainmind.com/astrobiology.html
47 William Bryant Logan
Dirt: The Ecstatic Skin of the Earth
48 Leonard Susskind
See: String Theory
www.stanford.edu/dept/physics/people/faculty/susskind_leo...
The Cosmic Landscape: String Theory and the Illusion of Intelligent Design
www.bbc.co.uk/sn/tvradio/programmes/horizon/broadband/tx/...
49 String Theory
www.damtp.cam.ac.uk/research/gr/public/qg_ss.html
wordnetweb.princeton.edu/perl/webwn
Unified Field Theory
www.pbs.org/wgbh/nova/elegant/everything.html
www.britannica.com/EBchecked/topic/614522/unified-field-t...
50 William Gilbert (1544-1603)
galileo.rice.edu/sci/gilbert.html
SAO/NASA Astrophysics Data System (ADS)
Title: Cosmology and the Magnetical Philosophy 1640-1680
Authors: Bennett, J. A. | William Gilbert
Journal: JOURNAL FOR THE HISTORY OF ASTRONOMY
V. 12, P. 165, 1981 (pp. 165-166) Bibliographic Code: 1981JHA....12..165B
adsabs.harvard.edu/full/1981JHA....12..165B
51 M Theory
wordnetweb.princeton.edu/perl/webwn
Elegant Universe | Nova
www.pbs.org/wgbh/nova/elegant/
52 Edward Witten
Superstring Theory: Volume 1 + 2, Introduction (Cambridge Monographs on Mathematical Physics)
Institute for Advanced Study
53 Brian Cox
Wonders of the Solar System, BBC:
•What on Earth is Wrong with Gravity? [DVD]
•Do You Know What Time It Is? [DVD]
www.bbc.co.uk/sn/tvradio/programmes/horizon/broadband/tx/...
University of Manchester, School of Physics and Astronomy
www.manchester.ac.uk/research/brian.cox/
54 NASA | ESA | LISA | GOCE
•NASA: National Aeronautics and Space Administration: www.nasa.gov/
•ESA: European Space Agency: www.esa.int
www.esa.int/esaSC/SEMDYI5V9ED_index_0.html
•LISA: Laser Interferometer Space Antenna: lisa.nasa.gov/
•GOCE: Gravity-Mapping Satellite
www.guardian.co.uk/science/video/2009/mar/15/goce-gravity...
www.esa.int/SPECIALS/GOCE/SEMY0FOZVAG_0.html
55 Jim Schenk
What Does God Look Like in an Expanding Universe?
56 Dr. Wayne Dyer
57 Bashar | Darryl Anka
58 Richard Dawkins
The Selfish Gene
•The Genius of Charles Darwin [DVD]
store.richarddawkins.net/products/the-genius-of-charles-d...
59 Girl Interrupted [DVD]
60 The Intention Experiment
www.theintentionexperiment.com
61 Ronald Mallett
Time Traveler
www.phys.uconn.edu/~mallett/main/main.htm
62 Walter Wangerin, Jr
The Four Acts of Prayer [DVD]
63 Neale Donald Walsch
64 Hyperspace | BBC (2002)
65 Yes [DVD]
Sally Potter
66 The Sedona Method
67 Robert Tennyson Stevens
Conscious Language™
68 Cesar Millan | Dog Whisperer
69 Georges Brossard
www2.ville.montreal.qc.ca/insectarium/en/index.php?sectio...
70 Joseph Campbell
71 Joe Vitale
72 Jack Canfield
73 Rhonda Byrne
The Secret | The Power
74 Gene Landrum
The Superman Syndrome
75 Contrast
See: Abraham-Hicks1
www.google.com/dictionary?aq=f&langpair=en|en&q=Contrast+&hl=en
76 Theron Q. Dumont | William Walker Atkinson (1862-1932)
The Solar Plexus or Abdominal Brain [Public Domain]
77 The Moses Code [DVD]
78 The Matrix [DVD]
79 The Riches [DVD]
80 Position BE = ACTING
•Darryl Hickman
The Unconscious Actor: Out of Control, in Full Command: the Art of Performance in Acting and in Life
www.darrylhickman.net/unconsciousactor.htm
•Jane Marla Robbins
Acting Techniques for Everyday Life: Look and Feel Self-Confident in Difficult, Real-Life Situations
•The Craft of Film Acting [DVD]
J.Patrick McNamara
81Michael Bernard Beckwith
82James Allen
As A Man Thinketh
83Neville Goddard
84 Stephan Martin
Cosmic Conversations: Dialogues on the Nature of the Universe and the Search for Reality
cosmicconversations.org/default.aspx
85Pheromones
www.google.com/dictionary?langpair=en|en&q=Pheromone&hl=en&aq=f
www.cals.ncsu.edu/entomology/schal_lab/ChemicalEcology
86Thermodynamics
www.google.com/dictionary?langpair=en|en&q=thermodynamics&hl=en&aq=f
puccini.che.pitt.edu/~karlj/Classes/CHE2101/
ecee.colorado.edu/~bart/book/book/chapter1/ch1_4.htm
87Dark Matter
wordnetweb.princeton.edu/perl/webwn
www.youtube.com/watch?v=nJN2X3NrQAE imagine.gsfc.nasa.gov/docs/science/know_l1/dark_matter.html
www.google.com/dictionary?langpair=en|en&q=Dark+Matter&hl=en&aq=f
88Dark Energy
www.google.com/dictionary?langpair=en%7Cen&q=Dark+Ene...
www.youtube.com/watch?v=pHXv-NuSnP0
89Black Holes
wordnetweb.princeton.edu/perl/webwn
www.google.com/dictionary?langpair=en|en&q=black+hole&hl=en&aq=f
curious.astro.cornell.edu/blackholes.php
www.pbs.org/wnet/hawking/strange/html/blackh.html
www.abc.net.au/pm/content/2004/s1159816.htm
www.google.com/search?q=Black+Holes&hl=en&prmd=iv...
univ&tbs=bks:1&tbo=u&ei=gxjnTOn4HY-usAOK7LSxCw&sa=X&oi=book
_group&ct=title&cad=bottom-3results&resnum=22&ved=0CKEBELADMBU
Leonard Susskind48
The Black Hole War: My Battle with Stephen Hawking to Make the World Safe for Quantum Mechanics
Stephen W. Hawking41
Hawking On the Big Bang and Black Holes
Stephen W. Hawking, Roger Penrose
The Nature of Space and Time
90Messenger Particles
www.google.com/dictionary?langpair=en|en&q=messenger+particle&hl=en&aq=f
www.pbs.org/wgbh/nova/elegant/glossary.html
91Spirals
www.physorg.com/news97227410.html
science.howstuffworks.com/environmental/life/evolution/fi...
www.mathematische-basteleien.de/spiral.htm
•PI: www.pithemovie.com/ [DVD]
92Quantum Nonlocality
www.braungardt.com/Physics/Quantum%20Nonlocality.htm
www.scientificamerican.com/article.cfm?id=nonlocality-fro...
93Multiverse
www.google.com/dictionary?aq=f&langpair=en|en&q=multiverse&hl=en
www.astronomy.pomona.edu/Projects/moderncosmo/Sean's%20mu...
94Magnetic Storm [DVD]
www.pbs.org/wgbh/nova/magnetic/
95TIME
www.haystack.mit.edu/geo/index.html
•Navstar Global Positioning System (GPS)
www.fas.org/spp/military/program/nav/gps.htm
96Cosmology
www.google.com/dictionary?langpair=en|en&q=Cosmology&hl=en&aq=f
97Darwin, Charles
The Origin of Species [Public Domain] pp. 512-520; 529
98Nisargadatta Maharaj
99Posidonius (c.135–c.51 B.C) Greek
Sumpatheia: Cosmic Sympathy
en.wikipedia.org/wiki/Posidonius
encyclopedia2.thefreedictionary.com/Posidonius+of+Rhodes
www.google.com/dictionary?langpair=en|en&q=sympathy&hl=en&aq=f
100Nicholas Copernicus
De Revolutionibus Orbium Coelestium
On the Revolutions of the Heavenly Spheres
www.fordham.edu/halsall/mod/1543copernicus2.html
zebu.uoregon.edu/~soper/Orbits/copernicus.html
She was incredibly self confident. she tested my Indonesian skills - holding up a mango, a pineapple, a coconut and asking for the Indonesian equivalent. I played stupid and she called me so - in indonesian - koblok. a lot of fun with this 7 year old girl. photo today, january, 16, 2011.
Weathervane Playhouse presents
"Three Tall Women"
A drama by Edward Albee
Directed by Bill Morgan
Presented live on stage at Weathervane Playhouse in Akron, Ohio, from Oct. 27 to Nov. 12, 2011
From the celebrated playwright of "Who’s Afraid of Virginia Woolf?" comes this thoughtful meditation on the complicated gap between age and experience. Three women – one a 90-something-year-old, one a 52-year-old one a 26-year-old – navigate the emotional terrain of a life mixed with pleasure, satisfaction, shame and regret.
The play’s three female characters are nameless. Instead, the playwright identifies the women only by the letters A, B and C.
"A" is an elderly woman who knows that the end of her life is approaching quickly. "B" is A’s 52-year-old caretaker, a slightly sarcastic yet caring woman. "C" is a boldly self-confident 26-year-old who has come from A’s attorney’s office to discuss the elder woman’s finances.
The "Three Tall Women" Cast
MARCI PAOLUCCI (A)
LORENA GOOLD (B)
HANNAH STORCH (C)
CONNOR LOGAN REESE (The Boy)
All photos in this set were shot by Scott Diese.
Self-confident window dummies showing off the newest (at least in this particular shop) fashion in Notting Hill, London.
Women of the Revolution - Russia 1907-1934
The avant-garde was feminine! At least, that was the case in Russia before and after the Revolution of 1917. A great number of Russian artists were convinced that their work could contribute to a fair and classless society. In comparison to other avant-garde movements, it is conspicuous just how many women were involved in this movement in Russia. They stood on an equal footing with their male colleagues and collaborated with them in a self-confident manner. Without the powerful vision of figures such as Aleksandra Ekster, Natalia Goncharova and others, the avant-garde movements structured around Mikhail Larionov, Kazimir Malevich or Vladimir Tatlin would never have been able to have such an extraordinary impact.
The exhibition illustrates the central role of female artists in Russia in the early twentieth century. Many of the works on display are being presented in the Netherlands for the very first time.
This exhibition in the Groninger Museum has been on show from March 23, 2013 until 18 August 18, 2013.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on canonical facts. BEWARE!
Some background:
After the end of Space War I, the VF-1A continued to be manufactured both in the Sol system (notably on the Lunar facility Apollo Base) and throughout the UNG space colonies and had a long service record. One notable operator of the VF-1 was the U.N. Spacy's Zentraedi Fleet, namely SVF-789, which was founded in 2012 as a cultural integration and training squadron with two flights of VF-1 at Tefé in Brazil. This mixed all-Zentraedi/Meltraedi unit was the first in the U.N. Spacy’s Zentraedi Fleet to be completely equipped with the 1st generation Valkyrie, while other units, like SVF-122, even though made up exclusively from Zentraedi loyalists, kept a mixed lot of vehicles.
SVF-789’s flight leaders and some of its instructors were all former Quadrono Battalion aces under the command of the famous Milia Fallyna, later married with Maximilian Jenius, a U.N. Spacy ace. Meltraedi (female of the giant race of warriors known as the Zentradi) pilot Taqisha T’saqeel was a founding member of the squadron and commanded SVF-789’s 3rd Flight.
Almost all future Zentraedi and Meltradi pilots for the U.N. Spacy received their training at Tefé, and the squadron was soon expanded to a total of five flights. During this early phase of the squadron's long career, SVF-789's VF-1s carried a characteristic, dark-green wrap-around scheme, frequently decorated with colorful trim, reflecting the unit’s Zentraedi/Meltraedi heritage (the squadron’s motto and title “Dar es Carrack” meant “Victory is everywhere”, reminiscent of the alien race's martial heritage with a strong warrior and honor codex) and boldly representing the individual flights.
Taqisha T’saqeel was an ace Quimeliquola Queadluun-Rau power armor pilot, originally serving on board an all-female ship in the Lap Lamiz fleet. Taqisha was a self-confident and intelligent officer, and she stood out among other Meltradi through her relatively short size (5' 3.5"/162 cm micronized) and petite figure - even though she compensated for her lack of physical presence through cunningness and a very good tactical understanding.
What made her stand out even more among her brethren was her bright green skin (not unusual among Zentraedi and Meltraedi, but rare in this intensity) and her deep sea green hair.
During the confrontations with the "Miclones" of Earth, and their spacecraft, the SDF-1 Macross, she more than once was involved in direct confrontation with U. N. Spacy forces.
After the end of hostilities in 2012 she met her former commander (and now married), Milia Fallyna Jenius again, who had become micronized and had been allowed to become a member of the U.N. Spacy in her own right, now piloting a red-painted VF-1J Valkyrie Fighter into battle as her husband's wingmate, became fascinated by both the human race and the outlook to carry on here military career, for the sake of her own race (as well as her male Zentraedi brethren) who found themselves stripped off of their warrior "raison d'être".
When the U.N. Spacy offered both former Zentradi and Meltraedi soldiers to join Earth's forces and create integral squadron, she was quickly willing to take responsibility and became one of SVF-789's flight leaders in late 2012.
In late 2013, SVF-789 embarked upon Breetai Kridanik’s Nupetiet-Vergnitzs-Class Fleet Command Battleship, and the unit's VF-1s received a standard all-grey livery, even though some typical decoration (e. g. the squadron code in Zentraedi symbols, as well as some garish trim in green, blue and violet) remained.
When the UN Spacy eventually mothballed the majority of its legacy Zentraedi ships, the unit was re-assigned to the Tokugawa-class Super Dimensional Carrier UES Xerxes. In 2022, SVF-789 left the Sol System as part of the Pioneer Mission. By this time it had been made part of the Expeditionary Marine Corps and re-equipped with VAF-6 Alphas.
The kit and ist assembly:
A fictional Macross character, inspired by the recent build of two 1:100 VF-1s from the canonical SVF-789 squadron: a dedicated Zentraedi squadron within the human (and foemer enemy) U.N. Spacy, outfitted exclusively with mecha of human origin and established after the end of the Human-Zentraedi War in 2012.
When I built the two Valkyries, I had originally a simple, basic VF-1A in mind, but also a more outstanding, flashy flight leader's machine. The latter became the fictional SVF-789'S "300". From that, I spun the idea and story further - into the depiction of "300"'s pilot character with a figure.
I initally tried to find a suitable Macross character/figure - Miria was my first choice, because I wanted a female character. But there was nothing to be found, and since I am no sculptor I had to revert to a stock figure kit and convert it to my ideas.
After a long search I eventually found a suitable basis in the character Christina MacKenzie from Gundam (War in the Pocket), of which several garage kits and recasts are around. I settled upon an 1:8 resin kit of that character in her pilot suit and with the helmet held in her hand - mostly because it was the only option at hand, found on ebay for a reasonable price.
As always, there's the issue of originals and recasts - blunt and sometimes crappy copies of finely sculpted and expensive originals. Since I'd convert the figure, anyway, I did not pay much attention to this, but it seems as if I actually got hold of an original kit made by Over Dard. If ot's a copy, then it is of very high quality, because many fine details like clothing seams or even a profile under the figure's feet are there and crisply moulded.
Thankfully, Gundam pilot outfits do not differ much from those from the Macross universe pilot suits. Since the Christina MacKenzie figure comes with a rather simple and clean jumpsuit with a rocket-satchel on her back and a helmet held in her hand over the shoulder, I just added some small details that would take the figure closer to the Macross universe.
Head and face were taken OOB, as well as the arms. On the helmet I added a characteristic visor fairing with a piece of styrene sheet, and on the body I added a belt with some small pouches and a typical harness over bust and shoulders - both created from styrene strips and other small bits. As a side effect, these "horizontal" lines somewhat redude the tall and sleek silhouette of the figure, and the harness helps distract a little from the rather sturdy bust - IMHO a bit too oversized for my taste, but since cosmetic surgery in this figure area is rather hazardous I was happy about the visual reduction of the figure's bust size.
Size is generally an issue with this kit: it's labelled 1:8 scale, but the model appears to be smaller - even if the character was Japanese. Actually, Christina MacKenzie would be only 148cm(!) tall, if the scale was correct. While overall proportions are fine, the whole thing rather looks and feels like 1:9 or even 1:10!
Painting and markings:
Authentic early Macross pilot suits were the benchmark, but since the Zentraedi/Meltraedi "world" has a very distinct color code I tried to incorporate some of that into the pilot suit. Basically, some general suit design elements were taken over, but I changed the colors a little - for instance, the typical white/red jumpsuit became light grey/violet - the grey was chosen because it would look more like a fabric suit, and it would add some contrast to the pure white which was used on the suit's hard parts like the helmet, backpack as well as the shoulder and shank protectors.
Other highlights and contrasts were set with blue trim on the arms and the collar and a very dark brown stripe under the armpit, reaching down under the hips.
In order to set the figures bright green skin and hair evebn more apart I added a red lining to the jumpsuit - a color that pops up on the shoulders (decals from a 1:100 VF-1, together with Macross roundels) and the shank protectors.
The dark brown was repeated on the boots, so that - despite many different colors - the overall look is pretty balanced.
As per usual, the figure was painted with brushes and enamels, on top of a coat of grey acrylic primer. Some post-shading was done in order to add light effects (which make IMHO sense at 1:8 scale and less). The hair was painted with enamels, too, but in this case the highlights and effects were directly created with a wet-in-wet method, in order to avoid a rather weathered look. A light black ink wash was applied to the non-facial areas in order to emphasize edges and contrast lines. The blue visor or the helmet was created with clear paint on top of an acrylic silver basis.
Finally, the kit was sealed with matt acrylic varnish.
Well, "something different" from the usual model kit building business - and a real distraction from standard routines. While the finish on this one is not as good as I hoped it to be (the relatively small size and the conversion work took some toll), I am nevertheless quite happy with the result - with the bright green skin and hair the figure/character looks positively exotic and unusual, while I think that I could conserve and convey the Macross heritage through the mods and the painting?
Abbaye Saint-Michel-de-Cuxa has a long and winding history, starting in 840, when near the river Tet "Sant Andreu d'Eixalada" was founded. This small abbey was washed away during a flood already soon after.
The monks moved to nearby Cuixa, where in 879, abbot Protasius (he came from Urgell) and Miro the Elder, count of Conflent and Roussillon (and brother of Wilfred the Hairy) signed the founding treaty of the new monastery.
Under protection and influence of the Counts of Cerdanya the abbey gained importance. A large complex was built over the next century. In 974 a monk from Cluny (!) consecrated the main altar of the new church, dedicated to Saint Michael. Since 961 abbot Garin led the monastery. He was a perfectly connected intellectual figure, friend of Gerbert d'Aurillac (later Pope Sylvester II). At that time Pietro I Orseolo, formerly the Doge of Venice and later a venerated Saint, joined the community as well as Saint Romuald, later the founder of the congregation of Camaldolese.
Influental and powerful Oliba (971-1046), descendant of Wilfred the Hairy, count of Berga and Ripoll and later bishop of Vic and abbot here kept the place in the political center of the County of Barcelona. He had founded a couple of monasteries (eg. Montserrat), had been a political adviser and was a well travelled man. He had been impressed by the architecture he had seen in Italy and was heavily involved in the architectonial process, transforming the pre-romanesque complex, started by his predecessors.
Saint-Michel-de-Cuxa lost the importance it once had and during the next centuries. There was a row of self-confident abbots, without any interest in monastical traditions. The French Revolution ended that - and the last monk fled 1793, just before the revolutionists ruined the place with great effort. The abbey was sold afterwards by the government - and another story started.
The abbey fell in disrepair. The cloister, erected 1130-1140, was still complete in the 1780s. After the Revolution the new owner had different plans, as he needed a water basin, and reckoned the cloister the perfect place.
In 1841, the owner tried to sell the cloister to Perpignan, where it should find a place in the garden of the archbishop, but the negotiation failed. At that time 37 pillars and capitals were still in situ. Soon after the cloister was taken apart. Most carvings were sold to people in nearby Prades, to beautify their gardens.
Around 1905 an American sculptor, living in France, opened an antique trade. He tracked down the scattered pieces of the cloister - and started to buy them sucessfully. He was proud, that in the end he had the major part of the cloister, having spent about 3000 US$.
To cut the story short, most of the pillars, arcades and capitals are now in New York, where the joined the cloisters from Saint-Guilhem-le-Désert and Bonnefont. They are all part of "The Cloisters", once founded and financed by John D. Rockefeller, now part of the "Metropolitan Museum of Art".
The large fountain, that was the center of this cloister once, can now be seen in the Philadelphia Museum of Art. There te fountain is the center of a cloister, that once was in Saint-Genis-des-Fontaines.
