Myth and Psyche

The Evolution of Consciousness

This introduction to Jungian psychology was written by Donald Kalsched and Alan Jones as a companion to a photographic exhibition at The Hofstra Museum, in New York City, November 15 – December 19, 1986. The exhibit was presented by The Hofstra Museum with The Archive for Research in Archetypal Symbolism (ARAS). The exhibit was curated by Karin Barnaby and Annmari Ronnberg.

Introduction

Mythology is the most archaic and profound record we have of mankind's essential spirit and nature. As far back as we are able to trace the origins of our species, we find myth and myth-making as the fundamental language through which man relates to life's mystery and fashions meaning from his experiences. The world of myth has its own laws and its own reality. Instead of concepts and facts that make logical sense, we find patterns of irrational imagery whose meaning must be discerned or experienced by the participant-observer. Discovering these patterns of meaning is what Jung meant by the symbolic approach to religion, myth, and dream.

The mythic image is not to be taken literally and concretely as it would be in the belief-system of a particular religion, nor is it to be dismissed as 'mere illusion,' as often happens in scientific circles. Instead, we must approach myth symbolically as revealed eternal 'truths' about mankind's psychic existence — about the reality of the psyche. 'Once upon a time' does not mean 'once' in history but refers to events that occur in eternal time, always and everywhere. Any myth is very much alive today. Every night in sleep we sink back into that source of all mythological imagery, the unconscious psyche — the origin of dreams. Many of our games have their roots in mythology and much of contemporary art, literature, and film is shot through with mythological themes.

The comparative method is the basic key to a symbolic understanding of mythology. Through it we discover certain patterns which recur in widely varying cultures separated by an immensity of both distance and time. Jung called these underlying patterns 'archetypes' from 'arche' meaning primordial, and 'typos' meaning typical. Archetypal images embody the most essential elements of the human experience and drama. They manifest both as powerful images, and as dynamic behavioral patterns. They are a repertoire of instinctive human functioning, analogous in our species to the instinctive impulse that impels, say, the Baltimore Oriole to build a beautiful teardrop nest, or Salmon to return to the streams of their birth. The generality of these images result from recurrent reactions of human beings to situations and stimuli of the same general order, repeated over thousands of years.

The archetypal images represent several basic stages of the life drama symbolized by the Hero myth. They lead from an initial stage of unconsciousness before the ego has awakened, through various stages of heroic struggle, to a final state of 'wholeness' or integration when life has reached its full potential and a relationship between the human and divine has been reestablished. Jung called this process 'individuation,' the process of becoming the true individual that one really is. This 'true self' Jung felt to be the dynamic factor in the unconscious of each individual. It represents the central archetype of order and wholeness among the other archetypes. Jung called it the Self.

The Original Embryonic State

In the beginning of many creation myths is an image of an original state of perfection, wholeness, and beatific containment. This is often represented as a containing circle, cave, pool, or sphere. The predominant archetypal symbol is that of the primordial Earth Goddess — the Great Mother with her nourishing and protective womb. Many other symbols express this archetype. Anything large and embracing or containing, such as a vessel, that enwraps, shelters, and preserves something small and fragile partakes of this 'primordial mother' One very common symbol is the uroborus, the snake with its tail in its mouth. These symbols express a paradisal state prior to any degree of self-sufficiency and autonomy. The Garden of Eden, and the Golden Age when mankind lived in union with the gods, partaking of divine fullness and totality, are other common motifs of this psychological condition. In the biological life of the individual this symbolism corresponds not only to the pre-natal gestation of the embryo in the mother's uterus, but to the state of the newborn's total dependence upon the mother. Psychologically, these symbols express the stage when the ego is only a potential, or when the ego is dominated by the universal instinctual patterns of human response to the world, or a condition when little or nothing of a uniquely personal value is expressed by the individual.

Separation, Creation, and the Birth Of Consciousness

Comparative mythology teaches us that there is always a creative tension or urgency in the original embryonic state which leads to trouble. The great uroboric round breaks open and light is born into the world. A typical personification of this impulse is the snake that tempts Eve to violate her passive containment in the Garden, or the shadowy figure or animal in Fairy Tales that tempt the hero or heroine to break the status quo and do something 'evil,' i.e., individual. Such acts result in expulsion from paradisal condition. The protection of childhood, as well as the contentment with the past or with what has been achieved, are types of a paradise that are lost when life calls for a new adaptation.

This process begins with a cataclysmic separation. In myth it is often imaged as the separation of the world Parents. Father Sky and Mother Earth hold each other in an embrace and the world is left in darkness. The children born between them must thrust them apart, despite their parents' protesting cries and groans. Only then does light enter the world. This light symbolizes consciousness. Only in the light of consciousness can man know. Yet the acquisition of consciousness is a Promethean act subjecting the hero to the danger of inflation and retribution. For stealing fire from the Gods Prometheus was chained to a rock where an eagle ate his liver every night; when Icarus flew too high on his man-made wings, their wax melted and he plunged to his death in the sea. As a bearer of light, the hero is willing to face these dangers, despite the awareness of his aloneness, individuality, and mortality, in order to carry development further.

However, once the apple is eaten the world falls into opposites, and 'good' and 'evil' are assigned their place in the world. The Great Good Mother shows her dark aspect, the hateful or Terrible Mother, while the creative Father now sits opposite the Destructive Father, and brothers kill each other in the name of love, and the world is alternately either an enchanted or persecutory place.

The Hero Myth: Birth, Call, Journey

The hero myth symbolizes that personality formation occurs only through struggle, suffering, and sacrifice. The hero's triumphs and defeats are the paradigms of the individual's confrontation with the challenges of his or her own individual life — no matter how mundane or exalted. The birth of the hero usually occurs in humble surroundings such as a manger or cave, but it is always extraordinary in some way. Often there is a special light around the child, or the child is perceived to be a threat to the King. Frequently, the hero has two fathers — his personal father and a 'higher' father. Often the mother is a virgin, and the hero's conception is of divine origin. The hero thereby inherits a dual nature. He is a human being like everyone else, yet at the same time he feels himself to be an outsider, a stranger to the community. He does not fit in, and discovers within himself something that sets him apart, such as his prophetic powers, healing abilities, or creative powers. These lead him to extraordinary deeds.

The heroic adventure often begins with some message or 'call' from a miraculous source. A frog talks to the princess, or Moses confronts a burning bush, or an empty rice bowl floats upstream (Buddha), or there is an annunciation in a dream. The call often comes at an important moment. Old life values have often been outgrown and a certain sterility has set in. Parsifal's quest for the Holy Grail was set in motion by the Fisher King's realm having become a wasteland. Whatever its form, the call awakens the hero to his or her special destiny.

The Hero Myth: The Dragon Fight and Redemption of the Feminine

In the fight with the dragon the hero battles the regressive forces of the unconscious which threaten to swallow the individuating ego. The forces, personified in figures like Circe, Kali, medusa, sea serpents, Minotaur, or Gorgon, represent the Terrible side of the Great Mother. The Hero may voluntarily submit to being swallowed by the monster, or to a conscious descent into Hades so as to vanquish the forces of darkness. This mortifying descent into the abyss, the sea, the dark cave, or the underworld in order to be reborn to a new identity expresses the symbolism of the night-sea journey through the uterine belly of the monster. It is a fundamental theme in mythology the world over — that of death and rebirth. All initiatory rituals involve this basic archetypal pattern through which the old order and early infantile attachments must die and a more mature and productive life be born in their place.

The mythological goal of the dragon fight is almost always the virgin, the captive, or more generally, the 'treasure hard to attain.' This image of the vulnerable, beautiful, and enchanting woman, guarded by and captive of a menacing monster gives us a picture of the inner core of the personality and its surrounding defenses. The hero's task is to rescue the maiden from the grasp of the monster and, ultimately, to marry her and establish his kingdom with her. This dragon fight and liberation of the captive is the archetypal pattern that can guide us through those major transitional passages in our personal development where a rebirth or reorientation of consciousness is indicated. The captive represents the 'new' element whose liberation makes all further development possible.

In response to the call the hero undertakes a journey, usually a dangerous journey to an unknown region full of both promise and danger. Often the journey is a descent. Sometimes, as with Jonah, Aeneas, Christ, and Psyche, it is a descent into the depths — the sea, the underworld, or Hades itself. Always there is a perilous crossing. Sometimes the faintheartedness of the hero is balanced by the appearance of guardians or helpful animals that enable the hero to perform the superhuman task that cannot be accomplished unaided. These helpful forces are representatives of the psychic totality that supports the ego in its struggle. They bear witness to the fact that the essential function of the hero myth is the development of the individual's true personality.

The Goal of Individuation and Its Symbols

The successful completion of the hero drama forges a relationship between the psychic opposites which split apart at the birth of consciousness. The major symbols for this synthesis are various forms of the Coniunctio Oppositorium or Mandala in which the original wholeness is now re-established but on a higher, more differentiated level. In the images of King and Queen united in marriage, or male and female united in the form of the androgyne, or geometrical opposites paradoxically united in the 'squared circle' or life and death come together in the mysterious image of the immortal God suffering a mortal wound, the integration of the opposites within the personality are symbolized. Additional symbols of wholeness are the elixir of immortality, the pearl of great price, and the divine child, representing a life-transcending potential for future growth.

