Monday

In the Village at Arundel

In the Village at Arundel
Arundel is a market town and civil parish in the South Downs of West Sussex in the south of England. It lies 49 miles (79 km) south southwest of London, 18 miles (29 km) west of Brighton, and 10 miles (16 km) east of the county town of Chichester. Other nearby towns include Worthing east southeast, Littlehampton to the south and Bognor Regis to the southwest. The River Arun runs through the western side of the town.

Arundel was one of the boroughs reformed by the Municipal Reform Act 1835. In 1974 it became part of the Arun district, and now is a civil parish with a town council.
Arundel is home to Arundel Cathedral, seat of the Bishop of Arundel and Brighton. The town also has its own cricket ground at the castle, often cited as being one of the country's most picturesque. It hosts Sussex County Cricket Club for a number of games each season and is also the venue for the traditional season curtain-raiser between Lavinia Duchess of Norfolk's XI and the champion county. Every summer it hosts the touring country.

On 6 July 2004, Arundel was granted Fairtrade Town status.

People born in Arundel are known locally as Mullets, due to the presence of Mullet in the River Arun.

Arundel is home to one of the oldest Scout Groups in the world. 1st Arundel (Earl of Arundel's Own) Scout Group was formed in 1908 only a few weeks after Scouting began. Based in its current HQ in Green Lane Close, it has active sections of Beaver Scouts, Cub Scouts and Scouts.

A Cathedral Wall Plaque

Cathedral Wall Plaque
Gothic art evolved from Romanesque art and lasted from the mid-12th century to as late as the end of the 16th century in some areas. The term Gothic was coined by classicizing Italian writers of the Renaissance, who attributed the invention (and what to them was the non-classical ugliness) of medieval architecture to the barbarian Gothic tribes that had destroyed the Roman Empire and its classical culture in the 5th century Ad. The term retained its derogatory overtones until the 19th century, at which time a positive critical revaluation of Gothic architecture took place. Although modern scholars have long realized that Gothic art has nothing in truth to do with the Goths, the term Gothic remains a standard one in the study of art history.
Gothic sculpture was closely tied to architecture, since it was used primarily to decorate the exteriors of cathedrals and other religious buildings. The earliest Gothic sculptures were stone figures of saints and the Holy Family used to decorate the doorways, or portals, of cathedrals in France and elsewhere. The sculptures on the Royal Portal of Chartres Cathedral (c. 1145-55) were little changed from their Romanesque predecessors in their stiff, straight, simple, elongated, and hieratic forms. But during the later 12th and the early 13th centuries sculptures became more relaxed and naturalistic in treatment, a trend that culminated in the sculptural decorations of the Reims Cathedral (c. 1240). These figures, while retaining the dignity and monumentality of their predecessors, have individualized faces and figures, as well as full, flowing draperies and natural poses and gestures, and they display a classical poise that suggests an awareness of antique Roman models on the part of their creators. Early Gothic masons also began to observe such natural forms as plants more closely, as is evident in the realistically carven clusters of leaves that adorn the capitals of columns.
Monumental sculptures assumed an increasingly prominent role during the High and late Gothic periods and were placed in large numbers on the facades of cathedrals, often in their own niches. In the 14th century, Gothic sculpture became more refined and elegant and acquired a mannered daintiness in its elaborate and finicky drapery. The elegant and somewhat artificial prettiness of this style was widely disseminated throughout Europe in sculpture, painting, and manuscript illumination during the 14th century and became known as the International Gothic style. An opposite trend at this time was that of an intensified realism, as displayed in French tomb sculptures and in the vigorous and dramatic works of the foremost late Gothic sculptor, Claus Sluter. Gothic sculpture evolved into the more technically advanced and classicistic Renaissance style in Italy during the 14th and early 15th centuries but persisted until somewhat later in northern Europe.
Gothic painting followed the same stylistic evolution as did sculpture; from stiff, simple, hieratic forms toward more relaxed and natural ones. Its scale grew large only in the early 14th century, when it began to be used in decorating the retable (ornamental panel behind an altar). Such paintings usually featured scenes and figures from the New Testament, particularly of the Passion of Christ and the Virgin Mary. These paintings display an emphasis on flowing, curving lines, minute detail, and refined decoration, and gold was often applied to the panel as background colour. Compositions became more complex as time went on, and painters began to seek means of depicting spatial depth in their pictures, a search that eventually led to the mastery of perspective in the early years of the Italian Renaissance. In late Gothic painting of the 14th and 15th centuries secular subjects such as hunting scenes, chivalric themes, and depictions of historical events also appeared. Both religious and secular subjects were depicted in manuscript illuminations--i.e., the pictorial embellishment of handwritten books. This was a major form of artistic production during the Gothic period and reached its peak in France during the 14th century. The calendar illustrations in the Très Riches Heures du duc de Berry (c. 1416) by the Limburg brothers, who worked at the court of Jean de France, duc de Berry, are perhaps the most eloquent statements of the International Gothic style as well as the best known of all manuscript illuminations


On Gargoyles, 1909 — G. K. Chesterton,
“Alone at some distance from the wasting walls of a disused abbey I found half sunken in the grass the grey and goggle-eyed visage of one of those graven monsters that made the ornamental water-spouts in the cathedrals of the Middle Ages. It lay there, scoured by ancient rains or striped by recent fungus, but still looking like the head of some huge dragon slain by a primeval hero. And as I looked at it, I thought of the meaning of the grotesque, and passed into some symbolic reverie of the three great stages of art.
The Old Greeks summoned godlike things to worship their god. The medieval Christians summoned all things to worship theirs, dwarfs and pelicans, monkeys and madmen. The modern realists summon all these million creatures to worship their god; and then have no god for them to worship. Paganism was in art a pure beauty; that was the dawn. Christianity was a beauty created by controlling a million monsters of ugliness; and that in my belief was the zenith and the noon. Modern art and science practically mean having the million monsters and being unable to control them; and I will venture to call that the disruption and the decay.”