The Cloisters:
www.metmuseum.org/visit/visit-the-cloisters/
Philadelphia Museum of Art
www.philamuseum.org/collections/permanent/42060.html
There must have been a workshop of carvers within the 10th century, that probably worked near the quarries in Villefranche-de-Conflent, where the marble was cut. This workshop developed a distinctive artistic style, that can be seen as well in the prieuré de Serrabone and in Saint-Martin-du-Canigou.
Another "Master of the Beasts", now with two lions devouring their prey. The hind legs of that prey still hangs out of the lions´ mouths. The master, wearing his "shorts" (again) and a crew cut, seems very relaxed, holding the hind legs. The carvings is very smooth. There is a kind of spheric structure between the master´s biceps and the lion´s head on the right. This "ball" will be seen again on the next photo, as well as the parallel "waves" below the lions´heads.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on canonical facts. BEWARE!
Some background:
After the end of Space War I, the VF-1A continued to be manufactured both in the Sol system (notably on the Lunar facility Apollo Base) and throughout the UNG space colonies and had a long service record. One notable operator of the VF-1 was the U.N. Spacy's Zentraedi Fleet, namely SVF-789, which was founded in 2012 as a cultural integration and training squadron with two flights of VF-1 at Tefé in Brazil. This mixed all-Zentraedi/Meltraedi unit was the first in the U.N. Spacy’s Zentraedi Fleet to be completely equipped with the 1st generation Valkyrie, while other units, like SVF-122, even though made up exclusively from Zentraedi loyalists, kept a mixed lot of vehicles.
SVF-789’s flight leaders and some of its instructors were all former Quadrono Battalion aces under the command of the famous Milia Fallyna, later married with Maximilian Jenius, a U.N. Spacy ace. Meltraedi (female of the giant race of warriors known as the Zentradi) pilot Taqisha T’saqeel was a founding member of the squadron and commanded SVF-789’s 3rd Flight.
Almost all future Zentraedi and Meltradi pilots for the U.N. Spacy received their training at Tefé, and the squadron was soon expanded to a total of five flights. During this early phase of the squadron's long career, SVF-789's VF-1s carried a characteristic, dark-green wrap-around scheme, frequently decorated with colorful trim, reflecting the unit’s Zentraedi/Meltraedi heritage (the squadron’s motto and title “Dar es Carrack” meant “Victory is everywhere”, reminiscent of the alien race's martial heritage with a strong warrior and honor codex) and boldly representing the individual flights.
Taqisha T’saqeel was an ace Quimeliquola Queadluun-Rau power armor pilot, originally serving on board an all-female ship in the Lap Lamiz fleet. Taqisha was a self-confident and intelligent officer, and she stood out among other Meltradi through her relatively short size (5' 3.5"/162 cm micronized) and petite figure - even though she compensated for her lack of physical presence through cunningness and a very good tactical understanding.
What made her stand out even more among her brethren was her bright green skin (not unusual among Zentraedi and Meltraedi, but rare in this intensity) and her deep sea green hair.
During the confrontations with the "Miclones" of Earth, and their spacecraft, the SDF-1 Macross, she more than once was involved in direct confrontation with U. N. Spacy forces.
After the end of hostilities in 2012 she met her former commander (and now married), Milia Fallyna Jenius again, who had become micronized and had been allowed to become a member of the U.N. Spacy in her own right, now piloting a red-painted VF-1J Valkyrie Fighter into battle as her husband's wingmate, became fascinated by both the human race and the outlook to carry on here military career, for the sake of her own race (as well as her male Zentraedi brethren) who found themselves stripped off of their warrior "raison d'être".
When the U.N. Spacy offered both former Zentradi and Meltraedi soldiers to join Earth's forces and create integral squadron, she was quickly willing to take responsibility and became one of SVF-789's flight leaders in late 2012.
In late 2013, SVF-789 embarked upon Breetai Kridanik’s Nupetiet-Vergnitzs-Class Fleet Command Battleship, and the unit's VF-1s received a standard all-grey livery, even though some typical decoration (e. g. the squadron code in Zentraedi symbols, as well as some garish trim in green, blue and violet) remained.
When the UN Spacy eventually mothballed the majority of its legacy Zentraedi ships, the unit was re-assigned to the Tokugawa-class Super Dimensional Carrier UES Xerxes. In 2022, SVF-789 left the Sol System as part of the Pioneer Mission. By this time it had been made part of the Expeditionary Marine Corps and re-equipped with VAF-6 Alphas.
The kit and ist assembly:
A fictional Macross character, inspired by the recent build of two 1:100 VF-1s from the canonical SVF-789 squadron: a dedicated Zentraedi squadron within the human (and foemer enemy) U.N. Spacy, outfitted exclusively with mecha of human origin and established after the end of the Human-Zentraedi War in 2012.
When I built the two Valkyries, I had originally a simple, basic VF-1A in mind, but also a more outstanding, flashy flight leader's machine. The latter became the fictional SVF-789'S "300". From that, I spun the idea and story further - into the depiction of "300"'s pilot character with a figure.
I initally tried to find a suitable Macross character/figure - Miria was my first choice, because I wanted a female character. But there was nothing to be found, and since I am no sculptor I had to revert to a stock figure kit and convert it to my ideas.
After a long search I eventually found a suitable basis in the character Christina MacKenzie from Gundam (War in the Pocket), of which several garage kits and recasts are around. I settled upon an 1:8 resin kit of that character in her pilot suit and with the helmet held in her hand - mostly because it was the only option at hand, found on ebay for a reasonable price.
As always, there's the issue of originals and recasts - blunt and sometimes crappy copies of finely sculpted and expensive originals. Since I'd convert the figure, anyway, I did not pay much attention to this, but it seems as if I actually got hold of an original kit made by Over Dard. If ot's a copy, then it is of very high quality, because many fine details like clothing seams or even a profile under the figure's feet are there and crisply moulded.
Thankfully, Gundam pilot outfits do not differ much from those from the Macross universe pilot suits. Since the Christina MacKenzie figure comes with a rather simple and clean jumpsuit with a rocket-satchel on her back and a helmet held in her hand over the shoulder, I just added some small details that would take the figure closer to the Macross universe.
Head and face were taken OOB, as well as the arms. On the helmet I added a characteristic visor fairing with a piece of styrene sheet, and on the body I added a belt with some small pouches and a typical harness over bust and shoulders - both created from styrene strips and other small bits. As a side effect, these "horizontal" lines somewhat redude the tall and sleek silhouette of the figure, and the harness helps distract a little from the rather sturdy bust - IMHO a bit too oversized for my taste, but since cosmetic surgery in this figure area is rather hazardous I was happy about the visual reduction of the figure's bust size.
Size is generally an issue with this kit: it's labelled 1:8 scale, but the model appears to be smaller - even if the character was Japanese. Actually, Christina MacKenzie would be only 148cm(!) tall, if the scale was correct. While overall proportions are fine, the whole thing rather looks and feels like 1:9 or even 1:10!
Painting and markings:
Authentic early Macross pilot suits were the benchmark, but since the Zentraedi/Meltraedi "world" has a very distinct color code I tried to incorporate some of that into the pilot suit. Basically, some general suit design elements were taken over, but I changed the colors a little - for instance, the typical white/red jumpsuit became light grey/violet - the grey was chosen because it would look more like a fabric suit, and it would add some contrast to the pure white which was used on the suit's hard parts like the helmet, backpack as well as the shoulder and shank protectors.
Other highlights and contrasts were set with blue trim on the arms and the collar and a very dark brown stripe under the armpit, reaching down under the hips.
In order to set the figures bright green skin and hair evebn more apart I added a red lining to the jumpsuit - a color that pops up on the shoulders (decals from a 1:100 VF-1, together with Macross roundels) and the shank protectors.
The dark brown was repeated on the boots, so that - despite many different colors - the overall look is pretty balanced.
As per usual, the figure was painted with brushes and enamels, on top of a coat of grey acrylic primer. Some post-shading was done in order to add light effects (which make IMHO sense at 1:8 scale and less). The hair was painted with enamels, too, but in this case the highlights and effects were directly created with a wet-in-wet method, in order to avoid a rather weathered look. A light black ink wash was applied to the non-facial areas in order to emphasize edges and contrast lines. The blue visor or the helmet was created with clear paint on top of an acrylic silver basis.
Finally, the kit was sealed with matt acrylic varnish.
Well, "something different" from the usual model kit building business - and a real distraction from standard routines. While the finish on this one is not as good as I hoped it to be (the relatively small size and the conversion work took some toll), I am nevertheless quite happy with the result - with the bright green skin and hair the figure/character looks positively exotic and unusual, while I think that I could conserve and convey the Macross heritage through the mods and the painting?
Inspired by the swinging '60s pop art, Barbie doll makes the scene with a dramatic, hot pink faux fur coat and saturated psychedelic prints that swirl from head to toe. Her mod minidress features a hemline that rose to fame in this era, while matching thigh-high boots are made for dancing-a-go-go. Pops of hot pink in her fab jewelry and a Barbie logo purse finish her look. Giving self-confident side-eye and a pink pouty lip, Barbie is all beauty, love, and feelin' groovy.
German postcard by Ross verlag, nr. A 2668/2, 1941-1944. Photo: Baumann/Terra.
Beautiful Austrian actress Hertha Feiler (1916-1970) was the elegant and charming wife of Heinz Rühmann, off-screen and also on-screen in many popular films of the 1940’s and 1950’s.
Hertha Feiler was born in Vienna, Austria-Hungary (now Austria), in 1916. Her parents were Josef Anton Feiler and his wife Margarethe née Schwarz. Hertha studied at the Realgymnasium. She originally wanted to become a pianist but tendinitis (an inflammation at her arm) prevented this. When she looked for another artistic activity and decided to take acting classes. In 1936 she debuted on stage at the Wiener Scala, and one year later she already made her film debut with Liebling der Matrosen/Favourite of the Sailors (1937, Hans Hinrich) starring the Austrian Shirley Temple, Traudl Stark. In the following years Hertha became a popular actress who knew how to interpret ladylike and cheerful roles with charm. In 1938, when she worked on Heinz Rühmann's debut as a film director, Lauter Lügen/Many Lies (1939, Heinz Rühmann), they fell in love and got married in 1939. In the following years they often made films together like Kleider machen Leute/Fine Feathers Make Fine Birds (1940, Helmut Käutner), Quax in Afrika/Quax in Africa (1944-1947, Helmut Weiss) and Der Engel mit dem Saitenspiel/Angel with a Harp (1944, Heinz Rühmann). Although Hertha Feiler was considered to be ‘one fourth Jew’ by the Nazi regime and was only able to work with a special permission, she and Heinz Rühmann were presented in the press as a model married couple. Their son Peter was born in 1942.
After the end of the war Hertha Feiler took part in Rühmann’s production company Comedia. After this company went bankrupt, her film career halted also. She started to appear more often in stage productions. In the mid-1950's followed more mature film roles in which she often impersonated self-confident and cheerful women who also knew the darker side of life. To her well-known films of that decade belong Pünktchen und Anton/ Punktchen and Anton (1953, Thomas Engel) based on the children’s book by Erich Kästner, Die schöne Müllerin/The Beautiful Miller (1954, Wolfgang Liebeneiner), Charley's Tante/Charley’s Aunt (1955, Hans Quest), Opernball/Opera Ball (1956, Ernst Marischka) opposite Johannes Heesters, and Der Maulkorb/The Muzzle (1958, Wolfgang Staudte) with O.E. Hasse. With Heinz Rühmann she took part in her last and 33rd film Die Ente klingelt um halb acht/ The Duck Rings at Half Past Seven (1968, Rolf Thiele). She had to retire from the film business because she was ill with cancer. Hertha Feiler died in München (Munich), Germany, in 1970.
Sources: Thomas Staedeli (Cyranos.ch), Wikipedia, and IMDb.
The Sun blazed in dynamic Aries, a fire sign, on your birthday. The Sun in astrology stands for your inner nature, the light of your essential character. Aries is the first sign of the Zodiac, a masculine sign ruled by the warrior planet Mars, whose motto must be "Crash through, or crash!". A cardinal (creative and inventive) sign, Aries the Ram governs leadership and initiative. Aries people are bold and self-confident, although they do tend to be overly impulsive.
Simple, stylish and self-confident. A classic icon in a modern package,
handcrafted just for you.
Our story is simple. Embrace the DNA of a design classic and skilfully and respectfully remaster it to meet the demands of modern day life.
Mini Remastered by David Brown Automotive is a handcrafted masterpiece with all the style, technology and engineering excellence that encompasses our ethos, whilst retaining all the spirit and personality of the original.
1.275 cc
4 in-line
71 hp @ 4.00 rpm
87 lb @ 3.100 rpm
Vmax : 145 km/h
0-100 kmh : 11,7 sec
740 kg (curb weight)
89th Geneva International Motor Show
Internationaler Auto-Salon Genf
Suisse - Schweiz - Switzerland
March 2019
photos of this series flic.kr/s/aHsjZPo5UM followed by more photos
Climbing forest - Oldenburg-Hatten ( Saturday, July 19. 2014 ) in Hatten, near the city Oldenburg, in the State Lower Saxony ( Germany ), with the Ju-Jitsu Kids from the Sports Club `SF Wüsting-Altmoorhausen´.
Kletterwald Oldenburg-Hatten in Hatten ( Nähe Oldenburg/Oldb. ), am 19. Juli 2014. In den Seilen hängend etliche Ju-Jutsu Kids des `SF Wüsting-Altmoorhausen´.
It may appear that you do not dream, although research shows how REM or rapid eye movement demonstrates that EVERYONE dreams.
To remember your dreams, simply make an effort to start paying attention to them. Once you begin observing clues that come forward, which can accelerate growth, exploring the dream for direction will increase your ability for recall.
Studies show that brain activity increases when you are dreaming. The brain appears more active during dreaming than when you are awake.
Researchers explore how the mind functions like a computer in its ‘back up’ and ‘recycle bin’ processes. As another sensory organ, you revisit experience, explore potential and release outworn perspectives. This is how dreaming becomes a healthy aspect of psychic health.
When you are ‘stuck’ in a transformative cycle, the dream always reveals ‘the way through.’
If your dream recurs, it should be given careful consideration. Once you understand it, you will see that it will not recur.
If you are awakened during REM sleep, you will be able to remember your dreams in more detail than in the morning.
The human body is designed with a paralytic feature that keeps your limbs from acting out on your dreams. The body holds an inherent wisdom that allows it to heal itself, which requires no thought or action on your part. Similarly, the process of dreaming can be viewed as a perceptive or parasympathetic ‘organ’ that achieves a type of ‘healing’ while you sleep.
Dreams often present the exact opposite of what you believe to be true about yourself. Often sharing them with another person will allow you to recognize how the dream reflects what you are ‘missing’ about your current circumstance.
Understanding your dreams can lead to balance and wellness as well as helping you to become more assertive and self-confident.
In
Loving memory
Of
Henry E Howell
Beloved Husband of
Emma Howell
Died July 24th 1912
Aged 54 years
Also of their son
No.1898 Cpl. Henry W C Howell
1/5th Norfolk Regt.
Who lost his life at Gallipoli
August 28th 1915
Aged 32 years.
Till the day break
Also
Emma Howell
Died Sept.10th 1938
Aged 76 years
At rest
Dates and middle initals don’t tie up, but this seems to be the most obvious candidate based on the serial number.
HOWELL, HENRY WILLIAM GEORGE
Rank:………………………………………………..Corporal
Service No:……………………………………….1898
Date of Death:………………………………….12/08/1915
Age:………………………………………………….32
Regiment:………………………………………..Norfolk Regiment, 1st/5th Bn.
Panel Reference:……………………………..Panel 42 to 44.
Memorial:………………………………………..HELLES MEMORIAL
Additional Information:
Son of Henry Edwin and Emma Howell, of 7, Beresford Rd., Lowestoft.
CWGC: www.cwgc.org/find-war-dead/casualty/692070/HOWELL,%20HENR...
SDGW records Acting Corporal 1898 Henry Howell as Died on the 28th August 1915 whilst serving with the 1/5th Battalion, Norfolk Regiment. He was born East Dereham and while no place of residence is shown, he did enlist in East Dereham.
The Medal Index Card for Private \ Acting Corporal 1898 Henry Howell, Norfolk Regiment, is held at the National Archive under reference WO 372/10/69630
discovery.nationalarchives.gov.uk/details/r/D2977206
No match on Picture Norfolk
Census
The 1911 census has a 28 year old Henry Edwin George Howell, born Pulham St Mary, Orfolk. That first middle initial would tie in with the headstone. Henry lived at 39, Theatre Street, East Dereham, was single and working as a General Labourer. This was the household of his parents, Henry Edwin, (aged 52 and a Railway Porter from Moulton, Norfolk) and his wife of 29 years, the 48 year old Emma from Pulham St Mary. The couple have had 6 children, of which 4 were then still alive. Other children still at home are:-
James Benjamin………….aged 25……born Burnham Market, Norfolk……..Porter & Signalman with a Railway Company
There is also a Grandson, Gordon Oxboro Howell, aged 4 and from East Dereham.
Going back to the 1901 census, the same individual appears to be listed as Henry G W Howell, aged 18, and was working then as a Railway Porter. He was living with his parents, Henry and Emma, in East Dereham. The first address on the page is on Theatre Street, (number 6) and the next address is the Howells - however the census takers handwriting is very unclear – Theatre Street could just as easily be Theabie Street, while the Howells could be at 39a Thistle Fen DW – the next dwelling is a residential school listed as Fair Field House School.
On the 1891 census the address becomes a little clearer, however, according to the census enumerator, the house numbering leaves a lot to be desired. The location is Thistle Terrace, Theatre Street, East Dereham. The page starts with 31 and 33 Theatre Street, then 35 Thistle Terrace, two 39 Thistle Terraces, (one unoccupied) and then we get to the Howells which as the census taker notes is “No.4 so should be No.41”. The next dwelling is also unoccupied – “St Nicholas Hall sometimes called Theatre Royal”.
Whatever address it is, it’s the household of the 32 year old Railway Porter Henry Howell, and the 28 year old Emma.As well as Henry,aged 8, children living with them are:-
Emily…………aged 7………….born Burnham, Norfolk
James…………aged 5………….born Burnham, Norfolk
Mary………….aged 1………….born Oulton Broad, Suffolk
On the day
The dates of the 12th August and the 28th August are unfortunately familiar ones as far as the 1/5th is concerned. To date I’ve not been able to account for any activity on the 28th by the battalion, so I think somewhere along the lines an official report was issued showing the wrong date and this was the information used to inform next of kin. They all tend to have an unknown grave, although their mass burial site and evidence of the war crime was uncovered post-war. But I’m running ahead of myself.
The1/4th and the 1/5th served alongside each other through the war.
From May 21st both battalions became part of the 54th infantry division, and with the 1/5th Suffolk and 1/8th Hampshire constituted the 163rd infantry brigade. On the previous day the 1/4th Battalion had been sent to Watford, which it left by special train on July 29, 1915, for Liverpool, where it embarked on the S.S. " Aquitania " en route for the Dardanelles. It was commanded by the adjutant, Captain E.W. Montgomerie, owing to the illness of Colonel Harvey. On the same day the 1/5th Battalion embarked, also on the " Aquitania." It had been doing further training at Watford since early in May.
The " Aquitania " reached Mudros without adventure on August 5th, and the troops on board her were taken in smaller vessels, on the 9th, to Imbros, whence they proceeded, on the 10th, to the landing-place of the 54th division in SuvIa Bay and bivouacked on the beach. The country about the landing-place, as seen from the sea, is described by Colonel Harvey thus:
"On the left SuvIa Point with Nebrunessi Point to the right formed a small bay, known as SuvIa Bay, some mile and a half across. To the right of Nebrunessi. Point a long, gently curving sandy beach, some four or five miles in extent, terminated where the Australian position at Anzac rose steeply to the Sari Bair range.
Inside and immediately in front was a large, flat, sandy plain covered with scrub, while the dry salt lake showed dazzlingly white in the hot morning sun. Immediately beyond was Chocolate Hill, and behind this lay the village of Anafarta some four miles from the shore. As a background the Anafarta ridge ran from the village practically parallel with the sea, where it gradually sloped down to the coast.
Beyond the plain a number of stunted oaks, gradually becoming more dense farther inland, formed excellent cover for the enemy's snipers, a mode of warfare at which the Turk was very adept. Officers and men were continually shot down, not only by rifle fire from advanced posts of the enemy, but by men, and even women, behind our own firing line, especially in the previous attacks. The particular kind of tree in this part, a stunted oak, lends itself to concealment, being short with dense foliage. Here the sniper would lurk, with face painted green, and so well hidden as to defy detection. Others would crouch in the dense brushwood, where anyone passing could be shot with ease. When discovered, these snipers had in their possession enough food and water for a considerable period, as well as an ample supply of ammunition."