The hero myth tells us that the ego's courage to suffer the burdens of fear, guilt, and the conflicts within the personality — the willingness to be crucified on the cross of one's own doubleness and to hold this inwardly — is the only way God and man can be reconciled and drawn closer together. The original unity of God and man, as in the Garden, is broken when the ego aspires to consciousness. The ego is then banished to a world full of opposites which war with each other within the personality, as brother falls upon brother in war and devastation. But into the chaos is born the child of light, the hero, whose struggle can forge an everlasting relationship between male and female, light and darkness, life and death, God and man. This is the promise, the Ring, the Covenant, the Flaming Rainbow Bridge which can unite the human and divine in the inward depths of the human psyche.

www.cgjungny.org/d/d_mythpsyche.html

The biblical story of Adam and Eve in the Garden of Eden (Genesis Chapters 2-3) is foundational to our Western culture and has influenced the upbringing and psychology of all of us, whether we realize it or not.Mythologists as well as many biblical scholars recognize the story as being in the genre of myth, which makes it appropriate to analyze it from the perspective of depth psychology, among other approaches. Indeed, as Joseph Campbell concluded, “This story yields its meaning only to a psychological interpretation” (2001, p. 50). Further, Carl Jung (CW 9.2, para. 230) had already written that “cosmogonic myths are, at bottom, symbols for the coming of consciousness.” But the literature about the Eden story taking such a psychological approach is scant, largely due to traditional and problematic gaps and tensions between academic disciplines. My recent book, The Mythology of Eden, is in part an interdisciplinary effort to take on this fascinating and important task and advance our knowledge on the subject. Below I distill some of my findings from this approach to the Eden myth, and I hope they break some new ground: The Story as Told.In the story, Yahweh warns Adam (before Eve is created) not to eat from the tree of knowledge of good and evil, or he will die that very day. In many mythologies and religions, including traditional Canaanite-Israelite religion, sacred trees have been thought of as conduits for connecting with and directly experiencing the divine, whereas the Eden story’s author insisted upon a covenant (contract) relationship between the divine (Yahweh) on the one hand and the human (earthly, profane, non-divine) sphere on the other. In the ancient biblical world, one way to experience the divine was to partake of the fruit or other produce of the sacred tree or plant, thus imbibing the essence of the divinity represented by or immanent within the tree, but this practice was condemned in the Bible.When Eve was tempted by the serpent to eat the forbidden fruit, she decided to eat it for various reasons, but mainly because she desired wisdom (Gen. 3:6). This purpose was realized when, immediately after Eve and then Adam ate the fruit, “the eyes of both were opened” (Gen. 3:7), and Yahweh remarked (to other divine beings), “See, the man has become like one of us [deities], knowing good and evil” (Gen. 3:22). The questions become: What kind of knowledge/wisdom did Adam and Eve acquire, and what kind of transformation did these archetypal humans undergo? Both relate to the psyche.

The Creation of the Cosmos from ChaosIn ancient Near Eastern creation myths, there was no such thing as creation from nothing. Before the creation, there was always a formless watery substance characterized as “chaos” (see, e.g., Gen. 1:1) because at that stage no time, space, or other order existed. The same is true before the beginning of creation in the Eden story (a separate creation story from that in Genesis 1, by a different, earlier author), only a different metaphor for chaos was used, that of a desert wasteland (Gen. 2:4-5). The ordered cosmos is created like a bubble within the surrounding chaos and is bordered by the solid firmament above and the ground below, as shown in Diagram 1 below. The cosmos (including humans) is made of the same substance as chaos; the only difference is that it is ordered, has multiplicity, and the things created have names given by the creator decreeing their function and destiny.This motif of creation from chaos was universal in the ancient Near East and common around the world. Why? Marie-Louise von Franz (1995, pp. 2-4) explained that this is a natural result of our psyche experiencing its own ego-consciousness coming into being as “world-becoming.” As far as our psyche is concerned, our becoming aware of the world and the world coming into existence are one and the same. This process occurred not only when humans first developed ego-consciousness but also occurs in any young child’s development (as shown by developmental psychology) and in the life of adults, such as when we wake up in the morning from an unconscious state and order falls into place. Our unconscious has no sense of space or time and little sense of order; it is indeed chaotic and is experienced as such. Thus, the dawn of consciousness and our image of the creation of the world are parallel and related processes which throw up corresponding, related symbols. The notion of primordial chaos is a natural projection of an archetypal image that helps make the unknown comprehensible.Chaos as Evil and Sin.After the creation, chaos is not eliminated but continues outside the cosmos, always trying to encroach upon and undo the created cosmos. Particular things are “created” only to the extent that chaos is absent in them. But in fact nothing is perfect (except the initial Garden of Eden); each thing contains some element of chaos. In nature, chaos is manifested in natural disasters such as earthquakes, floods, and violent storms. Since humans are made of the same substance as the rest of the cosmos (recall Adam being formed from the ground and water), chaos can and will inevitably erupt in humans too. In modern psychological terms, this is the unconscious at work. In the biblical world, chaos was typically symbolized by a serpent, so when in the Eden story the serpent appears before Eve, the story’s ancient audience knew that chaos had entered the Garden and Eve’s mind. Her dialogue with the serpent represents this manifestation of chaos within herself and inner turmoil.In normative terms, chaos is viewed as bad (evil), while creation is good. After all, God had created the ordered cosmos from chaos, so that’s what He wanted. The cosmos in this respect has a teleological nature, which should be respected, maintained, and furthered. Chaos manifested in humans is what results in human evil (which the biblical authors said includes pagan religion). This is what Yahweh warns Cain about: “sin is lurking at the door; its desire is for you, but you must master it” (Gen. 4:7, by the same author as the Eden story). The same biblical author later described this chaotic trait within human nature as wild imaginings of the human heart (in the ancient world thought to be the repository of thought) (Gen. 6:5; 8:21), much like Eve’s imaginings during her temptation (Gen. 3:6). Later rabbinical writings characterized this trait as the yezer hara (“impulse to evil”), which became the standard rabbinical explanation for the origin of evil. The ancients did not understand the nature of the unconscious as such, but they did reach the insight that much of human behavior, especially evil behavior, stems from urges deep within and barely susceptible to our rational, conscious control.The Antidote: The Knowledge of Good and Evil, and the Law

Adam and Eve’s transgression in the Garden showed what happens if unrestricted human nature takes its natural course. The author had to provide a remedy. His antidote was twofold: the knowledge of good and evil, combined with the Law (here in its incipient form).First, the immediate result of eating the forbidden fruit was to acquire the godlike knowledge of good and evil. What this knowledge consists of has been the subject of much debate, but actually the Hebrew Bible and the Dead Sea Scrolls go fairly far in explaining it. In several passages they describe this knowledge as being acquired (or perfected) as one passes from minority to adulthood, at the age of 20 (e.g., Isa. 7:14-16). Thus, when the Hebrews rebelled against Yahweh in the wilderness of Sinai, those 20 or older (except for the virtuous Joshua and Caleb) were implicated in this sin and so were not allowed to enter the Promised Land (hence the long stay in the wilderness), while minors under 20 had no knowledge of good and evil and so were considered incapable of sin, and therefore would eventually enter the Promised Land (Num. 14:29-30; Deut. 1:39). The Hebrew Bible goes on to portray Israel’s best kings, David and Solomon, has having an extra dose of the knowledge of good and evil, which is described as wisdom and a power of discernment (2 Sam. 14:17, 20; 1 Kings 3:9-12, 28; 4:29-31).The above understanding means that Adam and Eve’s transgression did not rise to the level of sin, since they had not yet acquired the knowledge of good and evil. They were like minors without legal capacity. In fact, their transgression was the result of human nature already at creation having the aforementioned inclination toward evil, not the cause of our sinfulness, as claimed in the doctrine of original sin.Given that evil is a form of chaos and good is a manifestation of the divinely created order of creation, the knowledge of good and evil is nothing less than the godlike knowledge of how the universe works in terms of the dynamic between chaos and order, both at the cosmic level and at the human moral level of good and evil. This understanding was likewise an insight into how the human psyche works. According to the biblical writers, in principle the knowledge of good and evil is what can (if applied) enable humans to avoid sin and further good.As shown by the snowballing of human evil leading up to Noah’s flood, however, in practice merely having this knowledge was not enough for good to prevail. Humans needed divine guidance and assistance. It was for this reason that Yahweh bestowed on the Hebrews the Law, a set of ordering principles which, if followed, would result in good prevailing, as well as the greatness of the Israelite nation. Having the knowledge of good and evil would enable humans to understand and follow the Law. This scheme is shown in Diagram 2 below, presenting the knowledge of good and evil as a type of merism, encompassing these opposites at the cosmic and human level.The Psychic Nature of the Transgression.Having the knowledge of good and evil enables humans to discern and understand both external and internal (psychic) reality, in particular pairs of opposites, symbolized by the opposites of good and evil but including others in the story such as male and female, and God and humans. Therefore, Adam and Eve’s acquisition of this knowledge constituted an enlightenment and transformation into a higher psychic level, that of full ego-consciousness. Before that, they were mired in a lower psychic state dominated by the unconscious that Erich Neumann (1954) famously called the “uroboros,” where all is one and there are no pairs of opposites (pp. 5-38). Yahweh’s warning that Adam would “die” upon eating the fruit, may well render this moment a kind of initiation scenario, with the old human dying and entering a new state of being. This transformation is what made humans responsible and accountable for their actions (especially before God), truly capable of sin or of good, and ready to act in the real world. That is when Adam and Eve exited the Garden. In psychological terms, they were not driven from the Garden but grew up and walked out on their own. As Joseph Campbell explained, “The Garden is a metaphor for the following: our minds” (2001, p. 50).Although no act of “original sin” occurred, the Eden story remains principally a story explaining human nature, in particular our psyche. Especially important is the story’s recognition of the role of chaos in the psyche, which today means the unconscious and especially the Shadow. As Jung recognized, “it is a frightening thought that man also has a shadow-side to him, consisting not just of little weaknesses and foibles, but of a positively demonic dynamism” (CW 7, para. 35). This chaos eventually came to be represented by the Devil. The author of the Eden story honestly brought out this psychic fact, and he did his best to fashion a way to deal with it. His remedy was the application of our knowledge of good and evil (an aspect of ego-consciousness) plus the Law.