Starlings Gather on the Ancient Spire

Starlings Gather on the Ancient Spire

A spire is a tapering conical or pyramidal structure on the top of a building, particularly a church tower. Etymologically, the word is derived from the Old English word spir, meaning a sprout, shoot, or stalk of grass.
Symbolically, spires have two functions. The first is to proclaim a martial power. A spire, with its reminiscence of the spear point, gives the impression of strength. The second is to reach up toward the skies.[citation needed] The celestial and hopeful gesture of the spire is one reason for its association with religious buildings.[citation needed] A spire on a church or cathedral is not just a symbol of piety, but is often seen as a symbol of the wealth and prestige of the order, or patron who commissioned the building. As an architectural ornament, spires are most consistently found on Christian churches, where they replace the steeple. Although any denomination may choose to use a spire instead of a steeple, the lack of a cross on the structure is more common in Roman Catholic and other pre-Reformation churches. The battlements of cathedrals featured multiple spires in the Gothic style (in imitation of the secular military fortress).


Starlings in the New World: The year was 1890 when an eccentric drug manufacturer named Eugene Schieffelin entered New York City's Central Park and released some 60 European starlings he had imported from England. In 1891 he loosed 40 more. Schieffelin's motives were as romantic as they were ill fated: he hoped to introduce into North America every bird mentioned by Shakespeare.Skylarks and song thrushes failed to thrive, but the enormity of his success with starlings continues to haunt us. This is worth observing as an object lesson in how even noble intentions can lead to disaster when humanity meddles with nature.
Today the starling is ubiquitous, with its purple and green iridescent plumage and its rasping, insistent call. It has distinguished itself as one of the costliest and most noxious birds on our continent.
Roosting in hordes of up to a million, starlings can devour vast stores of seed and fruit, offsetting whatever benefit they confer by eating insects. In a single day, a cloud of omnivorous starlings can gobble up 20 tons of potatoes. What they don't eat they defile with droppings. They are linked to numerous diseases, including histoplasmosis, a fungal lung ailment that afflicts agricultural workers; toxoplasmosis, especially dangerous to pregnant women, and Newcastle disease, which kills poultry. Starlings bully several native species, often rudely evicting bluebirds and woodpeckers.
In 1960 a Lockheed Electra plummeted seconds after taking off from Logan Airport in Boston, killing 62 people. Some 10,000 starlings had flown straight into the plane, crippling its engines. Any bird in the wrong place can pose such a danger, but it is the ever-present starling that pilots fret over the most.
As usual in the history of man's importation of species across oceans and continents, Schieffelin was not thinking of long-term consequences. For the first six years after he released his birds they rarely strayed beyond Manhattan. The first nesting pair, discovered in the eaves of the Museum of Natural History, across the street from Central Park, inspired jubilation.
Once the starlings began to spread, though, their numbers and range soon exploded. They were able to adapt to climates as varied as Alaska's and Florida's; they were willing and able to eat anything; and they reproduced with startling vigor. ''Starlings,'' one ornithologist wrote, ''do nothing in moderation.''

The Ancient God Pan Plays His Pipes In The Castle Garden

The Ancient Nature God Pan Plays His Pipes In The Castle Garden
PAN is the god of shepherds and flocks, of mountain wilds, hunting and rustic music. He wanders the hills and mountains of Arkadia playing his pan-pipes and chasing Nymphs. His unseen presence arouses feelings of panic in men passing through the remote, lonely places of the wilds.

The god is a lover of nymphs, who commonly flee from his advances. Syrinx ran and was transformed into a clump of reeds, out of which the god crafted his famous pan-pipes. Pitys escaped and was turned into a mountain fir, the god's sacred tree. Ekho spurned his advances and fading away left behind only her voice to repeat forever the mountain cries of the god.

Pan is depicted as a man with the horns, legs and tail of a goat, and with thick beard, snub nose and pointed ears. He often appears in the retinue of Dionysos alongside the other rustic gods. Greeks in the classical age associated his name with the word pan meaning "all". However, it true origin lies in an old Arkadian word for rustic.

Pan is frequently identified with other similar rustic gods such as Aristaios, the shepherd-god of northern Greece, who like Pan was titled both Agreus (the hunter) and Nomios (the shepherd); as well as with the pipe-playing Phrygian satyr Marsyas; and Aigipan, the goat-fish god of the constellation Capricorn. Sometimes Pan was multiplied into a host of Panes, or a triad named Agreus, Nomios, and Phorbas.