Want of water was one of the great difficulties of the British. They had suffered severely from it in the actions after the landing at SuvIa on August 7th which had failed to gain possession of the Anafarta ridge. The commander-in-chief, Sir Ian Hamilton, had now decided on another attempt to take that ridge with the aid of the 54th division, which was the last of his reinforcements landed.
Between the landing place and the Kuchak Anafarta Ova (Ova = plain) lay a very difficult and intricate country in which it would be almost impossible to avoid intermixture of units and confusion before the final attack on the morning of the 13th. Accordingly, it was decided to send the 163rd brigade forward on the afternoon of the 12th to clear this area of any enemy detachments in it, and to establish itself about the Kuchak Anafarta Ova, thus enabling the main attacking force next morning to get so far on its way to the ridge without the confusion which must result from having to fight its way through a country of small fields surrounded by deep ditches and high hedges, with forest in the background
To add to the difficulties of the 163rd brigade, its orders were generally to clear the country, and no definite objective was assigned to each unit. The orders were to clear snipers out of the scrub, advance to the alignment of the 53rd division, and fill up the gap between it on the right and the 10th division on the left, and dig in for the night. Picks and shovels were issued before moving off.
Colonel Sir H. Beauchamp, commanding the 1/5th. Norfolk, had been placed in local command of the brigade in the trenches occupied on the 11th and the early part of the 12th. The 1/4th Norfolk, who had been left on the beach to unload stores after the landing on the 10th, were presently moved up into the support trenches of the brigade, the front line of which, counting from right to left, consisted of the 5th Norfolk, 8th Hants, and 1/5th Suffolk Regiments. On the left of the 54th division was the 10th, the orders of the former being to link the latter up with the 53rd division, whose right flank rested on the Salt Lake and Azmak River. For this purpose the troops available were insufficient, with a front of only three battalions, and the same number in second line.
The advance on August 12th did not commence till 4.45 p.m., the naval bombardment covering it having started at 4 p.m. The order of the three leading battalions was as given above, the 4th Norfolk following in support behind the 5th Suffolk on the left. Directly the advance began the 1/5th. Norfolk received an order to change direction half right, which they did. This order did not reach the 1/8th Hants, and consequently a gap was formed between the battalions, which continually increased as the advance proceeded.
As the brigade advanced it at once encountered serious resistance, and came under heavy machine-gun fire enfilading it from the left, and shrapnel on the right. The machine-gun fire was the more effective in stopping the British advance, and the 5th Norfolk battalion on the right began to get forward quicker than the left. Touch had been partially lost in the close country, and companies and battalions were much mixed up.
What happened with the 5th Norfolk battalion is thus described in Sir Ian Hamilton's despatch of December 11, 1915 describing what he calls " a very mysterious thing."
" The 1/5th. Norfolk were on the right of the line and found themselves for a moment less strongly opposed than the rest of the brigade. Against the yielding forces of the enemy Colonel Sir H. Beauchamp, a bold, self-confident officer, eagerly pressed forward, followed by the best part of the battalion. The fighting grew hotter, and the ground became more wooded and broken. At this stage many men were wounded, or grew exhausted with thirst. These found their way back to camp during the night. But the Colonel, with sixteen officers and 250 men, still kept pushing on, driving the enemy before them. ... Nothing more was ever seen or heard of any of them. They charged into the forest and were lost to sight or sound. Not one of them ever came back." (Sir Horace Beauchamp, Bart., C.B., had served in the Sudan, Suakim, and South African Campaigns, retired in 1904, and returned to serve in the war in 1914.)
It was not till four years later that any trace was discovered of the fate of this body. Writing on September 23, 1919 the officer commanding the Graves Registration Unit in Gallipoli says:
" We have found the 5th Norfolks - there were 180 in all; 122 Norfolk and a few Hants and Suffolks with 2/4th Cheshires. We could only identify two - Privates Barnaby and Cotter. They were scattered over an area of about one square mile, at a distance of at least 800 yards behind the Turkish front line. Many of them had evidently been killed in a farm, as a local Turk, who owns the place, told us that when he came back he found the farm covered with the decomposing bodies of British soldiers which he threw into a small ravine. The whole thing quite bears out the original theory that they did not go very far on, but got mopped up one by one, all except the ones who got into the farm."
The total casualties of the 5th Norfolk battalion are stated in their War Diary to have been twenty-two officers and about 350 men. The officers missing were - Colonel Sir Horace Proctor Beauchamp, C.B. ; Captain and Adjutant A. E. Ward; Captains E. R. Cubitt, F. R. Beck (the King's estate agent commanding the Sandringham company), Pattrick, Mason, A. C. Coxon, Woodwark; Lieutenants E. A. Beck, Gay, V. M. Cubitt, T. Oliphant ; 2nd Lieutenants Burroughs, Proctor, Beauchamp, Adams, Fawkes. (Captain Coxon and 2nd Lieutenant Fawkes were both wounded and taken prisoners by the Turks. They were in captivity in Asia Minor till after the Armistice. The rest of the missing were all apparently killed.) Major Purdy and 2nd Lieutenants M. Oliphant and A. R. Pelly were wounded but not missing.
The brigade had made some advance in face of very strong opposition, but was far from complete success. During the night the position gained was held in an irregular line, with three and a half battalions and two companies of the 1/4th Norfolk on a spur.
This account of the action of August 12th, taken from the naturally rather meagre entry in the War Diary, may be supplemented by the following rough pencil notes kept by Captain Montgomerie, who was commanding the 1 /4th Battalion in the absence of Colonel Harvey :
" 12th August. - Had, to meet guides from 5th Norfolk at 6 a.m. We started off at 5.40 for the mile walk, arrived at rendezvous, but no guide. Waited with battalion quarter of an hour, and then I left with adjutant to find 5th Norfolk. Eventually found them, only to find Sir H. Beauchamp had just left. Learned where I was expected to be, so sent for the battalion. Busy digging all morning. We were about to complete trenches when we were ordered to move and go in reserve to the brigade in an advance. The advance started 4 p.m. My orders were to follow on the left flank, as that one was unprotected. The three battalions advanced rapidly and all seemed well until I came to the top of a hill which overlooked the valley on the other side of which were Turkish trenches. I could see that they (" They " evidently means the British.) were under shrapnel fire and seemed to be in trouble. I saw Captain Fisher just behind and sent him forward with "B" company. "A" company on left had already gone forward, and half "D" company also on extreme left; half "C" company on my right had wandered off to right and had gone to support of the Hampshires. Seeing that it was useless to send more troops into the valley, with no other troops coming up in rear, I halted there and prepared for all eventualities. It soon became apparent that the brigade was in difficulties. An officer of the 5th Suffolks came rushing back, asking for support and saying the enemy were surrounding him. He could not tell me anything definite. After he had cooled down a bit, he said that the enemy were getting round their right flank. It then appeared to me that the enemy must be retreating across the front of the Hampshires and 5th Norfolk. I sent him back with a few men and told him to let everyone know I was ready to help them from my hill. It was very difficult to absolutely locate their position. I sent a message telling the brigade head-quarters that I was going to hold the ridge overlooking the valley, but it was a long time before I could find them. I, later, saw the brigade major, who told me they were having an awful time in front, and would probably have to retire, and that I must be prepared to help them back. All through the night men were coming in who had lost their units, and I think I had 200 men with me next morning. I gave them water, of which they were in great need."
user.online.be/%7Esnelders/sand.htm
A legend begam to emerge that the battalion had disaapeared into a cloud, which morphed in later years into Alien abduction.
In December 1915, as the Allies prepared to abandon the campaign, the Commander in Chief of the British forces, Sir Ian Hamilton, sent his "final dispatch from the Dardanelles" to the Secretary of State for War, Lord Kitchener. In it, he accounted for the loss of the Norfolks in the following way. I have underlined the words that seem to emphasize the inexplicable nature of the incident:
"in the course of the fight, there happened a very mysterious thing. Against the yielding forces of the enemy Colonel Sir H. Beauchamp, a bold, self-confident officer, eagerly pressed forward, followed by the best part of the battalion. The fighting grew hotter [and] at this stage many men were wounded or grew exhausted but the Colonel, with 16 officers and 250 men kept pushing forward, driving the enemy before him, nothing more was seen or heard of any of them. They charged into the forest and were lost to sight or sound. Not one of them ever came back"
Hamilton's account must have been based upon reports from British officers who had watched from a distance as the disaster unfolded. One of these was a brigade major, Lt-Col Villiers Stuart, who watched the Norfolk's attack through field glasses. He wrote
"On the evening of 12 August 1915 I was observing the low ground in the neighbourhood of Anafarta Ova, [at] a distance of about 2000 to 2500 yards, when, to my surprise I saw what appeared to be about a battalion of our troops advancing rapidly, and apparently unsupported towards the enemy positions on Kvak Tepe. Knowing that there was a considerable concentration of Turks in a gully, on the left flank of the advance, I anticipated trouble and got the two mountain guns, ready for action to try to protect the left flank of the advancing troops. Almost immediately the Turks debouched from their cover and attacked our men in the flank and rear. It was soon too dark to see the issue of the fight, but at the time I was afraid they would be destroyed."
The actual fate of the battalion was discovered in 1919 at the end of the war when the Commonwealth War Graves Commission began searching the battlefields at Gallipoli for the remains of soldiers. There an investigator discovered a cap badge belonging to a soldier of the Norfolk regiment hidden in sand 800 yards behind the Turkish lines at Suvla Bay. This led the commanding officer to write home triumphantly: "We have found the 5th Norfolks." When this news reached the War Office they sent a chaplain who had served during the campaign back to Gallipoli to investigate. The Rev Charles Pierrepoint Edwards examined the area where the cap badge had been uncovered and found a mass grave containing 180 bodies, from which the remains of 122 were identified as members of the "Vanished Battalion." The remains included those of their commanding officer, Lt-Col Beuchamp, who was identified by the distinctive shoulder flashes on his uniform. Of the 266 officers and men reported as missing, 144 remained unaccounted for, but a number of these had been captured and some had subsequently died in the notorious Turkish prison camps. A few had survived captivity to describe what had really happened, but their stories did not emerge until half a century later.
In his book The Vanished Battalion (1991) McCrery revealed new evidence that explained why the full facts discovered by the clergyman who visited the mass grave were not revealed in 1919. He found there was evidence of an official cover-up but this was not to hide evidence of an extraterrestrial kidnapping. In this case it was to conceal evidence of both a military blunder and a war crime. For it emerged that of the bodies discovered that many had been shot through the head as the Turkish soldiers did not like to take prisoners of war. His evidence was backed up by the story of a British survivor of the massacre, who testified before his death in 1969 that he had seen Turkish soldiers bayoneting wounded and helpless prisoners and shooting others in the wood where the battalion disappeared. The survivor escaped only because of the intervention of a German officer who saved his life and he spent the remainder of the war in a prison camp.
It appears that the Rev Charles Pierrepoint Edwards concealed this disturbing evidence in his report to the War Office so as to spare the feelings of the families and the King, who continued to believe their loved ones died gallantly in battle with the enemy. Furthermore, McCrery points out that Sir Ian Hamilton - the Allied commander responsible for the campaign - had an personal interest in making the disappearance of the battalion appear more mysterious than it actually was. His dispatch to Kitchener suggested the disappearance of the battalion was inexplicable. During the campaign the King personally telegraphed Hamilton asking about the fate of Captain Beck and his Sandringham company. McCrery asks:
"What was he to say? 'Sorry, but I've just sacrificed them all quite needlessly in yet another botched attack?' His best course of action, I believe, was to create an air of mystery and thereby stop any form of enquiry into their loss or his leadership."
Shortly after the disaster at Gallipoli Hamilton was relieved of his command and never offered another. In the years that followed, the story he had set loose would become transformed into a fully-fledged legend of the war and a UFO mystery that simply would not die.
Despite it isn't in its youth, this flower drew my attention, it looked self-confident, strong and seemed to be breathing all the air from the outside.
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
Austin R
Possibly
Name: AUSTIN, ROBERT
Rank: Lance Corporal
Regiment: Royal Sussex Regiment
Unit Text: 11th Bn.
Age: 20
Date of Death: 31/07/1917
Service No: G/11619
Additional information: Son of Ephraim and Elizabeth Austin, of 23, Napier St., Norwich.
Grave/Memorial Reference: Panel 20. Memorial: YPRES (MENIN GATE) MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=925925
There is a picture of Robert on Norlink
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The accompanying notes read:-
Lance Corporal Austin was born at Norwich, 18th June 1897, the son of Mr. & Mrs. Austin, 23 Napier Street, Norwich. He enlisted on 10th May 1916 and was killed 31st July 1917. This photograph was donated by his mother.
The 3 year old Robert, born Norwich, is recorded on the 1901 census at 10 Chequers Yard, in the parish of St Michael Coslany. This is the household of his parents, Ephraim, (aged 42 and a shoemaker from Norwich), and Frances E, (aged 44 and a Brushmaker from Norwich). Their other children are:-
Ephraim…………….aged 10.……………born Norwich
Harry………………..aged 9.…………….born Norwich
Tuesday 31st July 1917 - Day 1
The First Stage of the Third Battle of Ypres began with The Battle of Pilckem Ridge. Third Ypres is more usually called the Battle of Passchendaele. Zero Hour was 3.50am.
St. Julian
39th Division
116 Bde
The Division was supported by eight tanks in it’s attack.
116 Bde attacked with 11th, 12th and 13th Bns, Royal Sussex Regt and 14th Bn, Hampshire Regt. 13th Sussex captured St. Julian with the aid of the brigades two tanks.
forum.irishmilitaryonline.com/showthread.php?t=11535
The Battalion lost a total of 150 Killed, Wounded or Missing on this Day.
battlefields1418.50megs.com/11sussex.htm
Contemporary views of the village
www.oucs.ox.ac.uk/ww1lit/collections/item/9098?CISOROOT=%...
Barker F
Initially too many potential matches on the CWGC database
No match on Norlink
Possibles from the 1901 census
Frederick, aged u/1, 2 Home Street, Parish St Bartholomew, parents William & Eva (no obvious match 1911 census)
Frederick J, aged 2, Silver Road, Parish St James, parents Frederick & Agnes (Frederick John, still recorded Norwich, 1911 census)
Francis, aged 6, 104 Oak Street, Parish St Martins, parents William and Elizabeth. (still recorded Norwich, 1911 census)
Frank, aged 10, 15 Branford Road, Parish St James, parents Robert and Jemima,( recorded Bedford on the 1911 census)
New on the 1911 census
Fredrick, born Norwich, circa 1887
Probably, based on the census possibles.
Name: BARKER, FRANCIS FREDERIC
Rank: Rifleman
Regiment: King's Royal Rifle Corps
Unit Text: 9th Bn.
Age: 22
Date of Death: 18/08/1917
Service No: R/14432
Additional information: Son of William and Elizabeth Barker, of 104, Oak St., Norwich. Grave/Memorial Reference: I. E. 27. Cemetery: PERTH CEMETERY (CHINA WALL)
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=102964
The 6 year old Francis, born Norwich, is recorded at 104 Oak Street, in the Parish of St Martins at Oak. This is the household of his parents, William Robert, (aged 34 and a Shoe Finisher from Norwich), and Elizabeth (aged 36 and from Norwich). Their other children are:-
Har’d (??) Percy…………aged u/1.……………born Norwich
Hilda Clara……………aged 4.…………….born Norwich
William George………aged 7.……………..born Norwich
Battle of Passchendaele (Third Ypres)
Saturday 18th August 1917 - Day 19
Rainfall Nil
Hooge
14th Division
43 Bde
14th Div relieved 56th Div overnight.
43 Bde then launched a two battalion attack with 6th Bn, Duke of Cornwall’s Light Infantry and 6th Bn, Somerset Light Infantry. The Somersets followed the barrage through Inverness Copse while the Cornwalls to the north came under fire from Fitzclarence Farm and L-Shaped Farm. They withdrew to Inverness Copse where two tanks came up the Menin Road in support. Three German attacks were driven off during the day.
forum.irishmilitaryonline.com/showthread.php?t=11535&...
(8th KRRC were part of 14th Division).
Button T E
Only T E Button on the CWGC database
Name: BUTTON, THOMAS EDWARD
Rank: Private
Regiment: East Surrey Regiment
Unit Text: 8th Bn.
Date of Death: 30/09/1916
Service No: 20319
Grave/Memorial Reference: Pier and Face 6 B and 6 C. Memorial: THIEPVAL MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=762546
There is a picture of Thomas on Norlink, headed 8th East Surreys Regiment
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The accompanying notes read:-
Born at Norwich, 10th December 1892 and educated at Angel Road School. Enlisted in March 1916 and killed in action in France, 5th October 1916.
There is no other individual listed with the surname Button on the CWGC database who died on the 5th October 1916, so assume this is either a discrepancy on the Norlink notes or the CWGC information.
The 8 year old Thomas, born Norwich, is recorded on the 1901 census at 54, Langley Street, in the parish of St Bartholomew. This is the household of his parents, (aged 35 and a “Fitter Up in Boot Trade” from Yarmouth), and Rose, (aged 29 and from Norwich). Their other children are:-
Ethel………………….aged 4.…………….born Norwich
Fred…………………..aged 6.…………….born Norwich
Saturday 30th September 1916. Day 92
Thiepval
A German attack at dawn drove the East Surreys from the southern face and the West Kents from the western face of Schwaben Redoubt. A hand to hand fight ensued during which the East Surreys re-took the lost ground. The Hun held onto the western face. At 4pm the East Surreys attacked and took the northern face of the redoubt while the West Kents and two platoons of 7th Buffs failed to retake the west face. At 9pm the Germans attacked again and drove the East Surreys back to the entrance to Stuff Trench.
forum.irishmilitaryonline.com/showthread.php?t=9058&p...
Battalions War diary for the day
qrrarchive.websds.net/PDF/ES00819160914.pdf
Officers - 4 killed, 4 wounded, 1 missing believed killed.
OR’s - 43 killed, 234 wounded, 34 missing
The battalion seems to have been providing work parties prior to the 6th, October when it was withdrawn completely. Therefore looks most likely that Private Button died on the 30th, although given the high volumes of OR’s wounded, he may have succumbed to his wounds on that date.
Cletheroe A
Name: CLETHEROE, ALBERT CRISTMAS
Rank: Corporal
Regiment: Royal Field Artillery
Unit Text: "D" Bty. 95th Bde.
Age: 25
Date of Death: 20/11/1918
Service No: 876017
Additional information: Son of Mrs. A. E. Cletheroe, of 8, St. Lawrence Lane, Pottergate, Norwich.
Grave/Memorial Reference: II. A. 8. Cemetery: CAUDRY BRITISH CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=571592
No match on Norlink
The 8 year old Albert C, (born Norwich), is recorded on the 1901 census at 8 Chapmans Buildings, Old Palace Road, in the parish of St Bartholomew. This is the household of his parents, Albert, (aged 28 and a Wine Merchants Carter from Norwich), and Lavinia, (aged 30 and from Norwich). Their other children are:-
Dorothy………………aged 9.………….born Norwich
Frank…………………aged 3.………….born Norwich
Harry…………………aged 5.………….born Norwich
May…………………..aged u/1.………..born Norwich
The 95th Brigade RFA were the Divisional Infantry unit for the 21st Division.
www.21stdivision1914-18.org/wardiariesandresearch.htm
Cropley W
Name: CROPLEY, WALTER CHARLES
Rank: Corporal
Service: Royal Engineers
Unit Text: Signals
Secondary Regiment: Royal Garrison Artillery
Secondary Unit Text: attd. 78th Heavy Bty.
Age: 27 Date of Death: 03/04/1918
Service No: 253434
Additional information: Croix de Guerre (Belgium). Son of James and Eliza Cropley, of Norwich; husband of Marion Ellen Cropley, of 8, Distillery Street, Norwich.
Grave/Memorial Reference: C. 14B. Cemetery: BOIS GUILLAUME COMMUNAL CEMETERY EXTENSION
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=121604
No match on Norlink
The Croix De Guerre was officially gazetted on the 16th April 1918.
www.london-gazette.co.uk/issues/30631/supplements/4530/pa...
The 10 year old Walter, (born Norwich), is recorded on the 1901 census at 5 Fishers Lane, in the parish of St Lawrence. This is the household of his parents, James, (aged 61 and a Shopkeeper from Norwich), and Eliza, (aged 51 and from Norwich). They also have a son Frank, aged 13.
BOIS GUILLAUME COMMUNAL CEMETERY EXTENSION
The extension adjoins Bois Guillaume Communal Cemetery. It was begun in March 1917 and most of the burials came from No.8 General Hospital, which was quartered at Bois Guillaume in a large country house and grounds.
www.cwgc.org/search/cemetery_details.aspx?cemetery=11901&...