What Does the Eden Story Mean for Us?In considering the relevance of the Eden story in today’s world, we must reevaluate the biblical author’s remedy and determine what our conclusions mean for us individually (spirituality, psychology), as well as socio-politically in terms of criminology, social policy, ethics and morality, education, religious doctrine (or abandonment thereof), and law. This complicated endeavor would take us far beyond the scope of this article, so I will end with just two points in this regard.

First, to the extent the biblical remedy involves conscious application of the knowledge of good and evil, this seems inevitably to involve, at least in part, ego-consciousness repressing and suppressing contents of our unconscious, which modern psychology has shown to cause still more problems.Second, historically, the biblical authors’ reliance on prophylactic laws to control human behavior has had mixed results. Further, such approach assumes that the human psyche is incapable of further change, even though it had transformed once before in the Garden. As a result, the prophylactic approach treats symptoms rather than the underlying problems, including evolved traits that once had survival value but which in many cases are now dysfunctional.

An alternative approach is to endeavor to transform the human psyche to a higher level, in which case the need for prophylactic measures and suppression and repression of the unconscious would lessen. Such is the approach, for example, being explored by Allan Combs (2009), the integral psychology movement championed by Ken Wilber (1996; 2000), and other progressive thinkers and initiatives. One means toward this end may well be spiritual practices giving a direct experience of divinity (however conceived), the type of approach condemned in the Bible but which resulted in the elevation of Adam and Eve’s consciousness.

www.depthinsights.com/Depth-Insights-scholarly-ezine/jung...

"I don't want to give too much away, but basically — she's God, by the end of the movie."

– Ty Burr, on Scarlett Johansson's character in the film Lucy (2014)

"He complained in no way of the evil reputation under which he lived, indeed, all over the world, and he assured me that he himself was of all living beings the most interested in the destruction of Superstition, and he avowed to me that he had been afraid, relatively as to his proper power, once only, and that was on the day when he had heard a preacher, more subtle than the rest of the human herd, cry in his pulpit: 'My dear brethren, do not ever forget, when you hear the progress of lights praised, that the loveliest trick of the Devil is to persuade you that he does not exist!'"

– Charles Baudelaire, "The Generous Gambler" (Feb. 1864).

A stop off at MacLeay Park, before heading to tea.

The Prudent Cyclist has more on the ride.

There's also an account of the later Vice Tweed Ride available on the same site if you're curious.

In his series of works with Mao Zedong, the leader of the Cultural Revolution, and American actress Marilyn Monroe, Wang Zi brings together two of the most iconic images of the twentieth century on his canvas. The interest the series generates is not only due to the impressionistic capturing of Mao and Marilyn in distinctive scenes as we remember them in the past, such as Mao in his robe after swimming or Marilyn in her famous pose from the 'Seven Year Itch', but also because these two historical characters are antipodean to each other. The choice of juxtaposing them has great ingenuity behind it precisely because they, or what they represent is so diametrically opposite. Capitalism vs Communism, West vs East, Liberal vs Conservative, Sensual vs Virtuous, the list goes on. The knowledge of opposing history and thus what they represent to the viewer serves as a backdrop to understand Wang Zi's series better.

To see more of our artworks, visit us at odetoart.com/

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Photographer: - Ian Marshall

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With "When the sea sends forth a forest", Guangli Liu addresses the forgotten history of Cambodia's Chinese community, which was persecuted, expelled and killed by the Khmer Rouge and abandoned by China in all of this. Given the lack of historical footage from the country, which was completely sealed off from the outside world at the time, Guangli Liu uses two very contradictory sources; on the one hand, the regime's propaganda videos and, on the other, the horror images that were disseminated around the world after its fall. Guangli Liu virtuously interweaves the old footage with 3D representations from a game engine to create a unique visual story.

Credit: Guangli Liu (CN)

Drawn into the depths of a chinese temple

I knelt down before the divine light

To hear the heart of wisdom speak

Life is precious, hold it near

Learn to face your greatest fear

Teach, be taught, and let it be

For only you attract what it is you see

www.inspiredeyephotography.net

Anne Elizabeth, pious, virtuous, fond and faithful wife of Rev George Coke ...he shall join her in Heaven as his lasting comfort under the affliction of her early death.

She was the only daughter of Rev James Hodgson . She died 28th March 1831 on the 11th day after childbirth aged 28 years leaving 3 children to their widowed father as a solace and anxious care

In this church near her kindred are deposited the remains of Lucy third daughter of Rev Francis Coke and Anne his wife 1800-1841 - her life was indeed precious, she devotedly watched over and instructed the children of a widowed brother and was as one that comforted the mourners.

On 20th April 1863 the Rev George Coke after long suffering from loss of sight was reunited in death with his wife and sister. A faithful widower for many years and tender parent to his 3 children.................

In memory of the children of Rev George Coke and Anne Elizabeth his wife

Anne Elizabeth wife of Rev H Petts of Llangorran born 1826 died 1880

George Francis Coke, vicar of Titley born 1830, died 1885

Lucy Elizabeth Hodgson Coke born 1831 died 1915

Vietnam Women's Memorial

Looking at the statues of Vietnam Women’s Memorial today, I find it exceptionally important to recognize those who serve as medical professionals, to heal, comfort, and cure. How selfless and virtuous to risk one’s own life and serve others?

digital analog hybrid

large size

An interesting project being undertaken by the Great Western Society at Didcot is the re-creation of a 'Saint' locomotive using a 'Hall' as a basis.

Both are 4-6-0 locomotives, but the Saint has larger wheels, and in fact a Saint was used to construct the first Hall so Didcot are now doing the reverse.

The Society purchased 4942 Maindy Hall back in 1974 for such a project but work has only been undertaken in more recent years. In its new guise, it will be numbered 2999 and named Lady of Legend - several of the Saints were actually named after mythical ladies such as Lady Godiva.

A feature of the project is the ability for the loco to be changed from 4-6-0 to 4-4-2 wheel configuration, which reflects reality for some examples for a short time.

The Saint is caught here in the original GWR shop amongst some period heavy equipment.

Didcot, Oxfordshire

31st July 2016

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Just a short 2 mile pull up a small hill in Pennsylvania. The trouble is, I am empty and could actually go a lot faster up this hill. But the truck in front is VERY heavy and VERY slow. And there is obviously no way to pass. Well, they say patience is a virtue. So I am being virtuous.

info:

Canon A-1

Canon 50mm F/1.4 S.S.C.

In-Camera Meter

Auto-Exposure

Sensia 100

Zoner Photo Studio

The King of Winds looks like an old man blowing through his leaps. His being reminds a deep dream with spectacular places and events. His dream consists of All our world with all it's history. When his dream is bright and calm his breath is a light breeze, but when his dream reminds a nightmare then he starts to tumble blowing strongly and storm comes.

He loves playing the Pan's flute in-between and does it virtuously. I've made my King of winds out of pure organic wool, using bright and light colors. He blows gently, and his flute is hung on his chest.

Quem é viva sempre aparece! =)

Tá tarde e nem vou falar mto (mentira!), é q me animei horrores de ter postado a ultima fotinho q resolvi postar uma de esmalte...e pra quem não viu, corre lá no ultimo upload q fiz, sorteio no blog Amor em Vidro...

É gente virei brogueira! ahaha...na verdade acho q é uma coisinha a mais, sabe fiko triste de ver minhas fotos sumindo aqui no flickr, já passei a mto tempo das duzentas! e td some...se ainda aparecesse pra mim td bem, mas nem isso!

Logo estarei lá no Amor em Vidro, postando mtas fotos como gosto...vcs sabem q eu não sou boa pra falar sobre cor, acabamento e blablabla...mas vou tentar dar o maximo de mim tá legal?! opiniões, criticas, ideias são sempre bem vindas...nada como um blog pra todas!

Enfim, falando desse lindo, q só pra variar...Carol me deu! rs...

Eu tenho estado louka por roxinhos...de todos os tipos! e esse é só suspiros....

Na primeira camada vc fala: Vixiiii....vai mil camadas....Ele é cinza!?!?!

Na segunda: Tá manchado?! hein?! cuma?!

Na terceira: Oi seu lindoooooo!!!!

Aposto q a maioria fez cara feia qdo leu "terceira camada"...calma gente, seca rapidinho, não fica grosso....e a cor é essa aí q vcs estão vendo, ele tem microbrilhos rosa e azul, lindooo!

Eu usei o Invincible, e ele infelizmente tem encolhido alguns esmaltinhos, a Leleen tb reparou isso. Mas eu sempre fiko na duvida se eu fiz algo errado!

Tb nem encolhe horrores, mas é q com esse foi mais do q o normal...se aconteceu com mais alguem diga!

De qq forma eu adoro ele, seca me rapido, e hj em dia eu só preciso disso, q seque mega rapido, não importa qtas camadas de esmalte eu use!

Bom...é isso aí, falei demais! mas é culpa da saudade de td isso aqui e tb pq tá tarde, eu tô com sono, e com sono eu falo pra caramba! haha

Bjs e fuiiiiii!

16-17th century fresco at Sucevita Monastery (northern Romania) depicting the 30 steps from Hell to Paradise, with angels on the upper side, and demons below.