Dugdale A E
Only A E Dugdale on the CWGC database
Name: DUGDALE Initials: A E
Rank: Pioneer
Service: Royal Engineers
Unit Text: 314th Railway Construction Coy.
Date of Death: 28/10/1917
Service No: 308022
Grave/Memorial Reference: II. F. 18. Cemetery: BELGIAN BATTERY CORNER CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=92754
No match on Norlink
This cemetery occupies a site at a road junction where three batteries of Belgian artillery were positioned in 1915. The cemetery was begun by the 8th Division in June 1917 after the Battle of Messines (although one grave in Plot III, Row A, predates this) and it was used until October 1918, largely for burials from a dressing station in a cottage near by. Almost half of the graves are of casualties who belonged, or were attached, to artillery units.
www.cwgc.org/search/cemetery_details.aspx?cemetery=8900&a...
The Great War Roll of Honour confirms this is an Arthur E.
The only match on the 1901 census is a 1 year old Arthur, born Norwich, and then residing at 117 Cowgate Street. However, that makes it unlikely that he would have died as a Pioneer in 1917.
The 1911 census has an Arthur Ernest, born circa 1881 Norwich, and still recorded in the District. However, the same individual does not appear to be on the Genes Re-united transcription of the 1901 census.
Durrant D G
Only D G Durrant on the CWGC database
Name: DURRANT, DUDLEY GARTON
Rank: Second Lieutenant
Regiment: Gloucestershire Regiment
Unit Text: "A" Coy. 1st/5th Bn.
Age: 23
Date of Death: 16/08/1916
Additional information: Son of Ellen Mary Durrant, of "Cairnsmore", 6, Langley Avenue, Surbiton, Surrey, and the late Edward Durrant.
Grave/Memorial Reference: Pier and Face 5 A and 5 B. Memorial: THIEPVAL MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=752447
There is a picture of 2nd Lt Durrant on this web-site, which also notes that he was “Killed in action 16th August 1916 - 1/5th Bn 'A' Company. Killed in the night attack on Pozieres Ridge. Aged 23. Born 28th May 1893, in Surbiton, Surrey. Son of Ellen and the late Edward Durrant, of Surbiton, Surrey. Listed on the Thiepval Memorial
glosters.tripod.com/1916off.html
There is nothing to obviously link the Durrant’s to Norwich - Dudley’s mother was from Wiltshire and his father from Chelmsford.
However, could be
Name: DURRANT Initials: D
Rank: Private
Regiment: Norfolk Regiment
Unit Text: 2nd Bn.
Date of Death: 30/11/1916
Service No: 8184
Grave/Memorial Reference: Angora Mem. 58. Cemetery: BAGHDAD (NORTH GATE) WAR CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=633279
No match on Norlink
The Great War Roll of Honour has this soldier down as a David, and gives his rank as Musician.
But the Genes re-united transcriptions of the 1901 and 1911 censuses has no obvious David Durrant with a Norwich connection. There is a Douglas Durrant on the 1901 census, but there is no Douglas listed on either the CWGC database or the Great War Roll of Honour.
Farrow F
Possibles
Name: FARROW, FREDERICK CHARLES
Rank: Private
Regiment: Norfolk Regiment
Unit Text: 1st Bn.
Age: 24
Date of Death: 25/10/1914
Service No: 317805
Additional information: Son of Mrs. M. A. Farrow, of 22, Foundry Bridge Buildings, Prince of Wales Rd., Norwich.
Grave/Memorial Reference: Panel 8. Memorial: LE TOURET MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=859235
Name: FARROW, FRANK JOSEPH
Rank: Private
Regiment: Norfolk Regiment
Unit Text: 7th Bn.
Date of Death: 13/10/1915
Service No: 9208
Grave/Memorial Reference: Panel 30 and 31. Memorial: LOOS MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2942213
Name: FARROW, FREDERICK
Rank: Private
Regiment: Norfolk Regiment
Unit Text: 1st Bn.
Date of Death: 23/04/1917
Service No: 20943
Grave/Memorial Reference: Bay 3. Memorial: ARRAS MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1541839
No match on Norlink
Possibles from the 1901 census,
Frederic, aged 2 months, born Norwich, 31 Adelaide Street, parents Alfred and Catherine
Francis L, aged 7, born Norwich, 72 Dereham Road, mother Annie, maternal grandparents John and Catherine Boulger
Frederick, aged 8, born Norwich, now at 18 Moat Place, Gt Yarmouth, parents Samuel & Eliza
Fred, aged 10, born Norwich, 25 Egyptian Road, Bishops Bridge, parents George & Mary Ann
Frederick W, aged 22, born Norwich, Clerk Mustard Dept, Lock & Key Yard, parents Alfred & Sarah
What appears to be the baptism record of the 8 year old Frederick shown above took place on the 4th June 1893 at St Mary’s Ellingham. His date of birth is given as the 31st March 1893. His parents are Frederick Samuel and Eliza, ad the family address is given as Timber Hill, Norwich. The father works as a Saddler.
Given all that information, the prime candidate for a casualty with this name from Norwich is the 1st Battalion Man who died 25/10/1914. His age and additional information on the CWGC database would tend to tie in with the individual who was aged 10 on the 1901 census. However, whether it’s the same F Farrow who is commemorated at St Laurences is a moot point.
25th October 1914
From “The Doings of the 15th Infantry Brigade” by Brig-Gen Count Gleichen:
Oct. 25th._ Another lovely warm day of Indian summer. Also of many shells, some falling pretty close to our cottage. The Germans were seen making splendid use of the folds in the ground for driving saps and connecting up their heads into trenches getting nearer and nearer to our lines. And we could do nothing but shell them and snipe them as best we could, but with little result, for artillery observation-posts were almost impossible, and snap-shooting at an occasional head or shovel appearing above ground produced but small results. Three French batteries arrived during the morning and were put under Blanchard's orders in the swampy wood behind Givenchy. Some spasmodic attacks occurred on the trenches east of the village, and the French lost rather heavily; for the Germans got into some of their evacuated trenches and killed the wounded there. A speedy counter-attack, however, drove them out again. The Devons lost two officers (Besley and Quick) and ten men killed and thirty-eight wounded. At 4.50 P.M. I got a message saying large columns of the enemy had been seen by the French issuing from La Bassée and Violaines, and I was ordered peremptorily to be ready to counter-attack at once, with my whole force if required. Sir Horace Smith-Dorrien arrived alone an hour or so afterwards, and I pointed out our situation to him; he entirely concurred in my view, and heartened me up considerably by quite recognising the state of affairs and congratulating us, and especially the Devons, on sticking it out so well.
www.gutenberg.org/cache/epub/22074/pg22074.txt
Fields H J
No obvious match on CWGC
No match on Norlink
Possibly
Name: FIELD, HERBERT JOSEPH
Rank: Corporal
Regiment: Norfolk Regiment
Unit Text: 1st/5th Bn.
Date of Death: 12/08/1915
Service No: 2490
Grave/Memorial Reference: Panel 42 to 44. Memorial: HELLES MEMORIAL
CWGC; www.cwgc.org/search/casualty_details.aspx?casualty=695991
However, the 1901 census has a 12 year old Herbert J Fields, born Norwich and recorded at 21 Lower Goat Lane, in the Parish of St Gregory. This is the household of his parents, James H, (aged 32 and a Licensed Victualler from Norwich) and Christianah M, (aged 32 and from Norwich). Their other children are:-
Edith M………………….aged 6.…………..born Norwich
George A………………..aged 8.………….born Norwich
The same individual does not appear to be on the 1911 census, but there is a Herbert Joseph Field who was born circa 1889 in Norwich, and who is still resident there.. He lives in a household that includes a James Herbert, (born circa 1869), an Edith Alice, (born circa 1895), and a “Cristianna” Mary, (born circa 1869).
To date I can’t find any other place laying claim to Corporal Herbert Joseph Field, so the balance of probability at the moment are that the H J Fields and he are the same man.
Among the hundreds of thousands of Allied troops sent to Gallipoli were two battalions of the Royal Norfolk Regiment, the 1/4th and the 1/5th (Territorial).
The Norfolks left Liverpool aboard the SS Aquitainia on 29 July and arrived at Suvla Bay in Gallipoli on 10 August 1915. Just two days later the 1/5th battalion were ordered to clear Turkish positions on the Anafarta Plain prior to the Allied advance. Their sister battalion, the 1/4th waited in reserve and were not involved in the events that followed. The outcome was typical of the poor planning which characterized the whole campaign. The attack was to be made in broad daylight without adequate maps against the well-prepared Turks, who were firmly dug in along a ridge of hills overlooking the bay. The enemy were armed with machine guns and supported by dozens of snipers, many of them teenage girls, camouflaged and hidden in trees. The Norfolk battalion was made up of 16 officers and 250 men and was led by a veteran of the campaign in the Sudan, Lieutenant-Colonel Sir Horace Proctor-Beauchamp. As they left their positions, the 1/5th battalion were joined by hundreds of other British soldiers from battalions of the Suffolk and Hampshire regiments.
The attack quickly turned into a massacre. For some reason during the advance the Norfolks turned slightly to the right, opening up a gap between them and the other British troops from whom they had become separated. As the exhausted Norfolks fixed bayonets and prepared to charge the Turkish positions on the Kavak Tepe ridge they were picked off by snipers and mown down by machine gun fire. Lt-Col Beauchamp was last seen leading his doomed men into a burning forest from which they never emerged. As night fell the few survivors, wounded and exhausted, began to filter back to the British positions at Suvla Bay. The battalion War Diary held at the National Archives records the following under the date 12 August 1915:
"163rd Brigade made a frontal attack on strong Turkish position. 5th Norfolks on right met a strong opposition and suffered heavily. Lost 22 officers and about 350 men. Held our lines during the night in spite of heavy enemy fire."
In December 1915, as the Allies prepared to abandon the campaign, the Commander in Chief of the British forces, Sir Ian Hamilton, sent his "final dispatch from the Dardanelles" to the Secretary of State for War, Lord Kitchener. In it, he accounted for the loss of the Norfolks in the following way. I have underlined the words that seem to emphasize the inexplicable nature of the incident:
"in the course of the fight, there happened a very mysterious thing. Against the yielding forces of the enemy Colonel Sir H. Beauchamp, a bold, self-confident officer, eagerly pressed forward, followed by the best part of the battalion. The fighting grew hotter [and] at this stage many men were wounded or grew exhausted but the Colonel, with 16 officers and 250 men kept pushing forward, driving the enemy before him, nothing more was seen or heard of any of them. They charged into the forest and were lost to sight or sound. Not one of them ever came back"
Hamilton's account must have been based upon reports from British officers who had watched from a distance as the disaster unfolded. One of these was a brigade major, Lt-Col Villiers Stuart, who watched the Norfolk's attack through field glasses. He wrote
"On the evening of 12 August 1915 I was observing the low ground in the neighbourhood of Anafarta Ova, [at] a distance of about 2000 to 2500 yards, when, to my surprise I saw what appeared to be about a battalion of our troops advancing rapidly, and apparently unsupported towards the enemy positions on Kvak Tepe. Knowing that there was a considerable concentration of Turks in a gully, on the left flank of the advance, I anticipated trouble and got the two mountain guns, ready for action to try to protect the left flank of the advancing troops. Almost immediately the Turks debouched from their cover and attacked our men in the flank and rear. It was soon too dark to see the issue of the fight, but at the time I was afraid they would be destroyed."
The actual fate of the battalion was discovered in 1919 at the end of the war when the Commonwealth War Graves Commission began searching the battlefields at Gallipoli for the remains of soldiers. There an investigator discovered a cap badge belonging to a soldier of the Norfolk regiment hidden in sand 800 yards behind the Turkish lines at Suvla Bay. This led the commanding officer to write home triumphantly: "We have found the 5th Norfolks." When this news reached the War Office they sent a chaplain who had served during the campaign back to Gallipoli to investigate. The Rev Charles Pierrepoint Edwards examined the area where the cap badge had been uncovered and found a mass grave containing 180 bodies, from which the remains of 122 were identified as members of the "Vanished Battalion." The remains included those of their commanding officer, Lt-Col Beuchamp, who was identified by the distinctive shoulder flashes on his uniform. Of the 266 officers and men reported as missing, 144 remained unaccounted for, but a number of these had been captured and some had subsequently died in the notorious Turkish prison camps. A few had survived captivity to describe what had really happened, but their stories did not emerge until half a century later.
In his book The Vanished Battalion (1991) McCrery revealed new evidence that explained why the full facts discovered by the clergyman who visited the mass grave were not revealed in 1919. He found there was evidence of an official cover-up but this was not to hide evidence of an extraterrestrial kidnapping. In this case it was to conceal evidence of both a military blunder and a war crime. For it emerged that of the bodies discovered that many had been shot through the head as the Turkish soldiers did not like to take prisoners of war. His evidence was backed up by the story of a British survivor of the massacre, who testified before his death in 1969 that he had seen Turkish soldiers bayoneting wounded and helpless prisoners and shooting others in the wood where the battalion disappeared. The survivor escaped only because of the intervention of a German officer who saved his life and he spent the remainder of the war in a prison camp.
It appears that the Rev Charles Pierrepoint Edwards concealed this disturbing evidence in his report to the War Office so as to spare the feelings of the families and the King, who continued to believe their loved ones died gallantly in battle with the enemy. Furthermore, McCrery points out that Sir Ian Hamilton - the Allied commander responsible for the campaign - had an personal interest in making the disappearance of the battalion appear more mysterious than it actually was. His dispatch to Kitchener suggested the disappearance of the battalion was inexplicable. During the campaign the King personally telegraphed Hamilton asking about the fate of Captain Beck and his Sandringham company. McCrery asks:
"What was he to say? 'Sorry, but I've just sacrificed them all quite needlessly in yet another botched attack?' His best course of action, I believe, was to create an air of mystery and thereby stop any form of enquiry into their loss or his leadership."
Shortly after the disaster at Gallipoli Hamilton was relieved of his command and never offered another. In the years that followed, the story he had set loose would become transformed into a fully-fledged legend of the war and a UFO mystery that simply would not die.
This article was oringally published in UFO Magazine (UK) 2004
www.drdavidclarke.co.uk/vanbat.htm
Forkes A B
Name: FORKES Initials: A B
Rank: Trooper
Regiment: Household Battalion
Date of Death: 11/04/1917
Service No: 1439
Grave/Memorial Reference: G. 11. Cemetery: ATHIES COMMUNAL CEMETERY EXTENSION
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=256890
(The Great War Roll of Honour identifies this soldier as Trooper Albert B Forkes)
Athies was captured by the 9th (Scottish) Division, which included the South African Brigade, on 9 April 1917, and from then it remained in Allied hands. ATHIES COMMUNAL CEMETERY contains one Commonwealth burial of the First World War. The adjoining COMMUNAL CEMETERY EXTENSION was begun immediately after the capture of the village and used by field ambulances and fighting units until May 1918, and again in September 1918.
www.cwgc.org/search/cemetery_details.aspx?cemetery=25201&...
Norlink has a Trooper Albert Bertie Forkes of the 2nd Life Guards, but the accompanying notes read:
Trooper Forkes was born 6th September 1886 and educated at Wymondham Council school. He enlisted on 23rd October 1916. He died from wounds received in action in France, 11th April 1917
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The only Albert Forkes listed on the Genes Re-united Transcription of the 1901 Census for England & Wales is a 14 year old Albert, born Wymondham, and recorded at Queens Street, Wymondham. Albert appears on the Wymondham Memorial.
www.flickr.com/photos/43688219@N00/2945548176/
My notes from the research done on that memorial are:-
At the time of the 1901 Census, Albert, a 14 year old Boot Shop Assistant, was living at Queens Street, Wymondham in the household of his parents, William, (aged 58, a boot maker), and Rhoda Forkes, (aged 54). Also in the household were siblings Earnest Forkes, (age 16, a Grocers assistant), Fred, (aged 12) and William, (aged 18 and a Brush Factory hand)
The Scarpe, Arras, Fampoux and Roeux (8th April to 14th May 1917)
The misfortunes of Britain's allies in 1917 dictated circumstances in which three major battles, Arras, 3rd Ypres and Cambrai, were planned and fought. The Household Battalion was involved to the hilt in all three. The French commander Nivelle was replaced by Marshals Foch and Petain in Spring 1917 after part of the French army mutinied. Field Marshall Sir Douglas Haig launched the Arras offensive on Easter Monday 1917 to draw German attention away from the disaster which had overtaken the French army, further South. As a cavalry officer, he saw the mission of cavalry as the exploitation of the eventual break through in the trench war stalemate and put the 3rd Cavalry Division into the attack on the Hindenhurg Line at Monchy le Preux on Easter Monday, 9th April 1917. There was a general advance of the infantry north and south of the 45 foot wide, 6 foot deep Scarpe River flowing east to west through Arras. North of the Scarpe, the Household Battalion, as part of the 10th Brigade in the 4th Infantry Division were allotted the task of advancing along the swampy banks of the muddy little river on the hamlet of Fampoux, (formerly pop. 1,015 but now flattened and enemy held).
While their brothers of The 1st and 2nd Life Guards and Blues rode against barbed wire and machine guns with the 3rd Cavalry Division to Monchy, The Household Battalion stalked towards Fampoux with rifles and bayonets in the sleet. With them were the Warwicks, Seaforth and Royal Irish Fusiliers. It took the Brigade 11 days to take Fampoux and The Household Battalion lost 9 Officers and 166 non Commissioned Officers and Men killed in action. Ahead was the smaller but even more formidable German defence at Roeux at a bend in the river, one mile from Fampoux and 6,000 yards from the Hindenhurg Line itself.
www.maxwall.co.uk/army/history.htm
On the 1911 census, the 24 year old Albert Bertie is still recorded in the District of Forehoe, Norfolk, which covers Wymondham.
Griffiths L
Possible
Name: GRIFFITHS, LEWIS HERBERT
Rank: Second Lieutenant
Regiment: Norfolk Regiment
Unit Text: 12th (Norfolk Yeo.) Bn.
Age: 21
Date of Death: 11/09/1918
Additional information: Son of Herbert James and Eva Griffiths, of 72, Caernarvon Rd., Norwich.
Grave/Memorial Reference: VIII. O. 9. Cemetery: STRAND MILITARY CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=165177
No match on Norlink
'Charing Cross' was the name given by the troops to a point at the end of a trench called the Strand, which led into Ploegsteert Wood. In October 1914, two burials were made at this place, close to an Advanced Dressing Station, The cemetery was not used between October 1914 and April 1917, but in April-July 1917 Plots I to VI were completed. Plots VII to X were made after the Armistice, when graves were brought in from some small cemeteries and from the battlefields lying mainly between Wytschaete and Armentieres. The cemetery was in German hands for a few months in 1918, but was very little used by them.
The History of the Cemetery on the CWGC site lists a number of the small cemeteries that were concentrated into The Strand Military Cemetery, but only one contained the graves of those who fell in 1918.
LA BASSE-VILLE GERMAN CEMETERY, WARNETON (West Flanders), on the road from La Basse-Ville to Warneton, contained the graves of 68 soldiers from the United Kingdom and one from South Africa who died in German hands, April-August, 1918.
www.cwgc.org/search/cemetery_details.aspx?cemetery=16400&...
Its unlikely that captured troops , especially an officer, would be retained near the front line for any length of time, so its likely that the bodies buried would either have fallen while fighting and had not been recovered by their own side, or had succumbed to wounds encurred shortly before and had been taken prisoner.
While the War Diary of the 12th Norfolks shows them as being in the front line from the night of the 8th/9th September and were actively patrolling by day and night (“and mush useful information about the enemy was obtained”) until relieved on the night of the 13th /14th there is no mention of any casualties.
The 4 year old Lewis, (born Norwich), is recorded on the 1901 census at 63 Wellington Road in the Parish of St Thomas. This is the household of his parents, Herbert, (aged 33 and a “Setter out of Joinery” from Norwich), and Eva, (aged 28 and from Norwich).
Harris C T
Name: HARRIS Initials: C T
Rank: Company Quartermaster Serjeant
Regiment: Norfolk Regiment
Unit Text: 2nd Bn.
Age: 28
Date of Death: 30/09/1916
Service No: 6255
Additional information: Son of William and Emily Harris, of Norwich.
Dead Grave/Memorial Reference: XXI. W. 36. Cemetery: BAGHDAD (NORTH GATE) WAR CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=633722
No match on Norlink
The Great War Roll of Honour lists this man as Charles T. Harris, and his rank as Acting Sergeant.
The 13 year old Charles, (born Norwich), is recorded on the 1901 census at 150 Marlborough Road, in the parish of St James. This is the household of his parents, William, (aged 38 and a Brewers Servant from Norwich), and Emily, (aged 39 and from Norfolk). Their other children are:-
Alice………………aged 2.………….born Norwich
Arthur……………..aged 5.………….born Norwich
Elsie……………….aged u/1.……….born Norwich
Emily………………aged 18.………..born Norwich……Tailoress
Florence……………aged 17.……….born Norwich…….Tailoress
Gertrude……………aged 9.…………born Norwich
When war was declared Turkey decided to join in on the German side and this was to lead to three costly campaigns for the British, Gallipoli, Palestine and Mesopotamia. The first of these was the Mesopotamian campaign and it was launched in November 1914 from India. The Ottoman Turks at this time controlled much of the Middle East including modern day Israel, Syria, Jordan, Saudi Arabia and Iraq. The British intention was to come ashore in Mesopotamia (modern day Iraq) and to secure the oilfields around Basra before making any further exploitation. All the troops from this operation were drawn from India and 2nd Norfolks were one of these battalions. They were part of 6 (Indian ) Division that started to come ashore on the Faw peninsular on 6th November 1914. A division of the Indian army at this time was composed of both British and Indian personnel, the majority being Indian. Horace is recorded as having come ashore on 15th November after which the battalion was involved in several battles including the Occupation of Basra on 22nd November. From Basra the British pushed north along the Shat-al Arab waterway to Qurna which was at the confluence of the Tigris and Euphrates rivers and therefore a place of significant strategic importance. The British soldier found conditions in Mesopotamia very uncomfortable with searing heat, flies and, in the early stages, heavy rain that turned everything into a sea of mud. These conditions brought on sickness which, together with battle casualties, severely depleted some units.
With the Turks falling back everywhere the British commander decided to continue the advance in the hope of fomenting a general arab revolt against the Turks. The Norfolk’s division advanced along the Tigris and captured the towns of al Amara and Kut before pausing. All along the advance they had been getting further and further from their supply base at Basra and as they could only effectively be re-supplied by river their position in this respect became serious. However, with Baghdad as the prize Townsend, the British commander, decided to press on and they advanced along the river to a point some 25 miles from Baghdad at Cstesiphon where the Turks roundly beat the British and forced them to withdraw back to Kut. The Turks pursued them and besieged the town from 6th December 1915. Despite two costly relief efforts the garrison was forced to surrender on 29th April 1916, 146 days after they had withdrawn there.
The garrison of approximately 3000 British and 6000 Indians surrendered and began their long march into captivity in Turkey.
Many prisoners died on the long march north and the conditions at that time of year would have been unbearable and the Turks did not have a good humanitarian record toward prisoners.
www.oldbuckenham-pri.norfolk.procms.co.uk/pages/viewpage....
The following newspaper report appeared after letters were received from prisoners.
THE 2nd NORFOLKS PRISONERS OF WAR
To the Editor:
Dear Sir
May I correct one statement in the very interesting letter re 2nd Norfolk Regiment prisoners published in your paper to-day. The writer says that because Quartermaster-Sergeant Niblock had written from Affion Kara Hissar, probably the whole regiment are there. There are only 22 of the men at Affion Kara Hissar. This I have in a letter from an officer in that camp last week. As a matter of fact the men are scattered all over Asia Minor. So far we know the addresses of between 80 to 90 of them. These are at Bilemedix, Airan, Yarbachi Bagdadbaull, Yosgad, Castamouni, Tamara, Affion Kara Hissar and Brussa. By far the biggest number of these are at Yarbachi.
Yours faithfully,
Frances W. Burton
Secretary, Norfolk Regiment Prisoners of War Help Organisation.
www.stephen-stratford.co.uk/pte_wilby.htm
After the war ended. The War Graves Commission gathered the bodies of PoW’s from all over the region and re-interred them at the Baghdad North Gate Cemetery.
www.cwgc.org/search/cemetery_details.aspx?cemetery=57303&...
Holmes G H
Too many potential matches on CWGC
However Norlink has a Herbert Holmes of the 15th Royal Irish Rifles. There are no additional notes
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
Name: HOLMES, HERBERT
Rank: Lance Corporal
Regiment: Royal Irish Rifles
Unit Text: 15th Bn.
Secondary Regiment: Norfolk Regiment Secondary Unit Text: formerly (5575)
Age: 21 Date of Death: 21/03/1918
Service No: 41421
Additional information: Son of Henry Alfred and Ann Holmes, of 82, Trafalgar St., Lakenham, Norwich.
Grave/Memorial Reference: Panel 74 to 76. Memorial: POZIERES MEMORIAL
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=1582798
No obvious G H Holmes with a Norwich connection on the 1901 census. Of the 6 GH Holmes listed on the CWGC database, only one can be ruled out on the grounds of the additional information.
If we look for details of Herbert on the 1901 census, we find him, aged 4 and born Norwich, recorded at 82 Trafalgar Steet, in the parish of St Marks, New Lakenham. This is the household of his parents, Henry A, (aged 34 and a Hairdresser from Norwich), and Ann, (aged 31 and from Norwich). Their other children are:-
Arthur…………..aged 8.………….born Norwich
Ernest R………..aged 1.………….born Norwich
On 21 March 1918, Second Lieutenant Edward de Wind of the 15th. Battalion, Royal Irish Rifles, who was from Ballycastle, County Down, was awarded the Victoria Cross for holding a strategically important post for 7 hours, repelling repeated attacks until he was killed
homepage.eircom.net/~tipperaryfame/ririfles.htm
It was during the First Battle of the Somme on 21 March 1918, at the Racecourse Redoubt, near Groagie, France, that for seven hours, Second Lieutenant De Wind held this important post and though twice wounded and practically single-handed, he maintained his position until another section could be sent to his help.
On two occasions, with two NCOs only, he got out on top under heavy machine-gun and rifle fire and cleared the enemy out of the trench, killing many of them. He continued to repel attack after attack until he was mortally wounded and collapsed.
www.army.mod.uk/infantry/regiments/6221.aspx
The 36th (Ulster) Division
Following the battles of the Somme, Messines and Cambrai the Ulster Division found itself badly under its established strength.
The Division's five kilometre front lent itself well to defence with a series of low ridges and valleys opposite St Quentin. On the first ridge behind the front line were three redoubts: Boadicea (on the left), Racecourse and Jeanne d'Arc. Behind them in the Battle Zone were three more: Ricardo, Quarry and Station.
Like all of the Divisions that had been moved into the area there was a lot more work to do than simply build redoubts and dig trenches. Roads and communications systems had to be prepared or improved; munitions depots established; everything was labour intensive and the manpower was in short supply.
On the opening day of the German offensive the Battle Zone trenches in some places were still only knee deep.
Racecourse Redoubt - 15th Royal Irish Rifles
At the village of Grugies 2nd Lieutenant Edmund de Wind a former soldier in the Canadian Infantry commanded the small garrison at Racecourse Redoubt.
The Germans were pressing westwards and the redoubt soon came under severe pressure. De Wind and his men held their own until the early afternoon when finally de Wind was killed. His body was never found and he is commemorated on the Pozières Memorial.
De Wind would be awarded the Victoria Cross for his valour but only after the war had ended and witnesses came home from captivity. He is also commemorated in his home town of Comber in County Down, and by Mount de Wind in his adopted Alberta, Canada.
The London Gazette dated 13th May 1919
For most conspicuous bravery and self-sacrifice on the 21st March 1918, at the Race Course Redoubt, near Grugies. For seven hours he held this most important post, and though twice wounded and practically single-handed, he maintained his position until another section could be got to his help. On two occasions, with two NCOs only, he got out on top under heavy machine gun and rifle fire, and cleared the enemy out of the trench, killing many. He continued to repel attack after attack until he was mortally wounded and collapsed. His valour, self-sacrifice and example were of the highest order.
War Diary of the 15th Bn Royal Irish Rifles: 21/22nd March 1918
The diary now deals with the movements of the Battalion details which consisted of transport, personnel of quartermaster's stores, personnel left out of action, other ranks arriving back from leave, from courses and from hospital, together with a draft of 100 other ranks which arrived today. The battalion itself was gone, killed wounded and prisoners. Captain PM Miller MC commanded the little party.
www.webmatters.net/france/ww1_kaiser_05.htm
Hopkins L
No obvious match on the CWGC database
No match on Norlink
No obvious match for a L Hopkins on either the 1901 or 1911 census with a Norwich connection.
Howes P V
Only P V Howes on the CWGC database
Name: HOWES Initials: P V
Rank: Private
Regiment: Norfolk Regiment
Unit Text: 8th Bn.
Date of Death: 25/04/1918
Service No: 43231
Grave/Memorial Reference: VI. D. 8. Cemetery: BOUCHOIR NEW BRITISH CEMETERY
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=308517
No match on Norlink
The Great War Roll of Honour lists this soldier as Percy V.
Three possibles on the 1901 census, all of whom have no middle initial \ name on the 1911 census.
Percy, (aged 3) born Norwich, at 8 Lewis Street, Parish St John the Baptist & All Saints, parents James & Susannah
Percy R, (aged 4) born Norwich, at 58 Grant Street, Parish St Bartholomew, parents William & Mary
Percy, (aged 8), born Norwich, at near Holt Road, Hellesdon, parents Harry & Riobina (??)
Bouchoir New British Cemetery
The village of Bouchoir passed into German hands on 27 March 1918 but was recovered by the 8th Canadian Infantry Brigade on 9 August 1918. The New British Cemetery was made after the Armistice when graves were brought there from several small Commonwealth cemeteries and from the battlefields round Bouchoir and south of the village. Almost all date from March, April or August 1918
www.cwgc.org/search/cemetery_details.aspx?cemetery=31900&...
The 8th Battalion had officially ceased to exist by the time of the German Spring Ofensive, with men from the Battalion being allocated to either the 7th or 9th . However, as this only preceded the first phase of the German Spring offensive by a few weeks, its is perhaps not surprising that the official paperwork hadn’t caught up by the time of the second phase, when decimated British & Commonwealth units from the earlier attack were moved into a “quiet” sector, only to find it was the very place planned for the next German assault.
In one memoir there is talk of ex-8th Battalion men turning up as replacements for the London Regiment Battalion at the height of the second German offensive.
hastang.co.uk/pdf/Scouting%20on%20the%20Somme.pdf
Martin F
Too many without further information
No match on Norlink
Possibles from the 1901 Census
Frederick, (aged 4) born Norwich, at St Benedicts Back Lane, Parish of St Benedict, parents Benjamin & Laura
Frederick, (aged 15 - Brushmaker), born Southrepps, at 155 Armes Street. Parish of St Bartholomew, parents - only mother Elizabeth listed.
Frank I (aged 23 Grocers Assistant) born Warley Essex at 53 Pembroke Road, parish of St Thomas, married to Gertrude, father of Amy.
Possible
Name: MARTIN Initials: F E
Rank: Corporal
Regiment: Royal Berkshire Regiment
Unit Text: Depot Bn.
Date of Death: 15/01/1919
Service No: 11513
Grave/Memorial Reference: 54. 178. Cemetery: NORWICH CEMETERY, Norfolk
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2803226
But 180 other possibles to a lesser degree.
but a bald man - there's your diamond in the rough :-) Larry David
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St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.
St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.
It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.
St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.
HISTORY OF THE BUILDING
In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck
The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.
No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).
The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.
In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.
Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).
In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
DESTRUCTION AND RESTAURATION
In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.
Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.
The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.
The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.
In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.
In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).
The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.
At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.
The gilded flèche, which extends 30 metres (98 ft) higher than the nave roof, was recreated from old designs and photographs in 1980.
LOTHAR MALSKAT AND THE FRESCOS
The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.
Lothar Malskat played an important part in the novel The Rat by Günter Grass.
INTERIOR DECORATION
St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:
A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres (89 imperial gallons), almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres (89 imperial gallons).
Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989
Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel
Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar
Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory
Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.
In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.
Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)
John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)
St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony
Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory
The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory
The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.
ANTWERP ALTARPIECE
The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.
MEMORIALS
In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for
the councillor Hartwig von Stiten (de), made in 1699;
the councillor Adolf Brüning (de), made in 1706;
the mayor Jerome of Dorne (de) (who died in 1704) and
the mayor Anton Winckler (de) (1707),
the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.
The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).
THE FREDENHAGEN ALTARPIECE
The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.
Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.
STAINED GLAS
Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.
The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).
The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.
The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.
Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.
In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).
In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.
This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.
CHURCHYARD
Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.
The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.
To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.
The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):
The congregation of St. Mary's
in memory of their dead
1914 1918
(to which was added after the Second World War)
and
1939 1945
MUSIC AT ST: MARY´S
Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building,.
MAIN ORGAN
St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres (36 feet), the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.
Danse macabre organ (choir organ)
The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.
In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.
As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both
OTHER INSTRUMENTS
There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.
In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.
ORGANISTS
Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.
With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.
For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.
Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.
In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.
The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.
The Lübeck Boys Choir at St. Mary’s
THE LÜBECK BOYS CHOIR
has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.
ST. MARY´S CHURCH TODAY
CONGREGATION
Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.
ASTRONOMICAL CLOCK
The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.
At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.
CARILLON
After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.
BELLS
The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.
The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.
In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.
In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.
This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.
DIMENSIONS
Total Length: 103 metres
Length of the middle nave: 70 metres
Vault height in the main nave: 38.5 metres
Vault height in the side naves: 20.7 metres
Height of the towers: 125 metres
Floor area: 3,300 square metres
WIKIPEDIA
Abbaye Saint-Michel-de-Cuxa has a long and winding history, starting in 840, when near the river Tet "Sant Andreu d'Eixalada" was founded. This small abbey was washed away during a flood already soon after.
The monks moved to nearby Cuixa, where in 879, abbot Protasius (he came from Urgell) and Miro the Elder, count of Conflent and Roussillon (and brother of Wilfred the Hairy) signed the founding treaty of the new monastery.
Under protection and influence of the Counts of Cerdanya the abbey gained importance. A large complex was built over the next century. In 974 a monk from Cluny (!) consecrated the main altar of the new church, dedicated to Saint Michael. Since 961 abbot Garin led the monastery. He was a perfectly connected intellectual figure, friend of Gerbert d'Aurillac (later Pope Sylvester II). At that time Pietro I Orseolo, formerly the Doge of Venice and later a venerated Saint, joined the community as well as Saint Romuald, later the founder of the congregation of Camaldolese.
Influental and powerful Oliba (971-1046), descendant of Wilfred the Hairy, count of Berga and Ripoll and later bishop of Vic and abbot here kept the place in the political center of the County of Barcelona. He had founded a couple of monasteries (eg. Montserrat), had been a political adviser and was a well travelled man. He had been impressed by the architecture he had seen in Italy and was heavily involved in the architectonial process, transforming the pre-romanesque complex, started by his predecessors.
Saint-Michel-de-Cuxa lost the importance it once had and during the next centuries. There was a row of self-confident abbots, without any interest in monastical traditions. The French Revolution ended that - and the last monk fled 1793, just before the revolutionists ruined the place with great effort. The abbey was sold afterwards by the government - and another story started.
The abbey fell in disrepair. The cloister, erected 1130-1140, was still complete in the 1780s. After the Revolution the new owner had different plans, as he needed a water basin, and reckoned the cloister the perfect place.
In 1841, the owner tried to sell the cloister to Perpignan, where it should find a place in the garden of the archbishop, but the negotiation failed. At that time 37 pillars and capitals were still in situ. Soon after the cloister was taken apart. Most carvings were sold to people in nearby Prades, to beautify their gardens.
Around 1905 an American sculptor, living in France, opened an antique trade. He tracked down the scattered pieces of the cloister - and started to buy them sucessfully. He was proud, that in the end he had the major part of the cloister, having spent about 3000 US$.
To cut the story short, most of the pillars, arcades and capitals are now in New York, where the joined the cloisters from Saint-Guilhem-le-Désert and Bonnefont. They are all part of "The Cloisters", once founded and financed by John D. Rockefeller, now part of the "Metropolitan Museum of Art".
The large fountain, that was the center of this cloister once, can now be seen in the Philadelphia Museum of Art. There te fountain is the center of a cloister, that once was in Saint-Genis-des-Fontaines.
The Cloisters:
www.metmuseum.org/visit/visit-the-cloisters/
Philadelphia Museum of Art
www.philamuseum.org/collections/permanent/42060.html
Standing near the choir and looking back to the main entrance. Please note the first arches left and right, which have a so called "horseshoe-design", what could connect them to Arabic influence, as this is an arabic technique, that was widely used in Spain.
Since decades, this is an issue of an open discussion. Have in mind that the church is pre-romanesque, erected before 1000 most other clearly "Mozarabic" structures are much younger.
St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.
St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.
It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.
St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.
HISTORY OF THE BUILDING
In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck
The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.
No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).
The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.
In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.
Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).
In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
DESTRUCTION AND RESTAURATION
In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.
Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.
The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.
The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.
In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.
In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).
The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.
At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.
The gilded flèche, which extends 30 metres (98 ft) higher than the nave roof, was recreated from old designs and photographs in 1980.
LOTHAR MALSKAT AND THE FRESCOS
The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.
Lothar Malskat played an important part in the novel The Rat by Günter Grass.
INTERIOR DECORATION
St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:
A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres (89 imperial gallons), almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres (89 imperial gallons).
Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989
Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel
Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar
Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory
Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.
In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.
Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)
John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)
St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony
Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory
The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory
The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.
ANTWERP ALTARPIECE
The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.
MEMORIALS
In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for
the councillor Hartwig von Stiten (de), made in 1699;
the councillor Adolf Brüning (de), made in 1706;
the mayor Jerome of Dorne (de) (who died in 1704) and
the mayor Anton Winckler (de) (1707),
the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.
The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).
THE FREDENHAGEN ALTARPIECE
The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.
Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.
STAINED GLAS
Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.
The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).
The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.
The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.
Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.
In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).
In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.
This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.
CHURCHYARD
Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.
The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.
To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.
The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):
The congregation of St. Mary's
in memory of their dead
1914 1918
(to which was added after the Second World War)
and
1939 1945
MUSIC AT ST: MARY´S
Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building,.
MAIN ORGAN
St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres (36 feet), the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.
Danse macabre organ (choir organ)
The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.
In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.
As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both
OTHER INSTRUMENTS
There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.
In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.
ORGANISTS
Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.
With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.
For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.
Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.
In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.
The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.
The Lübeck Boys Choir at St. Mary’s
THE LÜBECK BOYS CHOIR
has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.
ST. MARY´S CHURCH TODAY
CONGREGATION
Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.
ASTRONOMICAL CLOCK
The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.
At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.
CARILLON
After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.
BELLS
The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.
The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.
In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.
In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.
This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.
DIMENSIONS
Total Length: 103 metres
Length of the middle nave: 70 metres
Vault height in the main nave: 38.5 metres
Vault height in the side naves: 20.7 metres
Height of the towers: 125 metres
Floor area: 3,300 square metres
WIKIPEDIA
What's the time? Yes, indeed, this photo is not reversed left to right... It's a Munich curiosity! // Wie spät ist es denn? Das Foto ist nicht etwa seitenverkehrt... es ist ein münchnerisches Kuriosum!
"In Bavaria clocks are going different!" is a quote of Willy Brandt, chancellor of Germany (1969 - 1974) and leader of the Social Democratic Party of Germany (SPD) 1964 - 1987. With this sentence he commented the (difficult) state of his party in Munich and Bavaria in the 1970s.
But Bavarians like this sentence because it shows also their attitude of life... they are proud to be Bavarians, they are self-confident, they have achieved a lot and they live in the best place on earth :-)) Maybe it's similar to the sentence "Don't mess with Texas!"... so: don't mess with Bavaria, either :-)
This clock is situated on the tower of the Isartor at the Isartorplatz in Munich. It's one of four main gates of the medieval city wall. It served as a fortification for the defence and is the most easterly of Munich's three remaining gothic town gates (Isartor, Sendlinger Tor and Karlstor). The gate (German: Tor) is located close to the Isar and was named after the river.
The Isartor today houses a humorous museum which is dedicated to the Bavarian comedian and actor Karl Valentin. In 1959 based on private initiative the Valentin-Musäum was established in the Isartor. This museum shows absurdities from parts of his inheritance.
Karl Valentin (pronounced Falenteen, 4 June 1882, Munich - 9 February 1948, Planegg, Germany) was a Bavarian comedian, cabaret performer, author and film producer.
His art centered mostly around linguistic dexterity and wordplay - Valentin was a linguistic anarchist. His comedy would often begin with a simple misunderstanding, on which he would insist as the sketch progressed. He definitly was a maverick...
So this clock fits perfectly to keep Valentin in memory and to advert the "Valentin Musäum".
So tell me: what time is it?
===
"In Bayern gehen die Uhren anders." Dieses Zitat stammt von Willy Brandt, der damit achselzuckend die Zustände der Münchner SPD in den 70er Jahren kommentierte.
Die Bayern mögen den Satz, können sie damit doch auch ihrem Lebensgefühl "mir san mir" Ausdruck verleihen. In Bayern läuft halt alles ein bißchen anders...