Detail from a late Morris & Co window in the north transept reusing earlier designs for the figures by Burne Jones.

Images from a brief revisit to one of my favourite places, Norwich Cathedral, scene of some of my earliest memories and what inspired my interest in church architecture at an early age. There had been some changes since my last visit, with the new hostry building (an empty ruin previously) to the west of the cloister now serving as the main entry for visitors. The weather/lighting could have been better, alas!

Norwich Cathedral is one of England's finest buildings and greatest cathedrals; It is one of the most complete examples of Romanesque architecture in the country (arguably the least altered Norman cathedral), has the second tallest spire in Britain and it's vaulted ceilings contain the largest collection of carved medieval roof bosses anywhere.

Surprisingly for so grand a building it is relatively inconspicuous from the city itself, standing on low ground and concealed within the old Cathedral Close, an enclave of tradition and relative peace apart from the noise of the city beyond it's gates. It's monastic past is much in evidence, particularly the magnificent cloisters, the largest and some of the finest in the country.

As stated most of the building dates from the 12th century and therefore exudes that solid Norman aesthetic, massively built but still graceful and beautiful. The central tower is unusually designed with arcading and windows beneath a double row of oculi, the tapering spire above it is a 15th century addition, aside from this the only major alterations to the ancient fabric externally are the tall 14th century clerestorey and flying buttresses of the choir and the gothic enlargement of various nave and aisle windows, principally the great perpendicular west window that takes up most of the west facade.

The interior is predominantly Norman too, except for the elaborate gothic vaulted ceilings that cover nave, choir and both transepts with a uniform design (originally these higher celings would have been of wood, stone vaults were added in the late medieval period to protect against fire, a job they performed well when the transept roofs were hit by incendiary bombs in World War II). These vaults display an unrivalled collection of narrative roof bosses, carved and coloured with Old & New Testament scenes (mainly in the nave and transepts, the choir bosses are mostly decorated with the emblem of their donor, Bishop Goldwell).

The cathedral has surprisingly few major monuments and sculptures compared to most of it's peers, but does have more exceptional medieval art in it's 14th & 15th century painted altarpieces, the most important being the Despenser Retable in the south east chapel, a unique survivial, hidden from danger during the Reformation & Civil War by being converted to the underside of a table. Further altarpieces here are formed of salvaged panels from redundant city churches. The medieval choir stalls also survive with a full set of carved misericords.

The stained glass by contrast is mostly Victorian and quite mixed (very little medieval glass survives). Striking modern glass by Keith New and John Hayward was installed in the north transept to commemorate the Millennium.

The cloisters to the south of the nave are one of my favourite places, all four walks are covered by yet more vaulted ceilings with over 400 more carved and repainted bosses (lower down and much easier to study than those inside the main body of the cathedral) spanning the long period of the cloister's construction throughout the 14th & !5th centuries.

Norwich Cathedral is special to me as being the subject of my earliest memories, recalling having been taken around the cathedral and cloisters as a 3 year old, which left a vivid impression on me and lead me to pursue an interest in church art and architecture years later, ultimately towards my present career in stained glass. Norwich Cathedral will always therefore have a touch of that nostalgic magic to me.

For more details see the Cathedral website below:-

www.cathedral.org.uk/historyheritage/Default.aspx

For more images and details see below:-

www.norfolkchurches.co.uk/norwichcathedral/norwichcathedr...

Linda Lane discussing digital cameras with the senior Sakya Monks that made offerings on my sister, Lisa Jo Lane, and Ken Vititus' memorial, lighting the Boudha Stupa with candles, Kathmandu, Nepal around 11:30 pm on Saka Dawa, Oct 2007.

I am wearing a silk blouse and a big skirt under - with camera bag. The blue line on the monks garments has a special meaning for them.

Thanks to everydayus for the link to this group 1000 Cranes for Japan

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365 days yr 4 1172/1461 076/365 17march2011

The Virtuous Wife

by Dandin (AD 600-700)

Once upon a time, in the city of Kanchi, there lived a young multimillionnaire merchant.

He had just one worry - How to find a virtuous wife?

So he decided to search for a suitable bride for himself. He took on the role of a fortune teller, tucked a measure of rice in the hem of his garment, and roamed the country, going door to door.

When he went to a door, the family brought out their daughters so that he could read their hand! Clever fellow, wasn't he? :D

Whenever he saw a girl he liked he asked - my good girl, can you feed me properly with this measure of rice?

And every time the girl would look at him with scorn and send him away hungry and disappointed.

One day thus wandering, he ended up at the door of a dialapidated mansion, in which lived a fair maiden with only her nurse to accompany her.

The girl's parents were dead, and the wealth had gone away with time, leaving her in a state of poverty, with only the old faithful servant for company and the mansion that was falling apart around them.

The old nurse, always worried about the future of her charge, pushed the girl in front of the fortune teller and requested him to read her hand.

He held her hand and stared at her, forgetting all speech! "Such a beauty! I hope her character corresponds to her loveliness!" And so he asked her his question - my good girl, can you feed me properly with this measure of rice? And he waited for her response with baited breath.

The girl smiled and said nothing. She just signalled the old nurse to take the measure of rice from him.

The young man then sat back and tried to see what was going on inside the house.

The old nurse washed the girl's feet, and seated her in a spot, carefully sprinkled and swept, in the sunny courtyard.

The girl trampled the rice, dried it a little at a time, turned it repeatedly in the sun, put it on a hard, level spot, struck it very gently with hollow stalk, and extracted the kernels without crushing the husks.

"Mother," she said to the nurse, "jewellers find a use for these husks which serve to polish gems. Take them these, and with the pennies earned, buy firewood, solid sticks, neither too moist nor too dry, and a modest kettle and two saucers."

While the nurse was away, the girl went to work.

In a shallow mortar of finest wood, using a long heavy wooden pestle with iron at the head, she caused the grains to rise and fall with the busy grace and skill of her arm, repeatedly made them hop and sink with her fingers, and stripped them of awns in the winnowing sieve.

When the nurse returned, the girl paid honour to the fireplace, and started the fire. She put the kettle on it filled with water. She rinsed the grains a number of times, and finally dropped them in the boiled water.

As the grains softened, hopped, and swelled, she collected the fire, fitted the lid to the kettle, and strained off the scum. Then she patted with the laddle, stirred a little at a time, and making sure that the clots were cooking evenly, set the kettle upside down.

Then she sprinkled water on scortched but not burned pieces of charcoal, and send the sticks to the retailers with the command - "For the pennies you get for these, buy as much as you can in vegetables, butter, curds, oil, emblic, and tamarind."

When the nurse had done this, she prepared a soup and a vegetable side dish.

Then she placed the scummy broth from rice in a new saucer planted in moist sand, and cooled it with a gentle breeze from a palm leaf fan. She added salt to it, and let the smoke from the wood fire scent it. She also ground the embelic fine to bring out its odour, sweet as a lotus.

Then she send the nurse to invite the guest to take a bath, which he did, using the oil and embelic that she gave him.

Then he was invited to sit on a plank and waited in anticipation for his meal to appear on the greenish white plantain leaf set in front of his seat.

The girl set the rice gruel before him. He drank, relaxed, and felt happy.

Next she served him two laddlefuls of rice, and brought a little butter, soup and a relish.

The next course was the rest of the rice, with curds, powedered spices, and fragrant refreshing buttermilk and clotted cheese.

The man enjoyed his meal, and pleased with his good fortune, asked the girl to marry him. She acceped gladly, and he subordinated his entire household to her, made her sole mistress of his life and person, and thus enjoyed virtue, money, and love.

One of my shots from the Bristol Strobist Christmas Shoot. Kae had this neat little winged outfit and she looked perfect as a cute little Angel, perhaps sitting above a Christmas tree.

Some of us thought something a little more powerful was called for.

Model: Kae - www.flickr.com/photos/kakie83/

Strobist:

White background.

Studio flashes remotely triggered.

1 x softbox @ ~1/8 power placed on each side of model at head height.

1 x softbox directly overhead @ 1/18 power.

Post: Lightroom

I just caned the controls in LR. I really pushed most things to their extreme and then dialed back a little to see how it looked.

Some really heavy handed adjustments to colour temperature to get the pink colour all over the background and to really saturate her outfit (it's not a localised adjustment hence it is messy, spilling everywhere which is what I was trying for).

An adjustment brush to paint the vignette by colouring the whole image in -2/3stop exposure then selectively erasing the adjustment with a low flowing large feathered brush.

Tweaking the curve and other basic sliders to get the bright light and saturated colour.

Some skin retouching and a few spots of healing on the dirty background (which I haven't completely cleaned but it's as good as it's gonna get in LR).

From the museum label: The antique legend of the virtuous and beautiful Lucretia was a popular visual subject in the sixteenth century. Lucretia stabbed herself to death after being raped by a companion of her husband Collatinus. In doing so, she embodied the ideal of the honourable woman. In Cranach's painting the dagger becomes an accessory. The actual subject is the desirable, full-length female nude.

82 x 110cm

The Pleasure Principle - New Works by Sarah Harvey

March 4th - April 8th 2010

Sesame Gallery

354 Upper Street

Islington

London

N1 0PD

‘Dame CATHARINE late wife of Sir DRUE DRURYE, gentleman usher of ye privy chamber of our soveraign ladye Queen Elizabeth. Daughter and sole Heire of William FINCHE of ye parishe Esquire. She deceased ye 13 Daye of September 1601 in ye 45 yeere of Hir age’.

‘If virtuous rage of oldiscene, If worthye matche commende,

If modeste life, If children sweete, If meeke and Godlye ende,

Then she whoe lyeth enterred heere, Was sure and happye wighe

Whoe with these golden graces all, And many more was dighe,

Cease then to mourne for hir you frends Whose vertues rare were founde

Hir soule in blisse doth raigne in Heaven, Though bodye rott in grounde’.

Sir Drue m1 Elizabeth, daughter of Sir Phillip Calthorpe and Amata Boleyn (aunt of Queen Ann Boleyn)

He m2 Catherine, daughter of William Finch of Lynsted who shares this tomb -

.Children

1. Elizabeth m1 (2nd wife) Sir Thomas Wingfield son of Sir Robert Wingfield of Letheringham (d 1609) www.flickr.com/photos/52219527@N00/14300836067/ widower of Radcliff Gerrard www.flickr.com/photos/52219527@N00/14005154053/ m2 Henry Reynold of Belstead

2. Ann www.flickr.com/photos/52219527@N00/14450695084/ m Sir John Deane of Great Maplestead www.flickr.com/photos/52219527@N00/14428597446/

3. Frances m Sir Robert Botiler of Wotton

4. Drue Drury, 1st Bart of Riddlesworth (1588-1632) m Anne daughter of Edward Waldegrave of Canfield

‘.Drue was the son of Sir Robert Drury and Elizabeth daughter of Edmund Brudenell,

His brother was Sir William Drury,Lord Justice governor of Ireland in 1576 who married Margaret, daughter of Thomas Lord Wentworth,

Drue had m1 Elizabeth, daughter of Sir Phillip Calthorpe and Amata Boleyn (aunt of Queen Ann Boleyn)

Drue's grandparents were Sir Robert Drury Sr. (1463-1536) Privy Councilor to King Henry VII and Speaker of the House of Commons and Anne www.flickr.com/photos/52219527@N00/4258436115/ daughter of Sir William Calthorpe and Elizabeth Stapeleton.

Sir Drue Drury, Gentleman Usher of ye privie chamber of our most gracious soveraigne ladye Queene Elizabeth. In 1559 Dru and his brother William, a soldier, were sent to the Tower for several months charged with the attempted murder of Robert Dudley the Queens favourite who was rumoured at the time to be in line to marry the Queen. Whether there was any substance in the accusation is not clear because it was Dudley himself who later secured their release. (Elizabeth the Queen by Alison Weir)

Sir Drue Drurye was one of the Commissioners of Elizabeth I who was responsible for the conveyance to Fotheringhay Castle of the warrant for the execution of Mary Queen of Scots. It is understood that he was also a witness to the signature on this warrant. As assistant to Paulet he co-signed an anguished letter to Elizabeth when it was intimated that Paulet should quietly "do away" with Mary to save Elizabeth from having to go through with her execution. Paulet wrote the letter adding my assistant" subscribes in his heart to my opinion"

Dru also has a monument at Riddlesworth www.flickr.com/photos/52219527@N00/4381923692/

from my tumblr blog

QUOTE (from the back of this flyer)

We hope the cartoon made you smile, but it's not really a laughing matter is it? Across the Higher Education sector, casualisation/precarity and excessive workloads have combined to create a toxic cocktail.

Counting the costs of casualisation in higher education (published by UCU in June 2019) reported:

🎓 Around 70% of researchers in HE are on fixed-term contracts

🎓 37,000 teaching staff are on fixed-term contracts, mostly hourly paid

🎓 71,000 colleagues are employed as 'atypical academics' mostly hourly paid

Casualised and precarious contracts cause stress. How will you pay the bills when your contract expires?

For those on more permanent contracts, stress comes from demands of an excessive workload. 37.5 hours is supposed to be the length of the working week - we probably made you laugh again - but most academics work much longer hours than that. Evening and weekend working has become the norm rather than the exception.

Workload is an education issue (published by UCU in 2016) reported:

🎓 The average working week for academic staff is 50.9 hours

🎓 The average working week for academic-related PS staff is 42.4 hours

Or put it another way, the average Professional Services (PS) colleague does on day of unpaid work per week, while the average academic does two days of unpaid work per week. This survey of over 8,000 academics and PS staff was conducted in 2016 - the situation certainly hasn't improved since then; in fact, it's probably got worse!

Vicious cycle:

Casualised contracts = fewer permanent staff = excessive workload

Virtuous cycle:

Fewer casualised contracts = more permanent staff = manageable workload

This strike is about ending the vicious cycle.

If you're wondering about the Pornstar Martini reference: in 2018 a Channel 4 Dispatches documentary revealed that VCs and Senior Managers had claimed almost £8 million in expenses over the previous two years (including a claim for a Pornstar Martini) NB: This was not a senior manager at the University of Manchester (UoM), as the UoM did not respond to the Freedom of Information request sent by the programme, see The Guardian article below.

Some claimed for Easter eggs, scented candles, fresh flowers and even a “pornstar Martini”. Few, though, can beat the £1,600 spent on relocating a pet dog from Australia to Britain.

www.theguardian.com/education/2018/feb/24/flowers-drinks-...

SUPPORT UCU IN ITS FIGHT AGAINST CASUALISATION ...

UNQUOTE

via twitter.com/hectormangas/status/1199632922082521088

National Gallery, London.

The Departure of the Argonauts (detail)

1487

Master of 1487, probably Pietro Donzello.

On loan from The Mari Cha Collection Limited.

From website - "This picture, like Bartolomeo di Giovanni’s The Argonauts in Colchis, was made in honour of the marriage of Lorenzo Tornabuoni (Lorenzo de’ Medici’s cousin) to the virtuous Giovanna degli Albizzi. It hung in Lorenzo’s chamber in his family’s Florentine palace: his private room, where he might entertain special guests, as well as sleep with his wife.

The highly-educated Lorenzo Tornabuoni was particularly interested in the ancient Greek legends of Jason and his Argonauts. Here, the Argonauts leave Jason’s home of Argos, and prepare to set sail in search of the Golden Fleece. This would enable Jason to reclaim his kingdom from his uncle Pelias (before whom we see Jason kneeling in the picture)."

Day 335

Collect as precious pearls the words of the wise and virtuous. – Abd-el-Kadar

"Aunt Judy Old and Gray Still Won't Shave" - OOAK Cameo assemblage by Kathy Noda SRAJD 1937

Old and gray and still virtuous as ever Aunt Judy won't shave.

"Ladies don't shave until they're married," she'd say.

When Paul's Aunt Judy swam in the lake adults politely looked away. The little boys shuddered and swore off women, the little girls looked dismayed.

Paul still shudders to this day!

Steel wool surrounds this cameo reminiscent of Aunt Judy's pubic hair billowing for all the world to see out of the pants legs of her bathing suit. Her flaming red hair is gone, now steely gray.

Her majestic beauty is captured in this fine black plastic cameo and the flower stands for her virginity she still holds true. The black beads represent old fashioned values. There are little black rhinestones buried under the steel wool to be found by her true love, when she finally gets married and shaves.

26/365

This evening tasted of sadness because we expected to get Mark Lanegan's new album on vinyl, but the pre-order was inexplicably delayed from amazon so we didn't get to spend our dinner prep time listening to "Brompton Oratory" the warm, lush way Lanegan's voice has always meant to be heard. We'll just have to be satisfied listening to our digital copy instead. Our lives are so hard!

Meanwhile, our musicless dinner was, at the very least, super grubby. We had pork stir fry with napa cabbage and tatsoi, and delicious salads. Mmm... fall veggies.

Kartikeya, also known as Skanda, Murugan and Subramaniyan, is the Hindu god of war. He is the commander-in-chief of the army of the devas (gods) and the son of Shiva and Parvati.

Murugan is often referred to as "Tamil Kadavul" (meaning "God of Tamils") and is worshiped primarily in areas with Tamil influences, especially South India, Sri Lanka, Mauritius, Malaysia, Singapore and Reunion Island. His six most important shrines in India are the Arupadaiveedu temples, located in Tamil Nadu. In Sri Lanka, Hindus as well as Buddhists revere the sacred historical Nallur Kandaswamy temple in Jaffna and Katirkāmam Temple situated deep south.[1] Hindus in Malaysia also pray to Lord Murugan at the Batu Caves and various temples where Thaipusam is celebrated with grandeur.

In Karnataka and Andhra Pradesh, Kartikeya is known as Subrahmanya with a temple at Kukke Subramanya known for Sarpa shanti rites dedicated to Him and another famous temple at Ghati Subramanya also in Karnataka. In Bengal and Odisha, he is popularly known as Kartikeya (meaning 'son of Krittika').[2]

Other names[edit]

Like most Hindu deities, Subrahmanya is known by many other names, including Senthil, Vēlaṇ, Kumāran (meaning 'prince or child or young one'), Swaminatha (meaning 'smart' or 'clever'), Saravaṇa, Arumugam or Shanmuga (meaning 'one with six faces'), Dhandapani (meaning God with a Club), Guhan or Guruguha (meaning 'cave-dweller'), Subrahmanya, Kartikeya and Skanda (meaning 'that which is spilled or oozed).[3][4] He was also known as Mahasena and the Kadamba Dynasty kings worshiped him by this name.[5]

Vedas[edit]

The Atharva Veda describes Kumaran as 'Agnibhuh' because he is form of 'Agni' (Fire God) & Agni hold in his hand when kumaran born. The Satapatha Brahmana refers to him as the son of Rudra and the six faces of Rudra. The Taittiriya Aranyaka contains the Gayatri mantra for Shanmukha. The Chandogya Upanishad refers to Skanda as the "way that leads to wisdom". The Baudhayana Dharmasutra mentions Skanda as 'Mahasena' and 'Subrahmanya.' The Aranya Parva canto of the Mahabharata relates the legend of Kartikeya Skanda in considerable detail. The Skanda Purana is devoted to the narrative of Kartikeya.[6] The Upanishads also constantly make a reference to a Supreme Being called Guha, the indweller.