Seit 4. November 2005 ist dieser Satz für München aber auch zu Realität geworden:
Petra Perle, die Allround-Künstlerin und Wirtin des Turmstüberls im Karl-Valentin-Musäum schenkt der Stadt für den dritten Turm im Isartor eine rückwärts gehende Uhr.
„Diese Uhr zeigt die Uhrzeit genau an, nur lesen muss man sie anders können. Hier ist eben umdenken gefragt“, betont Petra Perle und fügt hinzu: „Auch der Quer- und Andersdenker Karl Valentin beleuchtete die Tücken des Alltags in dem er sie aus einem andern Blickwinkel betrachtete.“ Die römischen Ziffern der dem Tal zugewandten rückwärtigen Uhr sind verkehrt herum angeordnet, so dass ein Ablesen der Zeit ein kurzes, intensives Umdenken erfordert. Womit München wohl über die einzige Turmuhr europaweit verfügt, die rückwärts läuft. Karl Valentin würde sich freuen...." --> www.ganz-muenchen.de/tourist/stadt/gebaeude/isartor/uhr.html
St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.
St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.
It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.
St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.
HISTORY OF THE BUILDING
In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck
The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.
No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).
The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.
In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.
Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).
In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
DESTRUCTION AND RESTAURATION
In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.
Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.
The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.
The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.
In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.
In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).
The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.
At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.
The gilded flèche, which extends 30 metres (98 ft) higher than the nave roof, was recreated from old designs and photographs in 1980.
LOTHAR MALSKAT AND THE FRESCOS
The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.
Lothar Malskat played an important part in the novel The Rat by Günter Grass.
INTERIOR DECORATION
St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:
A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres (89 imperial gallons), almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres (89 imperial gallons).
Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989
Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel
Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar
Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory
Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.
In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.
Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)
John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)
St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony
Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory
The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory
The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.
ANTWERP ALTARPIECE
The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.
MEMORIALS
In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for
the councillor Hartwig von Stiten (de), made in 1699;
the councillor Adolf Brüning (de), made in 1706;
the mayor Jerome of Dorne (de) (who died in 1704) and
the mayor Anton Winckler (de) (1707),
the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.
The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).
THE FREDENHAGEN ALTARPIECE
The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.
Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.
STAINED GLAS
Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.
The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).
The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.
The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.
Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.
In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).
In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.
This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.
CHURCHYARD
Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.
The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.
To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.
The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):
The congregation of St. Mary's
in memory of their dead
1914 1918
(to which was added after the Second World War)
and
1939 1945
MUSIC AT ST: MARY´S
Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building,.
MAIN ORGAN
St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres (36 feet), the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.
Danse macabre organ (choir organ)
The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.
In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.
As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both
OTHER INSTRUMENTS
There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.
In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.
ORGANISTS
Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.
With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.
For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.
Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.
In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.
The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.
The Lübeck Boys Choir at St. Mary’s
THE LÜBECK BOYS CHOIR
has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.
ST. MARY´S CHURCH TODAY
CONGREGATION
Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.
ASTRONOMICAL CLOCK
The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.
At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.
CARILLON
After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.
BELLS
The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.
The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.
In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.
In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.
This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.
DIMENSIONS
Total Length: 103 metres
Length of the middle nave: 70 metres
Vault height in the main nave: 38.5 metres
Vault height in the side naves: 20.7 metres
Height of the towers: 125 metres
Floor area: 3,300 square metres
WIKIPEDIA
Seattle Hempfest 2012 was an amazing success. I had such a great time hanging out with my activists, friends, Matty Simone, Simmi Dhillion (Twtiter: @SimmiThinks). Check out all of these great photos and please share with your friends and social networks. I love meeting real life investors of my compay $RFMK. There is not a doubt in my mind that CANNACig and RFMK are going straight to the top in not only sales, but in brand name recognition! This is just the beginning! I'm SOOOO psyched!!! If you want to get yours today go to:
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Referred to as the "Martha Stewart of Marijuana," Cheryl Shuman announces the formation of Green Asset International Inc.. Shuman brings 25 years of experience working with media, celebrities, marketing and health care in Beverly Hills. Shuman found her passion in the cannabis movement since 1996 working as an activist and legal cannabis patient. Since using cannabis therapy, she has survived cancer and injuries from two car crashes.
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photos of this series flic.kr/s/aHsjGcjoVd
photos of this series
bicycle bike Velo Bicyclette Fiets bicicleta bici Fahrrad Rad www.flickr.com/photos/97695964@N02/albums/72157667498023871
Soapbox derby, June 16. 2013 in Wahnbek / near Oldenburg - city in the German state of Lower Saxony.
Spontaner Entschluss der Ju-Jutsu Kinder- u. Jugendgruppe des TuS Bloherfelde am Seifenkistenrennen (Sonntag, den 16. 06. 2013) in Wahnbek / Nähe Oldenburg (Oldb) teilzunehmen.
Here are the before make-up photo.
I try to carve his mouth without any addition materials added. Now his look like more self-confident on his face expression^^.
This is the face expression version one of "ACE" I plan to doing another version ASAP... ...XDDDD
Alfred Messel (22 July 1853, Darmstadt – 24 March 1909, Berlin) was one of the most well-known German architects at the turning point to the 20th century, creating a new style for buildings which bridged the transition from historicism to modernism. Messel was able to combine the structure, decoration, and function of his buildings, which ranged from department stores, museums, office buildings, mansions, and social housing to soup kitchens, into a coherent, harmonious whole. As an urban architect striving for excellence he was in many respects ahead of his time. His most well known works, the Wertheim department stores and the Pergamon Museum in Berlin, reflect a new concept of self-confident metropolitan architecture.[1] His architectural drawings and construction plans are preserved at the Architecture Museum of the Technical University of Berlin. wikipedia
Nymans is an English garden in Haywards Heath, Sussex. It was developed, starting in the late 19th century, by three generations of the Messel family, and was brought to renown by Leonard Messel.
In 1953 Nymans became a National Trust property.[1] Nymans is the origin of many sports, selections and hybrids, both planned and serendipitous, some of which can be identified by the term nymansensis, "of Nymans". Eucryphia × nymansensis (E. cordifolia × E. glutinosa) is also known as E. "Nymansay". Magnolia × loebneri 'Leonard Messel', Camellia 'Maud Messel' and Forsythia suspensa 'Nymans', with its bronze young stems, are all familiar shrub to gardeners.
History
In the late 19th century, Ludwig Messel, a member of a German Jewish family, settled in England and bought the Nymans estate, a house with 600 acres on a sloping site overlooking the picturesque High Weald of Sussex. There he set about turning the estate into a place for family life and entertainment, with an Arts and Crafts-inspired garden room where topiary features contrast with new plants from temperate zones around the world. Messel's head gardener from 1895 was James Comber, whose expertise helped form plant collections at Nymans of camellias, rhododendrons, which unusually at the time were combined with planting heather (Erica) eucryphias and magnolias. William Robinson advised in establishing the Wild Garden.[2]
His son Colonel Leonard Messel succeeded to the property in 1915 and replaced the nondescript Regency house with the picturesque stone manor, designed by Sir Walter Tapper and Norman Evill in a mellow late Gothic/Tudor style. He and his wife Maud (daughter of Edward Linley Sambourne) extended the garden to the north and subscribed to seed collecting expeditions in the Himalayas and South America.
The garden reached a peak in the 1930s and was regularly opened to the public. The severe reduction of staff in World War II was followed in 1947 by a disastrous fire in the house, which survives as a garden ruin. The house was partially rebuilt and became the home of Leonard Messel's daughter[3] Anne Messel and her second husband the 6th Earl of Rosse. At Leonard Messel's death in 1953 it was willed to the National Trust with 275 acres of woodland, one of the first gardens taken on by the Trust. Lady Rosse continued to serve as Garden Director.
wikipedia
Seattle Hempfest 2012 was an amazing success. I had such a great time hanging out with my activists, friends, Matty Simone, Simmi Dhillion (Twtiter: @SimmiThinks). Check out all of these great photos and please share with your friends and social networks. I love meeting real life investors of my compay $RFMK. There is not a doubt in my mind that CANNACig and RFMK are going straight to the top in not only sales, but in brand name recognition! This is just the beginning! I'm SOOOO psyched!!! If you want to get yours today go to:
www.vinhaler.com/pre-order.html
Interested in investing in the stock that manufactures this amazing product? The stock symbol is RFMK :)
Let's rock it! Spread the word on all of your social networks!
Cheryl Shuman :)
For more information on the CANNACig and RFMK Go to these links :)
CASTING NOW!!! DREAM BIG! Nothing like being featured in a national TV show to gain huge national publicity for your business, career, or yourself!
Hollywood's most celebrated Network & Cable producers are now working with Cheryl Shuman to develop 4 (Four) different reality series evolving around the cannabis community and movement. These will be hits!! Imagine Entourage Meets Sex in the City Meets The Apprentices Meets Top Model Meets The Big C Meets the Cannabis Movement. These new hit shows about real men & women, living captivating lives in LEGAL MEDICAL MARIJUANA are now casting! This upcoming docu-series gives viewers an inside look at Cannabis Communities most intriguing, interesting, compelling, & glamorous individuals. In addition, we will be profiling some of the most compelling patient stories to help promote law reform as well as top political figures during the upcoming election.
The Production Team is currently looking for fabulous men, women and their families who live or work in the cannabis industry as well as main stream cannabis consumers to be on this series. We are searching for outgoing, exciting, strong, self-confident men & women who reside in LEGAL medical cannabis states who want to share their amazing lives!
Theses new docu-series are an amazing platform to promote current or future activism, business endeavors, careers, ideas, etc... you can't beat the huge publicity of a national television show to make you and your ideas/brand a major success!
If you or someone you know is living "the good life" in one of the legal medical marijuana communities, we want to hear from you!
TO SUBMIT:
Be sure to mention you heard about this from Cheryl Shuman for priority consideration, and email ALL the information requested below ASAP to:
BeverlyHillsCannabisClub@gmail.com
Be sure to include:
1. Your name (first and last)
2. Contact phone number
3. City/Zip where you live
4. A short bio about you and your fabulous life and what makes you a fit for this tv show
5. Recent photos of you, your family, and your home/BUSINESS (jpg format please)
6. Be sure to mention you heard about this from Cheryl Shuman for priority consideration!
TO RECEIVE NOTICES LIKE THIS WITH MORE INFO ON ENTERTAINMENT INDUSTRY JOBS, OPPORTUNITIES, AND EVENTS:
Just go to www.BeverlyHillsCannabisClub.com and click Register!
FOR ADDITIONAL INFORMATION COMMENTS AND FB LIKES/TWEETS ON MY ARTICLES! :) THNX :) Check out the Wilfred from FX articles on:
blog.sfgate.com/smellthetruth/2012/06/11/an-inside-look-a... blog.sfgate.com/smellthetruth/2012/06/28/fx-thursday-nigh...
About Cheryl Shuman:
Referred to as the "Martha Stewart of Marijuana," Cheryl Shuman announces the formation of Green Asset International Inc.. Shuman brings 25 years of experience working with media, celebrities, marketing and health care in Beverly Hills. Shuman found her passion in the cannabis movement since 1996 working as an activist and legal cannabis patient. Since using cannabis therapy, she has survived cancer and injuries from two car crashes.
Shuman was the founder of Beverly Hills NORML, founding charter member of the NORML Women's Alliance and served on the steering committee for Public Relations and Marketing on an International platform. Cheryl Shuman is a founding member of the NCIA, National Cannabis Industry Association and served as the Director of Special Projects for the NCIA including the Women's Cannabusiness Network. Cheryl Shuman transformed her non-profit career into a thriving profitable media enterprise.
Cheryl was the Executive Director of Celebrity, Media and Public Relations for the KUSH Brand which includes KUSH Magazine, KUSH Conventions and DailyBuds.com. Cheryl Shuman has been interviewed for television programs, newspapers and magazines, including but not limited to: ABC News, CNN, Fox News, NBC News, Access Hollywood, Entertainment Tonight, Today Show NBC, HBO Entertainment News and more.
Her private medical cannabis collective, "The Beverly Hills Cannabis Club" is unlisted and membership is by referral only. Through her personal relationships and connections within Hollywood, Cheryl Shuman has been named as one of the most influential women in the cannabis reform movement by international media. Her position within the cannabis industry creates the first and only company of its kind and at the forefront of entertainment marketing, celebrity endorsements, product placement integration, sponsorships, production and technology.
Cheryl Shuman serves as media spokesperson for the hot new vaporizer CANNACig Rapid Fire Marketing (pink sheets: RFMK) and conducts their marketing, public relations, product placement, and consulting services.
Cheryl Shuman's "Green Asset International Inc." is a business development company and acquisition vehicle. Green Asset made news with an historic $100 million funding facility dedicated to the cannabis industry with plans to go public by 2014.
--
Cheryl Shuman, C.E.O.
Green Asset International Inc.
Director of Celebrity, Media & Public Relations
"Smell the Truth" - Hearst Digital Media
www.blog.sfgate.com/smellthetruth/
The Truth List
Spokesperson for CANNACig by RFMK
www.vinhaler.com/online-store.html
Beverly Hills Cannabis Club
Join Free Using "Cheryl Shuman" as your invitation code on:
www.BeverlyHillsCannabisClub.com
Social Network Links:
www.BeverlyHillsCannabisClub.com
LinkedIN: www.LinkedIn.com/in/CherylShuman
Facebook: www.FaceBook.com/CherylShumanInc
Twitter: www.Twitter.com/CherylShuman
YouTube: www.YouTube.com/BeverlyHillsCannabis
Vimeo: vimeo.com/cherylshuman
Frank Luntz Memorial Day Party Pics :) - We had so much fun! The entertainment was great! Ran in to old friend like Mary Hart from Entertainment tonight, Steven Weber (actor), former Governor Gray Davis and his wife Sharon and of course President Obama and the first lady :) Here's a little bit about our wonderful host Frank Luntz, one of the most brilliant men I know :) en.wikipedia.org/wiki/Frank_Luntz
Frank I. Luntz (born February 23, 1962) is an American political consultant, pollster, and Republican Party strategist.[1] His most recent work has been with the Fox News Channel as a frequent commentator and analyst, as well as running focus groups after presidential debates. Luntz's specialty is “testing language and finding words that will help his clients sell their product or turn public opinion on an issue or a candidate.”[2] He is also an author of business books dealing with communication strategies and public opinion. Luntz's current company, Luntz Global, LLC, specializes in message creation and image management for commercial and political clients.
Cheryl Shuman
www.BeverlyHillsCannabisClub.com
About Cheryl Shuman:
Referred to as the "Martha Stewart of Marijuana," Cheryl Shuman announces the formation of Green Asset International Inc.. Shuman brings 25 years of experience working with media, celebrities, marketing and health care in Beverly Hills. Shuman found her passion in the cannabis movement since 1996 working as an activist and legal cannabis patient. Since using cannabis therapy, she has survived cancer and injuries from two car crashes.
Shuman was the founder of Beverly Hills NORML, founding charter member of the NORML Women's Alliance and served on the steering committee for Public Relations and Marketing on an International platform. Cheryl Shuman is a founding member of the NCIA, National Cannabis Industry Association and served as the Director of Special Projects for the NCIA including the Women's Cannabusiness Network. Cheryl Shuman transformed her non-profit career into a thriving profitable media enterprise.
Cheryl was the Executive Director of Celebrity, Media and Public Relations for the KUSH Brand which includes KUSH Magazine, KUSH Conventions and DailyBuds.com. Cheryl Shuman has been interviewed for television programs, newspapers and magazines, including but not limited to: ABC News, CNN, Fox News, NBC News, Access Hollywood, Entertainment Tonight, Today Show NBC, HBO Entertainment News and more.
Her private medical cannabis collective, "The Beverly Hills Cannabis Club" is unlisted and membership is by referral only. Through her personal relationships and connections within Hollywood, Cheryl Shuman has been named as one of the most influential women in the cannabis reform movement by international media. Her position within the cannabis industry creates the first and only company of its kind and at the forefront of entertainment marketing, celebrity endorsements, product placement integration, sponsorships, production and technology.
--
Cheryl Shuman
Director of Celebrity, Media & Public Relations
Beverly Hills Cannabis Club
Join Free Using "Cheryl Shuman" as your invitation code on:
www.BeverlyHillsCannabisClub.com
Social Network Links:
LinkedIN: www.linkedin.com/in/cherylshuman
Facebook: www.facebook.com/CherylShumanInc
Twitter: www.twitter.com/CherylShuman
YouTube: www.YouTube.com/user/BeverlyHillsCannabis
CASTING NOW!!! DREAM BIG! Nothing like being featured in a national TV show to gain huge national publicity for your business, career, or yourself!
Hollywood's most celebrated Network & Cable producers are now working with Cheryl Shuman to develop 4 (Four) different reality series evolving around the cannabis community and movement. These will be hits!! Imagine Entourage Meets Sex in the City Meets The Apprentices Meets Top Model Meets The Big C Meets the Cannabis Movement. These new hit shows about real men & women, living captivating lives in LEGAL MEDICAL MARIJUANA are now casting! This upcoming docu-series gives viewers an inside look at Cannabis Communities most intriguing, interesting, compelling, & glamorous individuals. In addition, we will be profiling some of the most compelling patient stories to help promote law reform as well as top political figures during the upcoming election.
The Production Team is currently looking for fabulous men, women and their families who live or work in the cannabis industry as well as main stream cannabis consumers to be on this series. We are searching for outgoing, exciting, strong, self-confident men & women who reside in LEGAL medical cannabis states who want to share their amazing lives!
Theses new docu-series are an amazing platform to promote current or future activism, business endeavors, careers, ideas, etc... you can't beat the huge publicity of a national television show to make you and your ideas/brand a major success!
If you or someone you know is living "the good life" in one of the legal medical marijuana communities, we want to hear from you!
TO SUBMIT:
Be sure to mention you heard about this from Cheryl Shuman for priority consideration, and email ALL the information requested below ASAP to:
BeverlyHillsCannabisClub@gmail.com
Be sure to include:
1. Your name (first and last)
2. Contact phone number
3. City/Zip where you live
4. A short bio about you and your fabulous life and what makes you a fit for this tv show
5. Recent photos of you, your family, and your home/BUSINESS (jpg format please)
6. Be sure to mention you heard about this from Cheryl Shuman for priority consideration!
TO RECEIVE NOTICES LIKE THIS WITH MORE INFO ON ENTERTAINMENT INDUSTRY JOBS, OPPORTUNITIES, AND EVENTS:
Just go to www.BeverlyHillsCannabisClub.com and click Register!
Kindest Personal Regards
Cheryl Shuman
Director of Celebrity, Media & Public Relations
FOR ADDITIONAL INFORMATION COMMENTS AND FB LIKES/TWEETS ON MY ARTICLES! :) THNX :) Check out the article on:
blog.sfgate.com/smellthetruth/2012/06/11/an-inside-look-a...
blog.sfgate.com/smellthetruth/2012/06/28/fx-thursday-nigh...
The stars shone brilliantly at Lure Night Club in Hollywood for the FX Summer Comedy Party. The celebration included series stars from Anger Management, Brand X With Russell Brand, Louie, Wilfred, and Totally Biased. Celebrities in attendance were Charlie Sheen, Russell Brand, Louis C.K., W. Kamau Bell, Selma Blair, Shawnee Smith, Daniela Bobadilla, Noureen DeWulf, Michael Arden, Derek Richardson, Elijah Wood, Jason Gann, Fiona Gubelmann and Dorian Brown.
The room was electric, buzzing with the anticipated arrival of the “winning” man himself, Charlie Sheen, star of Anger Management. He was easy to spot upon his entrance, surrounded by nearly a dozen bodyguards. I noticed that he was the only celeb with such an entourage.
Several sections of Lure were roped off for celebrities and VIPs. Massive video screens were everywhere, promoting the Thursday evening line up. Upon arrival with my daughter as my date, I stopped by to visit with each show and reunited with my friends from Wilfred — where I proudly work with them as the “marijuana expert” for the show.
About Cheryl Shuman:
Referred to as the "Martha Stewart of Marijuana," Cheryl Shuman announces the formation of Green Asset International Inc.. Shuman brings 25 years of experience working with media, celebrities, marketing and health care in Beverly Hills. Shuman found her passion in the cannabis movement since 1996 working as an activist and legal cannabis patient. Since using cannabis therapy, she has survived cancer and injuries from two car crashes.
Shuman was the founder of Beverly Hills NORML, founding charter member of the NORML Women's Alliance and served on the steering committee for Public Relations and Marketing on an International platform. Cheryl Shuman is a founding member of the NCIA, National Cannabis Industry Association and served as the Director of Special Projects for the NCIA including the Women's Cannabusiness Network. Cheryl Shuman transformed her non-profit career into a thriving profitable media enterprise.
Cheryl was the Executive Director of Celebrity, Media and Public Relations for the KUSH Brand which includes KUSH Magazine, KUSH Conventions and DailyBuds.com. Cheryl Shuman has been interviewed for television programs, newspapers and magazines, including but not limited to: ABC News, CNN, Fox News, NBC News, Access Hollywood, Entertainment Tonight, Today Show NBC, HBO Entertainment News and more.
Her private medical cannabis collective, "The Beverly Hills Cannabis Club" is unlisted and membership is by referral only. Through her personal relationships and connections within Hollywood, Cheryl Shuman has been named as one of the most influential women in the cannabis reform movement by international media. Her position within the cannabis industry creates the first and only company of its kind and at the forefront of entertainment marketing, celebrity endorsements, product placement integration, sponsorships, production and technology.
Cheryl Shuman serves as media spokesperson for the hot new vaporizer CANNACig Rapid Fire Marketing (pink sheets: RFMK) and conducts their marketing, public relations, product placement, and consulting services.
Cheryl Shuman's "Green Asset International Inc." is a business development company and acquisition vehicle. Green Asset made news with an historic $100 million funding facility dedicated to the cannabis industry with plans to go public by 2014.
--
Cheryl Shuman, C.E.O.
Green Asset International Inc.
Director of Celebrity, Media & Public Relations
"Smell the Truth" - Hearst Digital Media
(www.blog.sfgate.com/smellthetruth/)
The Truth List
Spokesperson for CANNACig by RFMK
www.vinhaler.com/online-store.html
(www.Rapid-Fire-Marketing.com/)
Beverly Hills Cannabis Club
Join Free Using "Cheryl Shuman" as your invitation code on:
(www.BeverlyHillsCannabisClub.com)
Social Network Links:
BHCC: www.BeverlyHillsCannabisClub.com
LinkedIN: www.LinkedIn.com/in/CherylShuman
Facebook: www.FaceBook.com/CherylShumanInc
Twitter: www.Twitter.com/CherylShuman
YouTube: www.YouTube.com/BeverlyHillsCannabis
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
Seattle Hempfest 2012 was an amazing success. I had such a great time hanging out with my activists, friends, Matty Simone, Simmi Dhillion (Twtiter: @SimmiThinks). Check out all of these great photos and please share with your friends and social networks. I love meeting real life investors of my compay $RFMK. There is not a doubt in my mind that CANNACig and RFMK are going straight to the top in not only sales, but in brand name recognition! This is just the beginning! I'm SOOOO psyched!!! If you want to get yours today go to:
www.vinhaler.com/pre-order.html
Interested in investing in the stock that manufactures this amazing product? The stock symbol is RFMK :)
Let's rock it! Spread the word on all of your social networks!
Cheryl Shuman :)
For more information on the CANNACig and RFMK Go to these links :)
CASTING NOW!!! DREAM BIG! Nothing like being featured in a national TV show to gain huge national publicity for your business, career, or yourself!
Hollywood's most celebrated Network & Cable producers are now working with Cheryl Shuman to develop 4 (Four) different reality series evolving around the cannabis community and movement. These will be hits!! Imagine Entourage Meets Sex in the City Meets The Apprentices Meets Top Model Meets The Big C Meets the Cannabis Movement. These new hit shows about real men & women, living captivating lives in LEGAL MEDICAL MARIJUANA are now casting! This upcoming docu-series gives viewers an inside look at Cannabis Communities most intriguing, interesting, compelling, & glamorous individuals. In addition, we will be profiling some of the most compelling patient stories to help promote law reform as well as top political figures during the upcoming election.
The Production Team is currently looking for fabulous men, women and their families who live or work in the cannabis industry as well as main stream cannabis consumers to be on this series. We are searching for outgoing, exciting, strong, self-confident men & women who reside in LEGAL medical cannabis states who want to share their amazing lives!
Theses new docu-series are an amazing platform to promote current or future activism, business endeavors, careers, ideas, etc... you can't beat the huge publicity of a national television show to make you and your ideas/brand a major success!
If you or someone you know is living "the good life" in one of the legal medical marijuana communities, we want to hear from you!
TO SUBMIT:
Be sure to mention you heard about this from Cheryl Shuman for priority consideration, and email ALL the information requested below ASAP to:
BeverlyHillsCannabisClub@gmail.com
Be sure to include:
1. Your name (first and last)
2. Contact phone number
3. City/Zip where you live
4. A short bio about you and your fabulous life and what makes you a fit for this tv show
5. Recent photos of you, your family, and your home/BUSINESS (jpg format please)
6. Be sure to mention you heard about this from Cheryl Shuman for priority consideration!
TO RECEIVE NOTICES LIKE THIS WITH MORE INFO ON ENTERTAINMENT INDUSTRY JOBS, OPPORTUNITIES, AND EVENTS:
Just go to www.BeverlyHillsCannabisClub.com and click Register!
FOR ADDITIONAL INFORMATION COMMENTS AND FB LIKES/TWEETS ON MY ARTICLES! :) THNX :) Check out the Wilfred from FX articles on:
blog.sfgate.com/smellthetruth/2012/06/11/an-inside-look-a... blog.sfgate.com/smellthetruth/2012/06/28/fx-thursday-nigh...
About Cheryl Shuman:
Referred to as the "Martha Stewart of Marijuana," Cheryl Shuman announces the formation of Green Asset International Inc.. Shuman brings 25 years of experience working with media, celebrities, marketing and health care in Beverly Hills. Shuman found her passion in the cannabis movement since 1996 working as an activist and legal cannabis patient. Since using cannabis therapy, she has survived cancer and injuries from two car crashes.
Shuman was the founder of Beverly Hills NORML, founding charter member of the NORML Women's Alliance and served on the steering committee for Public Relations and Marketing on an International platform. Cheryl Shuman is a founding member of the NCIA, National Cannabis Industry Association and served as the Director of Special Projects for the NCIA including the Women's Cannabusiness Network. Cheryl Shuman transformed her non-profit career into a thriving profitable media enterprise.
Cheryl was the Executive Director of Celebrity, Media and Public Relations for the KUSH Brand which includes KUSH Magazine, KUSH Conventions and DailyBuds.com. Cheryl Shuman has been interviewed for television programs, newspapers and magazines, including but not limited to: ABC News, CNN, Fox News, NBC News, Access Hollywood, Entertainment Tonight, Today Show NBC, HBO Entertainment News and more.
Her private medical cannabis collective, "The Beverly Hills Cannabis Club" is unlisted and membership is by referral only. Through her personal relationships and connections within Hollywood, Cheryl Shuman has been named as one of the most influential women in the cannabis reform movement by international media. Her position within the cannabis industry creates the first and only company of its kind and at the forefront of entertainment marketing, celebrity endorsements, product placement integration, sponsorships, production and technology.
Cheryl Shuman serves as media spokesperson for the hot new vaporizer CANNACig Rapid Fire Marketing (pink sheets: RFMK) and conducts their marketing, public relations, product placement, and consulting services.
Cheryl Shuman's "Green Asset International Inc." is a business development company and acquisition vehicle. Green Asset made news with an historic $100 million funding facility dedicated to the cannabis industry with plans to go public by 2014.
--
Cheryl Shuman, C.E.O.
Green Asset International Inc.
Director of Celebrity, Media & Public Relations
"Smell the Truth" - Hearst Digital Media
www.blog.sfgate.com/smellthetruth/
The Truth List
Spokesperson for CANNACig by RFMK
www.vinhaler.com/online-store.html
Beverly Hills Cannabis Club
Join Free Using "Cheryl Shuman" as your invitation code on:
www.BeverlyHillsCannabisClub.com
Social Network Links:
www.BeverlyHillsCannabisClub.com
LinkedIN: www.LinkedIn.com/in/CherylShuman
Facebook: www.FaceBook.com/CherylShumanInc
Twitter: www.Twitter.com/CherylShuman
YouTube: www.YouTube.com/BeverlyHillsCannabis
Vimeo: vimeo.com/cherylshuman
021
CHAPTER XVIII.
CONCLUSION OF COMMISSION.
From the testimony of the jailor who had been in charge from the date of Schrank's arrest to the present date, we learn that he was a quiet, pleasant man, well-behaved in all respects, and fastidious as to dress and food, uniformly cheerful and happy. It was noticeable that he showed much less concern or anxiety as to his fate than the average prisoner. This is also corroborated by the examination of a detective concerned in his arrest.
The impression we have derived from the demeanor of the prisoner in our several examinations is that he is truthful in his statements and shows no desire to conceal anything. He undoubtedly has an elevated idea of his importance, but is free from bombast. In the course of his examination when the question of his views or opinions about himself came up he drew from his pocket the document herewith submitted as Exhibit 4, which he says he prepared as a defense, saying: "Perhaps I can help you, Gentlemen." He has shown every disposition to assist us in arriving at facts. He shows a knowledge and command of the English language unusual in a foreigner who has only had very limited schooling. He is self-confident, profoundly self-satisfied; is dignified, fearless, courteous and kindly. He shows a sense of humor and is cheerful and calm under circumstances that severely test those qualities. Beneath all of this is an air which is illustrated by his concluding sentence, that the spirit of George Washington is before him, that of McKinley behind him. He gives the impression that he feels himself to be an instrument in the hands of God, and that he is one of the band of historic heroes paralleled by such characters as Joan d'Arc and other saviours of nations. He undoubtedly considers himself a man of heroic mold. At no time did he express or exhibit remorse for his act.
SUMMARY.
We have limited the scope of our investigations to the questions that we have been asked to determine and summarize briefly: John Schrank, age 36 years, single, barkeeper and saloon keeper, and of limited educational opportunities, with insane heredity (see Exhibit 5), was born in Bavaria, on March 5, 1876, and came to this country twelve years later. Apparently he developed normally, but early in life showed a particular fondness for the study of the histories of this and other countries, and also for the composition of poetry. In the course of his studies of history, and especially of the Constitution of the United States, and of Washington's Farewell Address, he developed the belief that this Republic is based upon the foundation of four unwritten laws, to which he also refers as the "Four Sacred Traditions," as is more fully set forth in the preceding report.
In 1901 he had a very vivid dream, which at that time he recognized as only a dream, the memory of which has frequently recurred to him ever since. In the course of a pre-convention campaign, the belief that the four unwritten laws or the "Four Sacred Traditions" are in danger comes to him, and later, upon the nomination of a presidential candidate by the Progressive Party, he begins to attach particular significance to the dream he had in 1901. He meditates deeply upon this and, in the course of a few weeks there appears to him a vision accompanied by a voice which, in effect, commands the killing of the man through whose acts and machinations he believes the sacred traditions to be endangered, and who, he also believes is, through a conspiracy, concerned in the assassination of a former president. He continues to ponder upon the subjects set forth, awaiting the appearance of a person who would carry out the act suggested by the vision, but shortly arrives at the conclusion that he, and not someone else, is the chosen instrument. He at once sets forth to accomplish his mission, following his victim until he finally comes up with him.
During his examination as to his sanity, he conducts himself in perfect accord with his beliefs, and expresses a regret at not having died at the hands of the mob if such a result would have proven of benefit to his chosen country.
CHAPTER XIX.
SCHRANK DISCUSSES VISIONS.
(BY JOHN FLAMMANG SCHRANK.)
Has a man a right to take a weapon and hunt down a man who has violated tradition? In answer to this I would like to ask the gentleman the following question. How and by what means would you expect to withhold from a man that right. You know that according to the old Roman law the atonement for the taking of a life has been the giving of a life, and to this day our power of state with the laws and instruments for punishment is limited to the taking of man's life there is no severer penalty than death sentence. Now then when a man concludes to take a weapon and hunt down another man and he then willingly sacrifices his own life in defense we say of tradition, does such man then not willingly give what otherwise the law could take from him, is then not the right with him, I should say where self-sacrifice begins to power of law comes to an end and if I knew that my death during my act would have this tradition more sacred.
I would be sorry that my life was spared, so convinced am I of my act to act as I did, that if I were ever a free man again I would at once create an order of tradition sole purpose to defend it.
You gentlemen claim that you would think a man insane, that could have such things as a vision appear to him. There might be exceptions, but I disagree with you in making this the rule. Then I presume you men would declare Joan d'Arc the Maid of Orleans insane because the Holy Virgin appeared her in a vision. France as a nation passed in those days through a grave trial, her very existence as a nation was at stake. To our shame we must admit that while we prosper and are far from danger we hardly ever give it a thought, that all our comfort is granted to us by God the Almighty, and it is an old saying that when the danger is over the saints are mocked. But in days of hard stress, dire need and want, we at once knew that we are indebted to a power above us, we at once realize that we are sinners, we feel that our good spirit is a small particle to the Holy Spirit God that we are helpless children and related to the good father God. We then pray with innermost contrition that God may forgive, that God may enlighten one of us that God may find a leader among us.
And such is the mercy of God that for the repentance of one man for the acknowledgement for one good deed, God will forgive the sins of a whole nation. When we read about the destruction of Sodom Gomorrha, when Lot asked the Lord, wouldst Thou spare these cities if there were ten honorable and just men within its walls and God answered, if I could find one honorable and just man I would spare that people.
We may conclude from these words that God had long before this forsaken them when a nation is confronted with grave trials it is then nearing the boundary line of God's patience, no doubt the people of Sodom had arrived there and God had weighed their deeds and found them too light he would not enlighten one of them to be a leader and who would impress upon his people to come back to the safe avenue of God and leave the road of destruction. In our health and prosperity we are too easily over-confident and self-possessed when we read that God had appeared to Moses in the shape of a burning thorn bush, then again as a cloud, we will find many people who doubt the appearance of God to man in human or other shape. When I see a tree growing out of rocks it appears to me as if God spoke to me that he wants all people to live a temperate life as it requires but little to live and proper as is shown in that tree. Now then does God appear to us in our journey through this life. Has he ever appeared to you. Has there never been a time when you would say, O what a lucky dog I was that I did not do this or that. Have you ever refused for some reason an invitation to a joy ride, a pleasure trip or others, and after you would find one or the other of your friends killed while you escaped. Everyone of us is confronted at once in life with a grave trial which requires all the good in you to overcome temptation and find the right way out of it, is not this the secret assistance of God the Almighty when you appeal to Him and He weighs your deeds and either enlightens you or punishes Science discoveries. When then in cases of dire national needs should not God appear to one of us in vision the greatest injustice.
(Schrank's copy is followed closely in all presented here from his pen.)
ALIENISTS' CONCLUSIONS.
Our conclusions are as follows:
First—John Schrank is suffering from insane delusions, grandiose in character, and of the systematized variety.
Second—In our opinion he is insane at the present time.
Third—On account of the connection existing between his delusions and the act with which he stands charged, we are of the opinion that he is unable to confer intelligently with counsel or to conduct his defense.
Dated, Milwaukee, Wisconsin, Nov. 22nd, 1912.
Respectfully submitted,
Richard Dewey, M. D.,
Chairman.
W. F. Becker, M. D.
D. W. Harrington, M. D.
Frank Studley, M. D.
Wm. F. Wegge, M. D.
Commissioners.
CHAPTER XX.
SCHRANK'S DEFENSE.
John Flammang Schrank expected to conduct his own defense before a jury, if tried for his assault upon ex-President Roosevelt.
This is demonstrated by the fact that he had prepared a defense to be read to the jury. In this defense he alluded to the fact that he "is not represented by counsel."
This defense is remarkable in that it shows clearly the thought which overcame his mental strength.
Schrank's defense is presented as he wrote it, with the exception of two or three corrections to enable readers to realize what Schrank is trying to say. The defense was prepared by Schrank in the county jail. He was writing it when it was reported that he was writing verse. The defense follows:
Gentlemen of the jury: I appeal to you as men of honor. I greet you Americans and countrymen and fathers of sons and daughters. I wish to apologize to the community of Milwaukee for having caused on October 14 last great excitement, most bitter feeling and expenses. I wish to apologize to you honorable men of the jury that I am causing to you this day unpleasantness in asking you to pass a verdict in a matter which should have better been tried by a higher than earthly court.
Gentlemen of the jury, when on September 14 last during a vision I looked into the dying eyes of the late President McKinley, when a voice called me to avenge his death, I was convinced that my life was coming soon to an end, and I was at once happy to know that my real mission on this earth was to die for my country and the cause of Republicanism.
Gentlemen of the jury, you see that I have appeared here today without the assistance of a counsellor at law, without any assistance save that of God the Almighty, who is ever with him who is deserted, because I am not here to defend myself nor my actions. I am here today to defend the spirit of forefathers with words what I have defended with the weapon in my hand, that is the tradition of the four unwritten laws of this country. Tradition is above written statute, amended and ineffective. Tradition is sacred and inviolable, irrevocable. Tradition makes us a distinct nation. Order of tradition. The law I have violated for which you will punish me is not in any statute book. Gentlemen of the jury, the shot at Milwaukee, which created an echo in all parts of the world, was not a shot fired at the citizen Roosevelt, not a shot at an ex-President, not a shot at the candidate of a so-called Progressive party, not a shot to influence the pending election, not a shot to gain for me notoriety. No, it was simply to once and forever establish the fact that any man who hereafter aspires to a third presidential term, will do so at the risk of his life. If I cannot defend tradition I cannot defend the country in case of war. You may as well send every patriot to prison. It was to establish a precedent for the third term tradition, which for the first time in the history of the United States one man dared to challenge and to violate.
Gentlemen of the jury, the third term tradition is the most sacred, because it has been established by the greatest champion of liberty in all ages past and to come by our first President, George Washington, when he modestly declined a third term nomination by saying that two terms are enough for the best of Presidents. The two great American political parties have since guarded this tradition most jealously, have regarded it as a safeguard against the ambitions of probable adventurers. The great Republican party, the party of an Abe Lincoln, the party of the new U. S., that party as a medium between government and the people, the party to which we are greatly indebted for our achievements and our greatness among the family of nations, it was that party that was destined to give birth to and to nurse the first offender of that tradition, who gradually proved to be the evil spirit of the country, and that great party which was born during a national crisis and which had bravely faced and overcome many a grave trial, nobly faced the coming storm and survived it with its honor unimpaired.
Gentlemen of the jury, when we inquire into the past of that man, we will find that his ambitious plans have all been filed and laid down long before he has been President. All doubt that these plans were towards establishing at the least a perpetual presidency in these United States have been removed during last summer, when a certain senator unearthed from within the library of the white house a written document deposited there during the third termer's presidency. This document was an order for repairing to be done in the white house, and this order closed with the following words: "These alterations should be done, to last during my lifetime." When the third termer was informed of the finding of this document, he admitted and absorbed the all-important matter by simply saying: "Some people have no more brains than guinea pigs."
Gentlemen of the jury, his rough rider masquerade during the Spanish-American war was his first important step towards his goal, it gained for him the governorship of the Empire state and that important office made him an influential factor in the councils of the Republican party. During his term as secretary of the navy he gained the popularity among the men in that branch of the mailed fist of the country by increasing the salaries of those men, who might some day be of vital benefit to his cause. The Republican leaders of those days were soon aware of the dangerous ambitions of this man and also knew that this man would never be safe enough to fill the highest office of the nation, for this reason these men thought it wise to make him vice-Presidential candidate on the same ticket with McKinley, for it must not be new to you that the office of a vice-President has always been regarded as the suicide to a man's political ambitions. But, gentlemen of the jury, now came the time when a man's ambitions blindfolded him to all reason. The desire to overcome the obstacle robbed him of his sane judgment, and in such a case the spoiler invites himself, political murders have occurred quite often, committed by some power that works in the dark and only too frequently of late the assassin was classed as an anarchist, but the real instigators could never be brought before justice. Whoever the direct murderer of McKinley has been it could never be proven that he has ever been affiliated with any anarchistic or similar society, but we may well conclude that the man who in years after so willingly violated the first unwritten law, which is the third term tradition, may have readily promised to violate the third unwritten law of the country whenever he thought it profitable to change his creed while president, perhaps to the mother of monarchies.
Gentlemen of the jury, a man's first presidential term begins when he takes the oath of office and constitutes a full term if it will only last twenty-four hours after oath and a man's third term is his third when he seeks it or is given to him twenty years or more after his second. When Roosevelt took the oath of office at McKinley's departure, he had ceased to be a Republican. He at once began to build a political machine of his own. It was then in fact that his one man party so-called Progressive party was born, parts of which we find later in the insurgents, handicapping Mr. Taft wherever they could. Later in August at the convention of treason he took the material where and as he found we see him trying hard to bring the money power of the union into his service, we find him extorting large sums for his political campaigns from the so-called despisable trusts, since then we became accustomed to look upon every man of wealth and the great industrials corporations who have been and are today of incalculable value and benefit to our national welfare, as nothing more or less than contemptible criminals, whom he offended in the most profane language during his crusade against them, if they refused to become a part of his machine. At the decline of his second term the remainder of the Republican party, those who had not been absorbed by "my policies" could no longer be in doubt as to the third termer's real intentions, and for the first time the third termer realized the magnitude and importance of the third term tradition and most men of influence in those used their power to scare him out of office at the same time comforting him with the fairy tale that if not succeeded by two consecutive terms another term would not be a third term but such was his fear that his machine built up in seven and a half years would be destroyed over night, that he threatened not to leave the chair unless he were allowed to nominate his successor.