The first elaborate account of Kartikeya's origin occurs in the Mahabharata. In a complicated story, he is said to have been born from Agni and Svaha, after the latter impersonated the six of the seven wives of the Saptarishi (Seven Sages). The actual wives then become the Pleiades. Kartikeya is said to have been born to destroy the Asura Mahisha.[7] (In later mythology, Mahisha became the adversary of Durga.) Indra attacks Kartikeya as he sees the latter as a threat, until Shiva intervenes and makes Kartikeya the commander-in-chief of the army of the Devas. He is also married to Devasena, Indra's daughter. The origin of this marriage lies probably in the punning of 'Deva-sena-pati'. It can mean either lord of Devasena or Lord of the army (sena) of Devas. But according to Shrii Shrii Anandamurti, in his master work on Shiva[8] and other works, Kartikeya was married to Devasenā and that is on the ground of his name as Devasena's husband, Devasenāpati, misinterpreted as Deva-senāpati (Deva's general) that he was granted the title general and made the Deva's army general.[9]

The Ramayana version is closer to the stories told in the Puranas discussed below.

Tolkappiyam, possibly the most ancient of the extant Sangam works, dated between the 3rd century BCE and 5th century CE glorified Murugan, "the red god seated on the blue peacock, who is ever young and resplendent," as "the favoured god of the Tamils."[10] The Sangam poetry divided space and Tamil land into five allegorical areas (tinai) and according to the Tirumurugarruppatai ( c. 400–450 AD) attributed to the great Sangam poet Nakkiirar, Murugan was the presiding deity the Kurinci region (hilly area). (Tirumurugaruppatai is a deeply devotional poem included in the ten idylls (Pattupattu) of the age of the third Sangam). The other Sangam era works in Tamil that refer to Murugan in detail include the Paripaatal, the Akananuru and the Purananuru. One poem in the Paripaatal describes the veneration of Murugan thus:

"We implore thee not for boons of enjoyment or wealth,

But for thy grace beatific, love and virtuous deeds."

According to the Tamil devotional work, Thiruppugazh, "Murugan never hesitates to come to the aid of a devotee when called upon in piety or distress". In another work, Thirumurukkarrupatai, he is described as a god of eternal youth;

His face shines a myriad rays light and removes the darkness from this world.[11]

The references to Murugan can be traced back to the first millennium BCE. There are references to Murugan in Kautilya's Arthashastra, in the works of Patanjali, in Kalidasa's epic poem the Kumarasambhavam. The Kushanas, who governed from what is today Peshawar, and the Yaudheyas, a republican clan in the Punjab, struck coins bearing the image of Skanda. The deity was venerated also by the Ikshvakus, an Andhra dynasty, and the Guptas.[6] The worship of Kumāra was one of the six principal sects of Hinduism at the time of Adi Shankara. The Shanmata system propagated by him included this sect. In many Shiva and Devi temples of Tamil Nadu, Murugan is installed on the left of the main deity. The story of His birth goes as follows:

Sati immolated herself in a pyre as her father King Daksha had insulted Shiva, her Lord. She was reborn as Parvathi or Uma, daughter of the King of Himalayas, Himavan. She then married her Lord Shiva. The Devas were under onslaught from the Asuras whose leader was Soorapadman. He had been granted boons that only Lord Shiva or his seed could kill him. Fearless he vanquished the Devas and made them his slaves. The Devas ran to Vishnu for help who told them that it was merely their fault for attending Daksha's yagna, without the presence of Lord Shiva. After this, they ran to Shiva for help. Shiva decided to take action against Soorapadman's increasing conceit. He frowned and his third eye- the eye of knowledge- started releasing sparks. These were six sparks in total. Agni had the responsibility to take them to Saravana Lake. As he was carrying them, the sparks were growing hotter and hotter that even the Lord of Fire could not withstand the heat. Soon after Murugan was born on a lotus in the Saravana Lake with six faces, giving him the name Arumukhan. Lord Shiva and Parvati visited and tears of joy started flowing as they witnessed the most handsome child. Shiva and Parvathi gave the responsibility of taking care of Muruga to the six Krittika sisters. Muruga grew up to be a handsome, intelligent, powerful, clever youth. All the Devas applauded at their saviour, who had finally come to release them from their woes. Murugan became the supreme general of the demi-gods, then escorted the devas and led the army of the devas to victory against the asuras.

Legends[edit]

Given that legends related to Murugan are recounted separately in several Hindu epics, some differences between the various versions are observed. Some Sanskrit epics and puranas indicate that he was the elder son of Shiva. This is suggested by the legend connected to his birth; the wedding of Shiva and Parvati being necessary for the birth of a child who would vanquish the asura named Taraka. Also, Kartikeya is seen helping Shiva fight the newborn Ganesha, Shiva's other son, in the Shiva Purana. In the Ganapati Khandam of the Brahma Vaivarta Purana, he is seen as the elder son of Shiva and Ganesha as the younger. In South India, it is believed that he is the younger of the two. A Puranic story has Ganesha obtain a divine fruit of knowledge from Narada winning a contest with Murugan. While Murugan speeds around the world thrice to win the contest for the fruit, Ganesha circumambulates Shiva and Parvati thrice as an equivalent and is given the fruit. After winning it, he offers to give the fruit to his upset brother. After this event, Ganesha was considered the elder brother owing as a tribute to his wisdom. Many of the major events in Murugan's life take place during his youth, and legends surrounding his birth are popular. This has encouraged the worship of Murugan as a child-God, very similar to the worship of the child Krishna in north India. He is married to two wives, Valli and Devasena. This lead to a very interesting name : Devasenapati viz. Pati (husband) of Devsena and/or Senapati (commander in chief) of Dev (gods)

Kartikeya symbols are based on the weapons – Vel, the Divine Spear or Lance that he carries and his mount the peacock. He is sometimes depicted with many weapons including: a sword, a javelin, a mace, a discus and a bow although more usually he is depicted wielding a sakti or spear. This symbolizes his purification of human ills. His javelin is used to symbolize his far reaching protection, his discus symbolizes his knowledge of the truth, his mace represents his strength and his bow shows his ability to defeat all ills. His peacock mount symbolizes his destruction of the ego.

His six heads represent the six siddhis bestowed upon yogis over the course of their spiritual development. This corresponds to his role as the bestower of siddhis.

In Tamil Nadu, Murugan has continued to be popular with all classes of society right since the Sangam age. This has led to more elaborate accounts of his mythology in the Tamil language, culminating in the Tamil version of Skanda Purana, called Kandha Purānam, written by Kacchiappa Sivachariyar (1350–1420 AD.) of Kumara Kottam in the city of Kanchipuram. (He was a scholar in Tamil literature, and a votary of the Shaiva Siddhanta philosophy.)

He is married to two deities, Valli, a daughter of a tribal chief and Deivayanai (also called Devasena), the daughter of Indhra. During His bachelorhood, Lord Murugan is also regarded as Kumaraswami (or Bachelor God), Kumara meaning a bachelor and Swami meaning God. Muruga rides a peacock and wields a bow in battle. The lance called Vel in Tamil is a weapon closely associated with him. The Vel was given to him by his mother, Parvati, and embodies her energy and power. His army's standard depicts a rooster. In the war, Surapadman was split into two, and each half was granted a boon by Murugan. The halves, thus turned into the peacock (his mount) and the rooster his flag, which also "refers to the sun".[12]

As Muruga is worshipped predominantly in Tamil Nadu, many of his names are of Tamil origin. These include Senthil, the red or formidable one; Arumugam, the six-faced one; Guhan and Maal-Marugan, the son-in-law of Vishnu. Murugan is venerated throughout the Tamil year. There is a six-day period of fast and prayer in the Tamil month of Aippasi known as the Skanda Shasti. He is worshipped at Thaipusam, celebrated by Tamil communities worldwide near the full moon of the Tamil month Thai. This commemorates the day he was given a Vel or lance by his mother in order to vanquish the asuras. Thirukarthigai or the full moon of the Tamil month of Karthigai signifies his birth. Each Tuesday of the Tamil month of Adi is also dedicated to the worship of Murugan. Tuesday in the Hindu tradition connotes Mangala, the god of planet Mars and war.

Other parts of India[edit]

Historically, God Kartikeya was immensely popular in the Indian subcontinent. One of the major Puranas, the Skanda Purana is dedicated to him. In the Bhagavad-Gita (Ch.10, Verse 24), Krishna, while explaining his omnipresence, names the most perfect being, mortal or divine, in each of several categories. While doing so, he says: "Among generals, I am Skanda, the lord of war."

Kartikeya's presence in the religious and cultural sphere can be seen at least from the Gupta age. Two of the Gupta kings, Kumaragupta and Skandagupta, were named after him. He is seen in the Gupta sculptures and in the temples of Ellora and Elephanta. As the commander of the divine armies, he became the patron of the ruling classes. His youth, beauty and bravery was much celebrated in Sanskrit works like the Kathasaritsagara. Kalidasa made the birth of Kumara the subject of a lyrical epic, the Kumaarasambhavam. In ancient India, Kartikeya was also regarded as the patron deity of thieves, as may be inferred from the Mrichchakatikam, a Sanskrit play by Shudraka, and in the Vetala-panchvimshati, a medieval collection of tales. This association is linked to the fact that Kartikeya had dug through the Krauncha mountain to kill Taraka and his brothers (in the Mrichchakatikam, Sarivilaka prays to him before tunnelling into the hero's house).

However, Kartikeya's popularity in North India receded from the Middle Ages onwards, and his worship is today virtually unknown except in parts of Haryana. There is a very famous temple dedicated to Him in the town of Pehowa in Haryana and this temple is very well known in the adjoining areas, especially because women are not allowed anywhere close to it. Women stay away from this temple in Pehowa town of Haryana because this shrine celebrates the Brahmachari form of Kartikeya. Reminders of former devotions to him include a temple at Achaleshwar, near Batala in Punjab, and another temple of Skanda atop the Parvati hill in Pune, Maharashtra. Another vestige of his former popularity can be seen in Bengal and Odisha, where he is worshipped during the Durga Puja festivities alongside Durga. Lord Subramanya is the major deity among the Hindus of northern Kerala. Lord Subramanya is worshipped with utmost devotion in districts of Dakshina Kannada and Udupi in the state of Karnataka. Rituals like nagaradhane are unique to this region.

Kartikeya also known as Kartik or Kartika is also worshipped in West Bengal, and Bangladesh on the last day of the Hindu month of 'Kartik'. However, the popularity of Kartik Puja (worshipping Kartik) is decreasing now, and Lord Kartik is primarily worshipped among those who intend to have a son. In Bengal, traditionally, many people drop images of Kartik inside the boundaries of different households, who all are either newly married, or else, intend to get a son to carry on with their ancestry. Lord Kartik is also associated to the Babu Culture prevailed in historic Kolkata, and hence, many traditional old Bengali paintings still show Kartik dressed in traditional Bengali style. Also, in some parts of West Bengal, Kartik is traditionally worshipped by the ancestors of the past royal families too, as in the district of Malda. Kartik Puja is also popular among the prostitutes. This can probably be linked to the fact that, the prostitutes mostly got clients from the upper class babu-s in old Kolkata, who all, in turn, had been associated to the image of Kartik (as discussed above). In Bansberia (Hooghly district) Kartik Puja festival is celebrated like Durga puja of Kolkata, Jagadhatri puja in Chandannagar for consecutive four days. The festival starts on 17 November every year and on 16 November in case of Leap year.[13] Some of the must see Puja committees are Bansberia Kundugoli Nataraj, Khamarapara Milan Samity RadhaKrishna, Kishor Bahini, Mitali Sangha, Yuva Sangha, Bansberia Pratap Sangha and many more.

In Durga Puja in Bengal, Kartikeya is considered to be a son of Parvati or Durga and Shiva along with his brother Ganesha and sisters Lakshmi and Saraswati.[14]

Kartikeya is worshiped during Durga Puja in Odisha as well as in various Shiva temples throughout the year. Kartik puja is celebrated in Cuttack along with various other parts of the state during the last phases of Hindu month of Kartik. Kartik purnima is celebrated with much joy and in a grand fashion in Cuttack and other parts in the state.

Murugan is adored by both Tamil Hindus and Sinhalese Buddhists in Sri Lanka. Numerous temples exist throughout the island. He is a favorite deity of the common folk everywhere and it is said he never hesitates to come to the aid of a devotee when called upon. In the deeply Sinhalese south of Sri Lanka, Murugan is worshipped at the temple in Katirkāmam, where he is known as Kathiravel or Katragama Deviyo (Lord of Katragama) . This temple is next to an old Buddhist place of worship. Local legend holds that Lord Murugan alighted in Kataragama and was smitten by Valli, one of the local aboriginal lasses. After a courtship, they were married. This event is taken to signify that Lord Murugan is accessible to all who worship and love him, regardless of their birth or heritage. The Nallur Kandaswamy temple, the Maviddapuram Kandaswamy Temple and the Sella Channithy Temple near Valvettiturai are the three foremost Murugan temples in Jaffna. The Chitravelayutha temple in Verukal on the border between Trincomalee and Batticaloa is also noteworthy as is the Mandur Kandaswamy temple in Batticaloa. The late medieval-era temple of the tooth in Kandy, dedicated to the tooth relic of the Buddha, has a Kataragama deiyo shrine adjacent to it dedicated to the veneration of Skanda in the Sinhalese tradition. Almost all buddhist temples house a shrine room for Kataragama deviyo(Murugan)reflecting the significance of Murugan in Sinhala Buddhism,

Based on archeological evidence found, it is believed that the Kiri Vehera was either renovated to build during the 1st century BCE. There are number of others inscriptions and ruins.[15]

By the 16th century the Kathiravel shrine at Katirkāmam had become synonymous with Skanda-Kumara who was a guardian deity of Sinhala Buddhism.[16] The town was popular as a place of pilgrimage for Hindus from India and Sri Lanka by the 15 the century. The popularity of the deity at the Kataragama temple was also recorded by the Pali chronicles of Thailand such as Jinkalmali in the 16th century. There are number of legends both Buddhist and Hindu that attribute supernatural events to the very locality.[16] Scholars such as Paul Younger and Heinz Bechert speculate that rituals practiced by the native priests of Kataragama temple betray Vedda ideals of propitiation. Hence they believe the area was of Vedda veneration that was taken over by the Buddhist and Hindus in the medieval period.[17]

Lord Murugan is one of the most important deities worshipped by Tamil people in Malaysia and other South-East Asian countries such as Singapore and Indonesia. Thai Poosam is one of the important festivals celebrated. Sri Subramanyar Temple at Batu Caves temple complex in Malaysia is dedicated to Lord Murugan.

The main temples of Murugan are located in Tamil Nadu and other parts of south India. They include the Aru Padaiveedu (six abodes) — Thiruchendur, Swamimalai, Pazhamudircholai, Thirupparangunram, Palani (Pazhani), Thiruthani and other important shrines like Mayilam, Sikkal, Marudamalai, Kundrathur, Vadapalani, Kandakottam, Thiruporur, Vallakottai, Vayalur, Thirumalaikoil, Pachaimalai and Pavalamalai near Gobichettipalayam. Malai Mandir, a prominent and popular temple complex in Delhi, is one of the few dedicated to Murugan in all of North India apart from the Pehowa temple in Haryana.

There are many temples dedicated to Lord Subramanya in Kerala. Amongst them are Atiyambur Sri Subramanya Temple in Kanhangad Kasaragod, Payyannur Subramanya Swamy temple in Payyanur, Panmana Subramanya Swamy temple in Panmana and the Subramanya temple in Haripad. There is a temple in Skandagiri, Secunderabad and one in Bikkavolu, East Godavari district in the state of Andhra Pradesh. In Karnataka there is the Kukke Subramanya Temple where Lord Murugan is worshiped as the Lord of the serpents. Aaslesha Bali, Sarpa Samskara with nagapathista samarpa are major prayers here. There is a temple called Malai Mandir in South Delhi. Malai means hill in Tamil. Mandir means temple in Hindi.

The key temples in Sri Lanka include the sylvan shrine in Kataragama / (Kadirgamam) or Kathirkamam in the deep south, the temple in Tirukovil in the east, the shrine in Embekke in the Kandyan region and the famed Nallur Kandaswamy temple in Jaffna. There are several temples dedicated to Lord Murugan in Malaysia, the most famous being the Batu Caves near Kuala Lumpur. There is a 42.7-m-high statue of Lord Murugan at the entrance to the Batu Caves, which is the largest Lord Murugan statue in the world. Sri Thandayuthapani Temple in Tank Road, Singapore is a major Hindu temple where each year the Thaipusam festival takes place with devotees of Lord Muruga carrying Kavadis seeking penance and blessings of the Lord.

In the United Kingdom, Highgate Hill Murugan temple is one of the oldest and most famous. In London, Sri Murugan Temple in Manor park is a well-known temple. In Midlands, Leicester Shri Siva Murugan Temple is gaining popularity recently. Skanda Vale in West Wales was founded by Guruji, a Tamil devotee of Subramaniam, and its primary deity is Lord Murugan. In Australia, Sydney Murugan temple in Parramatta (Mays Hill), Perth Bala Muruguan temple in Mandogalup and Kundrathu Kumaran temple in Rockbank, Melbourne are major Hindu temples for all Australian Hindus and Murugan devotees. In New Zealand, there is a Thirumurugan Temple in Auckland and a Kurinji Kumaran Temple in Wellington, both dedicated to Lord Murugan. In the USA, Shiva Murugan Temple in Concord, Northern California and Murugan Temple of North America[18] in Maryland, Washington DC region are popular. In Toronto, Canada, Canada Kanthasamy Temple is known amongst many Hindus in Canada. In Dollard-des-Ormeaux, a suburb of the city of Montreal in Canada, there is a monumental temple of Murugan. The Sri Sivasubramaniar Temple, located in the Sihl Valley in Adliswil, is the most famous and largest Hindu temple in Switzerland.[19]

2 coats, no top coat

Detail from The Lady Burghley tomb

Inscription reads:

Robert Cecil, son of William, Lord Burghley and Mildred, Lady Burghley, was born on 1st June A.D.1563. Shortly before the decease of his mother, he was, with his mother's knowledge, seeking the hand of the noble maiden Lady Elizabeth Brook, Lady of the Queen's bedchamber, daughter of that renowned Baron of the realm Lord Cobham, and, after his mother's death, with his father's permission, he took her to wife on the last day of August 1589. He reveres the memory of his most virtuous mother and of his beloved sister with great sorrow, and acknowledges his father (now full of years) as most dear to him, with all obedience; in the which, should he persevere, his days shall be long in the land which the Lord his God shall give unto him.

Mildred Cecil, Lady Burghley and her daughter Anne, Countess of Oxford have a large monument, about twenty four feet high, in St Nicholas' chapel in Westminster Abbey near where they are buried. This is attributed to sculptor Cornelius Cure and shows the recumbent effigy of Mildred in front, with that of her daughter on a slightly raised shelf behind. Both wear long fur-lined red cloaks and there is a unicorn at Anne's feet. At the foot of their effigies is a kneeling figure of Mildred's son Sir Robert Cecil, and behind the heads are kneeling figures of three daughters of the Countess, Elizabeth, Bridget and Susanna. The superstructure is of three bays, the middle containing the kneeling figure of Mildred's husband William Cecil, Lord Burghley.

...Mildred was born in 1526, one of five daughters and four sons of Sir Anthony Cooke (or Coke) of Gidea Hall, Essex, tutor to Edward VI. Educated by her father she was known as a scholar and philanthropist...She was Lord Burghley's second wife and they lived first at Wimbledon Manor and he then built his grand house in the Strand in London...Mildred's children were Anne (1556-88), Robert (1563-1612) and Elizabeth (1564-1583). The surviving children of Anne, wife of Edward 17th Earl of Oxford, were Elizabeth (who married William, Earl of Derby), Bridget (who married Francis, Lord Norris) and Susannah (who married Philip, Earl of Montgomery). They were looked after by their grandfather. Mildred died at Burghley House in the Strand.

[Westminster Abbey]

Inside the Chapel of St Nicholas, Westminster Abbey

Westminster Abbey (The Collegiate Church of St Peter)

In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.

The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.

Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.

Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.

It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.

There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.

A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.

Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.

Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.

History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.

But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.

[Westminster Abbey]

Fiz essa tela para minha virtuosa mãe! :) ♥

Acrílica, tinta spray e posca!

"Mulher virtuosa quem a achará? O seu valor muito excede ao de rubis."

Provérbios 31:10

____________________________

I did this canvas to my virtuous mom! ♥

Virtuous woman!

WXPN XPoNential Festival Camden NJ July 2007.

www.adrienneyoung.com

To Nashville-based Adrienne Young, it's everyday choices - not grand gestures - that add up to a virtuous life. Fusing past and present in her pop-inflected old time music, Young applies a worldly compassion, poet's pen, and spirit of self-reliance to all of her original songs. Room to Grow, her current release, views timeless questions through modern spectacles, using traditional instruments to express contemporary compositions. Young expands upon the themes of cultivation and stewardship so beautifully asserted on her acclaimed debut, Plow to the End of the Row, and sophomore release, The Art of Virtue.

For this picture I printed (though I wish my hand writing looked like this) out one of my favorite lines from one of my most favorite movies, V for Vendetta.

"But on this most auspicious of nights, permit me then, in lieu of the more commonplace soubriquet, to suggest the character of this dramatis persona. Voila! In view humble vaudevillian veteran, cast vicariously as both victim and villain by the vicissitudes of fate. This visage, no mere veneer of vanity, is a vestige of the “vox populi” now vacant, vanished. However, this valorous visitation of a bygone vexation stands vivified, and has vowed to vanquish these venal and virulent vermin, van guarding vice and vouchsafing the violently vicious and voracious violation of volition.

The only verdict is vengeance; a vendetta, held as a votive not in vain, for the value and veracity of such shall one day vindicate the vigilant and the virtuous.

Verily this vichyssoise of verbiage veers most verbose, so let me simply add that it’s my very good honour to meet you and you may call me V."

“ Who knew such a virtuous quest could be so exhausting!” Cador thought to himself. And indeed the journey was taxing, but he wouldn't give up. For doing so would spell doom for those back home. Cador was tasked to bring back a legendary weapon, crafted by ancient beings. Hellish monstrosities were cresting over into his homeland and only the power of this mighty artifact could stop the percolation of evil. Even with these images of disaster revitalizing his stamina there was no use in going further. Evening was fast approaching and Cador wasn't interested in stumbling off a cliff or being consumed by the nocturnal beasts that stalked these foothills. “Better to make camp now than to lose myself in the darkness later”, Cador said to himself as he began to build a campfire.

"To the memorie of the truly vertuous and religious the Lady Ursula Chichester daughter to Sir William Strode of Newnham , Knight, and wife to Sir John Chichester of Hall, Knight, by whome she had issue 7 sonnes and 2 daughters whereof survive fower sonnes, two sonnes & one daughter heere buried. She departed this life in the true faith of Christ Jesus and was heere enterred the 6th day of July Anno Dni 1635 aged 47

Fayre virtuous sainct injoy thy peacefull sleepe,

While wee that live employ our foes to weepe,

But when thou wak'st let glory shew thy grace,

Let Heav'n, which only can, enrich thy face"

Ursula kneels with 2 babies side-by-side wrapped in swaddling clothes in front of her.

Ursula was the daughter of Sir William Strode 1637 and 1st wife Mary Southcote / Southcott 1618 www.flickr.com/gp/52219527@N00/Nh80o1

She m (1st wife) Sir John III Chichester 1598-1669 www.flickr.com/gp/52219527@N00/kxUPvn91d4 eldest son and heir of John Chichester 1608 and Anne daughter of Sir Arthur Basset of Umberleigh House and brother of Elizabeth Delbridge 1628 www.flickr.com/gp/52219527@N00/JLYs9N

Children - 7 sons &2 daughters

1. John 1626-dsp 1684 buried at Bath Abbey m Dorothy daughter of Henry Carew 1681 & Dorothy Mohan of Broadclyst www.flickr.com/gp/52219527@N00/87h2m6 who m2 Henry Chichester of Shirwell

2. Francis 1628-dsp 1698 www.flickr.com/gp/52219527@N00/6sgVch

Sir John m2 Elizabeth 1661 daughter of Sir Lewis Pollard 1645 of King's Nympton and Jane Prust having a daughter :

Children

1.. Elizabeth 1637/8-1677 m John Fowell

2. Lewis b 1639 dsp

3. Margaret 1642-45

Sir John m3 Susannah 1694 daughter of William Stevens of Great Torrington, widow of Alexander Rolle 1660 of Tawstock

Children

1. Susannah 1665-1707/8 buried at Swimbridge m Henry Chichester of Stowford,

None of their sons had children, although two of them inherited successively Hall estate after whose death in 1698 the estate passed to distant cousin Arthur Chichester 1737/8 of Stowford & Pill husband of Jane daughter of Toby Newcourt & Jane Harris www.flickr.com/gp/52219527@N00/T91f00 of Georgeham

On the arch above her are the arms of Chichester and Strode.

Below are the arms of Chichester impaling Strode.

Bishops Tawton church Devon

Along the route of the Vice Tweed Ride in Portland, OR.

A full report on the ride will be available at The Prudent Cyclist.

And if you didn't catch the Virtuous Tweed Ride, there's a little on that ride as well.

Farmland with the American flag attached to fence with early morning fog

All my photographs are copyright protected, If you wish to use my photos please contact me and we can discuss usage fees.

©Jim Corwin_All Rights Reserved 2022, Contact me at jscorwin@mac.com or visit my PhotoShelter site using the link Jim Corwin Photography on my Profile Page.

My website is jimcorwin.photoshelter.com

My E-Mail Address is jscorwin@mac.com

Here, I'll simply let the NHM's own caption tell the tale, as the photo is surely intriguing enough by itself:

The crystal box mystery

Siderite, epimorphous after fluorite. Virtuous Lady mine, Devon, England, 1847.

Sometimes nature can produce specimens so seemingly contrived that it is hard to believe they were not made by a human. This intriguing box formed when crystals of brown siderite were deposited around a cube-shaped fluorite crystal. The crystal dissolved away and crystals of white quartz and golden chalcopyrite grew in the cavity. Scientists do not know what could have caused the fluorite to dissolve without affecting the siderite box around it. The mine in Devon is famous for its hollow casts, or epimorphs, and this is the best example known.

Worn:

Accessories:

+Spellbound+ Astarte // Group Gift / June

(r)M~Posture V-Collar (Women) ~ No.09

[MANDALA]STEKING_EARS_Season 5

*NW* Virtuous Wings

REIGN.- BOHO RINGS- Mandarin Set

REIGN.- KARIZMA PUMPS- FATPACK

Clothes:

Foxes {Intimates} - Bra & Panties - White Set (unpacked)

Shape:

[BELISSIMA]-BODY-MALU(My Mod)

Skin & Make Up:

[PF] Harley - SPECIAL FATPACK

[PF] Harley Cosmetics - Shimmer Eyeshadow

Tattoos:

**UrbanStreet** The Forest Tattoo

.K-Otic. Cross Tattoo Pack

December 31, 2015. Detail of a sculpture found in Pompeii. The statue was on display at the ROM as part of its temporary Pompeii: In the Shadow of the Volcano exhibition. In ancient Rome a matrona was a virtuous and honourable married woman.

We were very virtuous and managed not to steal any

On Saturday, June 4, at Constitution Gardens Pond on the National Mall, 8-year old Lucas Robertson caught the biggest fish at 9 1/8 inches long and earning the $100 cash prize at the 2nd Annual Urban Kids Fishing Derby DC. Pictured l-r: Wayne Hubbard, Urban American Outdoors TV and Urban Kids Fishing Derby Co-Founder, Kawana Lloyd, mother of the winner, Lucas Robertson, biggest catch winner, and Nichole Thomas, wife of retired NBA player, CEO & Integrative Nutrition Health Coach, Virtuous Living.