Gentlemen of the jury, now comes the time when the third termer committed his second crime against friends, party, nation and republic. With his innermost conviction that his successor would be incompetent, incapable and that he would commit so many blunders while in office that at the expiration of his term the people would unanimously demand the renomination of the third termer, he thought to remove that obstacle of the third termer and to make it appear that he was not ambitious and that a renomination would have to be forced upon him, he solemnly declared, "Never again will I run for president," but again ambition had blindfolded him and robbed him of his judgment of men in selecting William H. Taft as his successor although his most intimate friend Mr. Taft was aware of his oath of office and his duties toward the nation, there never was a whiter man in the white house and no one ever more deserved a re-election as an honor for his services to the country against the revolutionary machine of the third termer in the house and senate than William H. Taft.
Gentlemen of the jury, the third term, "never again will I run for president," has a parallel in the history of Rome. Whoever read the history of Julius Caesar, knows that this smart politician, while elected dictator, managed to become so popular with the people that they offered him the kingly crown, but Julius Caesar knew that he had to bide his time, that the rest of senators knew of his ambition, and after refusing three times, he knew they would offer it to him a fourth time, and when then he accepted it, he was murdered for ambition sake. Never again will I run for president and under no circumstances, said this man, and four years later we find him eagerly seeking renomination at Chicago, to his friends, who advise him to run, he didn't have the heart to tell that if he were not a man of word he could never be a man of honor, but what shame lies in between his never again and his profane declaration that the crooks, thieves, scoundrels and liars had stolen the nomination from him, although he knew that the party could not give him what they had a third term not to give for the great Republican party determined to sooner go down to defeat than to violate the third term yet.
Gentlemen of the jury, the third termer had license to create a new party and be the power behind the throne and perhaps lead his party to victory. But having been deceived by the selection of his successor and having removed the mask he determined to insist on a third term. Had we lived in a time of panic, general disorder, strikes with armies of unemployed, most likely the third termer would have an easy walkin. He was anxious waiting for the government at Washington to start military intervention in Mexico, but the leaders of the Republican party feared that the third termer would muster an army of volunteer rough riders and return at election as the conquering hero.
Gentlemen of the jury, the danger of the third termer was less in his probable election than in his sure but close defeat. The man who cried of the theft at Chicago would never submit to the verdict on November 5, however honest it may be; he would again yell robbery, and if he carried a solid west as was then expected, he would give way to his fighting nature and try to take the presidency on the battlefield and so invite civil war, yet, Ab. Lincoln said that war is hell, and that he who wilfully invites war deserves death. Do we realize the horrors of civil war; are we willing to wash out the sin of violating the third term with the blood of our sons imagine torn from home, family and parents, from prosperity to dire want in order to place a man to the presidency he is legitimately not entitled to? Yet, gentlemen of the jury, the United States may still be able to subdue the rebels the danger the more grave than even civil war is the possibility of intervention by foreign powers, who may help the third termer in order to keep the union disunited and separated for we must know that our strength is not in our army and navy, money power, our strength is in our union, we would at once realize that we are surrounded by a pack of hungry wolves ready to destroy this hated republic, ready to destroy Monroe doctrine, ready to annex the Panama canal and the great land of the brave and free, the home many millions free people, the dream of all heroes and martyrs for political freedom to 1848 would have ceased to be owing to the ambitions of one man and one man's rule.
I hope that the shot at Milwaukee has awakened the patriotism of the American nation, that it has opened their eyes to the real danger and shown them the only safe way out of it as is proven by election returns in the great Democratic party the north, south, east and west is once more and more solidly united and proudly can we prove to the nations of the world that the spirit of 1776 is still alive and shall never die, and that self-government is an established fact and a success.
I have been accused of having selected a state where capital punishment is abolished. I would say that I did not know the laws of any state I traveled through, it would be ridiculous for me to fear death after the act, as I expected to die during the act and not live to tell the story and if I knew that my death would have made the third term tradition more sacred, I am sorry I could not die for my country.
Now, honorable men of the jury, I wish to say no more, in the name of God, go and do your duty, and only countries who ask admission by popular vote and accept the popular vote never wage a war of conquest, murder for to steal abolishes opportunity for ambitious adventurers, for all political adventurers and military leaders have adopted the career of conquering heroes, wholesale murder, wholesale robbers called national aggrandizement. Prison for me is like martyrdom to me, like going to war.
Before me is the spirit of George Washington, behind me that of McKinley.
CHAPTER XXII.
UNUSUAL COURT PRECEDENT.
Judge August C. Backus' method of conducting the Schrank case has established a precedent for such cases, and the action of the court in establishing a new form of procedure has met with favorable comment on the part of lawyers, alienists, court officials and editors all over the world.
Instructing the commission of five alienists in its duties Judge Backus said:
Gentlemen of the Commission:
"You have been appointed as an impartial commission to examine into the present mental condition of the defendant John Schrank, who is charged with the crime of assault with intent to kill and murder Theodore Roosevelt, with a loaded revolver, on the 14th day of October, 1912, in the city and county of Milwaukee and state of Wisconsin.
"The court in this proceeding will finally determine the issue. I have decided to take this method of procedure instead of a jury trial, because as a rule in trials by jury the case resolves itself into a battle of medical experts, and in my experience I have never witnessed a case where the testimony of the experts on one side was not directly contradicted by the testimony of as many or more experts on the other side. Where men especially trained in mental and nervous diseases disagree, how can it be expected that a jury of twelve laymen should agree? Such testimony has been very unsatisfactory to the jury and to the court, and generally very expensive to the community.
James G. Flanders
James G. Flanders,
Attorney for Schrank.
"Bear in mind, gentlemen, that your appointment has not been suggested by either counsel for the state or for the defendant, or by any other party or, source directly or indirectly interested in this inquisition. You are the court's commission, and you must enter upon your duties free from any bias or prejudice, if any there be. You should assume your duties, and I know you will, with the highest motives in seeking the truth, and then pronounce your judgment without regard to the effect it may have upon the state or upon the defendant; in other words, in your inquiry and deliberation you are placed on the same plane as the judge.
"If any person seeks to influence you or talks to you as a commission, or to any member of the commission, who is not duly requested to appear before you, report him to the court so that an order to show cause why he should not be punished for contempt may issue.
"If there be any witnesses you desire, the court will command their attendance. The court will grant you the services of a phonographic reporter so that everything that is said and done may appear of record.
"This commission may now retire, select a moderator and proceed with the inquiry.
"Now, gentlemen, perform your duties fairly and impartially and render such findings to the court as your consciences and your judgments approve.
"The question for your determination is, 'Is the defendant John Schrank sane or insane at the present time?'"
Editorial comment from three newspapers is herewith presented as showing the general trend of comment on the course followed by Judge Backus:
The Milwaukee Free Press said:
"The findings of the alienists appointed by Judge Backus to determine the mental condition of Schrank were foreseen. There has been little doubt at any time of the derangement of that unfortunate man. This fact, however, does not detract from appreciation of the excellent and novel course pursued by Judge Backus in taking advantage of the statute that permitted him to submit the question of Schrank's sanity to a body of alienists appointed by himself instead of leaving the question to a jury at the tender mercy of alienists employed alike by state and defense.
"The judge justified his procedure in these words, when instructing the examining physicians:
"'I have decided to take this method of procedure instead of a jury trial, because as a rule in trials by jury the case resolves itself into a battle of medical experts, and in my experience I have never witnessed a case where the testimony of the experts on one side was not directly contradicted by the testimony of as many or more experts on the other side. Where men specially trained in mental and nervous diseases disagree, how can it be expected that a jury of twelve laymen should agree? Such testimony has been very unsatisfactory to the jury and to the court, and generally very expensive to the community.'"
"Worse than that. It has been a scandal to the medical profession, a source of travesty to judicial procedure and all too often a means of defeating the ends of justice.
"The very course pursued by Judge Backus was advocated by President Gregory of the American Bar association not very long ago, and the outcome in this instance at least is such as to recommend its adoption by the bench wherever the statutes permit."
The Chicago Record-Herald said:
"It is notorious that 'expert testimony' is too often confused and confusing testimony which jurors and judges feel themselves bound to disregard in favor of mere horse sense. The stated experts are matched or overmatched by the experts for the defense, and the conflict of 'scientific' testimony assumes in many cases the proportions of a public scandal.
"Hence the 'Wisconsin idea' as applied by Judge Backus of Milwaukee, who is presiding over the trial of John Schrank, is an admirable one. Under a statute of Wisconsin a judge may summon a certain number of experts and make them officers of the court. They testify as such officers, and presumably the state pays them reasonable fees. Under such a plan as this there is no temptation to strain science in the interest of a long purse, and impartial opinions is likely to be the rule.
"Statutes similar to that of Wisconsin are needed in all other states. 'Expert testimony' has long been a byword and reproach. Of course, under Anglo-Saxon jurisprudence no defendant can be deprived of the right to call witnesses of his own choosing, and after all a medical expert is only a witness who gives opinions instead of facts. Still, a law which authorizes the court to call truly impartial experts would not seem to be 'unconstitutional.' It is certainly not unfair or unreasonable from the lay point of view."
The Saturday Night of Toronto, Ont., said:
"In the stress attending on matters of greater moment which have been occupying the attention of the daily press of late, the judicial wisdom of Mr. A. C. Backus, municipal judge of the city of Milwaukee, charged with the task of trying John Schrank, the man who attempted to slay Col. Roosevelt, has been overlooked.
"Nevertheless, he established a precedent with regard to the trial of prisoners where insanity is the only defense, that should be copied not only by every state of the American Union, but by every province of Canada.
"It was not generally known that the laws of the state of Wisconsin gave a presiding justice the plenary powers he has exercised, but every good judge who has presided over cases where alienists have been employed to furnish testimony must have yearned for similar authority.
"In the Schrank case Judge Backus decided to eliminate all direct testimony by alienists, and to constitute such experts into an auxiliary court who should co-operate with him in the final judgment of the case.
"His auxiliary, consisting of five physicians, was directed to elect a moderator who would preside over their deliberations and decide the issues of sanity or insanity in case of a deadlock.
"It would be difficult to say what objection could be taken to this system in any case where alienists are subpoenaed. It is even possible that by carefully protecting the rights of the prisoner the same system could be worked out in any case where medical testimony beyond the mere proving of the crime is required. In many murder cases physicians have been heard swearing to contrary positions until the jurors, disgusted with the confusion of the testimony, have simply thrown up their hands, neglected their duty to consider the reasonable facts of the case, and allowed murderers to go free.
"Judge Backus has taken a forward step in the administration of justice on this continent, and it is to be trusted that the effects of it will be far-reaching."
Results of the 3rd theme of BNTMOA CYCLE 1:
This time we wanted to see your face, the beauty in you….
But the question is who has convinced us and whom not? How many contestants will leave us this week? Now it’s time to know that.
Firstly you get our opinions about your shootings!
We will start with Jem:
Jamila: So so Sweetie, This shooting is awesome. You are pretty it doesn´t matter what you do. There is only one thing I Should criticizes. Its good but not really that that we want to see. Good luck!
Zoé: It looks pretty. You have convinced me again and again! Good job. You should try to risk more!
Now to you Carly:
Jamila: Your comeback is working well! I am not longer worry about you. Now you show us how self-confident you are. You have changed. And this good!!!
Zoé: you look like a vampire… lovely face! I LIKE it very much. It was not a mistake to let you come back! Enjoy it! Good job
Clair now to U:
Jamila: Clair, honey, this week was not really your week. It was okay but this means not that you are saving. I like it very much, but there are other shootings which are better! Good luck!
Zoé: you have showed us another face of you. You have such a pretty face. Good luck!
So Brittany:
Jamila: Brittany you are great and beautiful too. I love your face shooting! I think you have a good week this time!!! I must add that I love your eyes!!!!
Zoé: Brittany, I think you have done your job very well. I like it how have done your hair. Good Job!
Laila:
Jamila: Laila honey, you are sweet and wonderful. I love it that you have risk something. And it looks great. I hope you had fun by doing this. For me it is one of the best shootings we have here!! Good Job!
Zoé: WOW what a face. I MUST AGREE WITH Jamila in every word. Your photo is one of my favorites. You have done a good job. You needn´t to worry about anything this week.
Raquelle:
Jamila: This week you are not really good, because you didn´t really changed in anyway. You look like the same… But you should inspired us, convince us of your doing okay??? Good luck!
Zoé: I don´t really like your photo As the other. You are very weak this time, because you didn´t really look at theme!
Seattle Hempfest 2012 was an amazing success. I had such a great time hanging out with my activists, friends, Matty Simone, Simmi Dhillion (Twtiter: @SimmiThinks). Check out all of these great photos and please share with your friends and social networks. I love meeting real life investors of my compay $RFMK. There is not a doubt in my mind that CANNACig and RFMK are going straight to the top in not only sales, but in brand name recognition! This is just the beginning! I'm SOOOO psyched!!! If you want to get yours today go to:
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Referred to as the "Martha Stewart of Marijuana," Cheryl Shuman announces the formation of Green Asset International Inc.. Shuman brings 25 years of experience working with media, celebrities, marketing and health care in Beverly Hills. Shuman found her passion in the cannabis movement since 1996 working as an activist and legal cannabis patient. Since using cannabis therapy, she has survived cancer and injuries from two car crashes.
Shuman was the founder of Beverly Hills NORML, founding charter member of the NORML Women's Alliance and served on the steering committee for Public Relations and Marketing on an International platform. Cheryl Shuman is a founding member of the NCIA, National Cannabis Industry Association and served as the Director of Special Projects for the NCIA including the Women's Cannabusiness Network. Cheryl Shuman transformed her non-profit career into a thriving profitable media enterprise.
Cheryl was the Executive Director of Celebrity, Media and Public Relations for the KUSH Brand which includes KUSH Magazine, KUSH Conventions and DailyBuds.com. Cheryl Shuman has been interviewed for television programs, newspapers and magazines, including but not limited to: ABC News, CNN, Fox News, NBC News, Access Hollywood, Entertainment Tonight, Today Show NBC, HBO Entertainment News and more.
Her private medical cannabis collective, "The Beverly Hills Cannabis Club" is unlisted and membership is by referral only. Through her personal relationships and connections within Hollywood, Cheryl Shuman has been named as one of the most influential women in the cannabis reform movement by international media. Her position within the cannabis industry creates the first and only company of its kind and at the forefront of entertainment marketing, celebrity endorsements, product placement integration, sponsorships, production and technology.
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Cheryl Shuman, C.E.O.
Green Asset International Inc.
Director of Celebrity, Media & Public Relations
"Smell the Truth" - Hearst Digital Media
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The Truth List
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St Mary, Hadleigh, Suffolk
Hadleigh is a pleasant, self-important little town. It is one of those places remote enough to be a microcosm of bigger towns - the factories, shops and housing estates all to scale. Its centrality in this part of Suffolk gave it the headquarters of Babergh District Council in 1974, despite the fact that the greater part of the population of the district lives in the Sudbury conurbation and the southern suburbs of Ipswich. Having said that, Hadleigh has expanded greatly in recent years, with characterless new estates now lining the bypass, and in any case Babergh District Council has since merged with Mid-Suffolk District Council and the councillors have all toddled off to Stowmarket. But the heart of the town is still probably the loveliest of any in East Anglia.
If Hadleigh is small, however, St Mary is not. This is one of the grand Suffolk churches, the only big one with a medieval spire which is also the only proper wood and lead spire in the county. There are echoes of Chesterfield in Derbyshire, only without the twist. It was built in the 14th century, and the exterior bell, a 1280 clock bell doubling as a sanctus bell, is Suffolk's oldest. The aisles, clerestory and chancel head eastwards of it, equalling Lavenham in their sense of the substantial. It is one of the longest churches in Suffolk.
To the south west of the church stands the famous Hadleigh Deanery, more properly the gorgeous red brick Tudor gateway to the now demolished medieval Deanery. It was at this Deanery gateway in July 1833 that the meeting was held which gave birth to the Oxford Movement, and went on to change the face of Anglican churches forever. It is no exaggeration to say that the modern Church of England was born in this building. The Rector here, in one of those anachronisms so beloved of the CofE, is styled 'Dean of Bocking'. Bocking is a village in Essex, and the living is in the gift of the Archbishop of Canterbury, so Hadleigh Rectors are installed in Canterbury Cathedral.
The south side of the graveyard is taken up by the former guild hall, and on the fourth side there is a scattering of excellent 18th and 19th century municipal and commercial buildings. With the possible exception of the Bury churches, it is the best setting of any urban church in Suffolk. Hadleigh was one of the great cloth towns, a centre for merchants rather than factories (most of the work was farmed out to self-employed weavers in nearby villages, quite literally a cottage industry). The wealth of those days rebuilt the church, particularly the fine 15th century clerestory and aisles.This is a big church, since it needed to contain the chantry altars of at least five medieval guilds. And it has always been an urban church, as you can tell from the way buildings on the north side cut into it. The east window was clearly always intended to be seen up the gap to the busy High Street.
The magnificent south doorway retains its original 15th century doors. It is interesting to compare it with Cotton, barely 50 years older, but from a quite different generation of architecture. Gone are the delicate fleurons, the articulate details that speak of an internal sense of mystery. Here, we enter the realms of self-confident rationalism for the first time. You step into a space that is light and airy, so vast that at once it swallows sound, a feeling accentuated by the sheer width of the chancel arch. Trees close by on the north side gently wave shadows into the nave. It feels that the church is organically part of the town and has been so down the long centuries, although perhaps it is hard at first to see this building as anything other than the rather polite CofE parish church it has become.
If you'd been here some ten years or so ago, you might have though that this was a very strange church, for there was the surreal sight of a snooker table and a pool table in the north aisle. They were part of what was called the Hadleigh Porch Project, an attempt to provide something to do for teenagers in the town who had been causing a nuisance in the churchyard and porch. The parish galvanised itself and attracted funding, and the building became used by young people for secular activities, one idea being that the sense of ownership conveyed would give them a sense of responsibility. Coming here in Lent of 2013, I was struck by the Stations of the Cross lining the arcades, each created by a local youth group or organisation. They were radically different from anything I'd seen before, and I'm sure that Maggi Hambling's Christ, looking on from the north aisle, would have approved.
Coming back in 2019, the snooker and pool tables have now gone, and so have the run of the mill Victorian benches that filled the nave. Regular users of this site will know that I am an enthusiast of replacing 19th Century pews with modern chairs in medieval churches, but here you can't help feeling that it hasn't really been done very well. The chairs themselves are not the problem so much as the floor, which has been left with expanses of floor boards between the lines of poor encaustic tiles. Perhaps there are plans to replace all of this with a polished wood and pamment floor (Oundle in Northamptonshire is a good example on a similar scale). I hope so.
The sheer size of the nave and its aisles stops the stained glass overwhelming it, which is a relief because there is a lot of it and it is by no means all good. To start with the best, there is a 1988 window by John O'Connor for Chapel Studios beside Maggi Hambling's painting, a memorial to John Belton, a former rector. But the glass in the south aisle is mostly by Ward & Hughes, and some of it very poor indeed, from the height of that period when Thomas Curtis was trashing the brand.
Of course, there is much here that is older and more traditional. In the south chancel chapel is what has become known as the St Edmund bench end, attached to a modern bench. It appears to shows a wolf, with the Saint's head in its jaws. But a closer look shows that the beast has cloven hooves, and what are either wings and a collar or possibly eucharistic vestments. It is more likely related to those bench ends more common in east Norfolk depicting a mythical beast holding the head of St John the Baptist. There are squints through to the high altar from this chapel, so this was probably the site of a guild altar.
There are recent memories of the High Church past of St Mary. In the high sanctuary are not one but two plaques to former Dean Hugh Rose, one commemorating his conference that led to the Oxford Movement, and the other the centenary of that movement, laid by the Archbishop of Canterbury in 1935. One of the plaques quotes Pusey's eulogy to Rose, that when hearts were failing, he bade us stir up the gift that was in us, and betake ourselves to our true mother. Another religious figure associated with Hadleigh is the puritan preacher Rowland Taylor, who was burned at the stake on nearby Aldham Common in the brief but unhappy reign of Mary I. One of the Ward & Hughes windows in the south aisle remembers him.
Up in the chancel, grinning figures peer down from the roof, and in the east window of the north chancel aisle is a small collection of old glass, including heraldic shields, a Tudor royal arms and haunting fragments of 15th Century English glass, all that survives of what must once have been one of the largest expanses in England, a sobering thought.
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA