Magic Statistics

“I accept no responsibility for statistics, which are a form of magic beyond my comprehension.” — Robertson Davies

September 3rd, 2005 at 8:11 pm

Cartmel Priory

The full name of this church is Priory Church of St Mary & St Michael, Cartmel, but it is commonly known as Cartmel Priory. One of the finest ecclesiastical buildings in the north of England, it was founded in 1189 by William Marshall during the reign of King Henry II. Cartmel was for centuries an extremely remote location in the southern part of the Lake District, and is still today accessible only by single-track roads. Here are two maps with different levels of detail.

Most medieval abbeys and priories were closed down during the reign of King Henry VIII, but Cartmel Priory survived the Dissolution of the Monasteries in 1536-39. Monks and laymen at Cartmel joined the Pilgrimage of Grace, a popular uprising in the north and east of England in opposition to the shutting of the monasteries; for their role, four of the priory’s ten monks, along with ten villagers, were hanged for treason. The church was saved despite this because it had been devoted to parish worship since its establishment and the local townsfolk, having nowhere else to worship, petitioned for its conservation.

Here the StatDaughter and StatWife are standing outside the south porch entrance. The cross commemorates those who gave their lives in the Great War.

The wisdom of the priory’s preservation is immediately apparent to anyone who enters the building. It is a large, wonderful, and fascinating church building with multiple side chapels and choirs. Repairs, renovations, and restorations over the centuries have produced a wide variety of styles in architecture, stained glass, and other features.

The large collection of remarkable and exquisitely carved misericords and screens dates from about 1450. The stained glass windows date to virtually all periods of the church’s history–from the 12th through 20th centuries. Most striking is the 45-foot-high east window from the 15th century.

The east window of the Town Choir, shown at left, contains remnants of 14th-century glass that survived attempted destruction during the Reformation and the Civil War. The original window was a Jesse window, so-called because it illustrated the descent of Jesus from King David. Jesse, the father of David, would have been at the bottom in the centre, with tendrils emanating from his body through the whole window. Above him were the kings of Judah descended from Jesse and David. At the top in the centre would have been the figure of Jesus, the Messiah, the direct descendant of David. The surviving figures are some of the kings, and near the top can be seen the angel of the Annunciation.

On the right is the 19th-century east window of the north transept. The main windows show four English saints. The first panel shows St Aidan; second, St Oswald, King and Martyr; third, St Edward, King and Confessor; fourth, St Chad. Aidan was the founder and first bishop and abbot of Lindisfarne; Oswald led English troops to victory over the pagan king Caedwalla at the Battle of Heavenfield (AD 635); Edward founded Westminster Abbey, which is presumably the building he holds in his hand; Chad, a man of unusually humble and devout character, was the first bishop of Lichfield. Edward is the only southern saint depicted; the other three were northern saints. At the base of the window is the inscription: O ye servants of the Lord, bless ye the Lord, praise him and magnify him for ever.

Most of the information here is taken from several booklets purchased at the priory. All were written by the Rev Canon Eric Rothwell.

For more pictures and information, click here or here.

Links to all my blog posts about British churches and Christian sites can be accessed through the box located at the top of the page. 

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September 3rd, 2005 at 2:29 pm

Calling My Children Home

While driving home last week, I played the CD by Emmylou Harris & Spyboy. Although I had listened to the CD dozens of times previously, this song struck me as much more poignant than usual.

Those lives were mine to love and cherish,
To guard and guide along life's way,
Oh God forbid that one should perish,
That one alas should go astray.

Back in the years with all together,
Around the place we'd romp and play.
So lonely now I oft' times wonder,
Oh will they come back home some day.

I'm lonesome for my precious children,
They live so far away.
Oh may they hear my calling…calling…
And come back home some day.

I gave my all for my dear children
Their problems still with love I share,
I'd brave life's storm, defy the tempest
To bring them home from anywhere.

I lived my life my love I gave them,
To guide them through this world of strife,
I hope and pray we'll live together
In that great glad here after life.

I'm lonesome for my precious children,
They live so far away.
Oh may they hear my calling…calling…
and come back home some day.

Lyrics & Music: Doyle Lawson, Charles Waller, Robert Yates.

I found the lyrics here. This song means a lot to Emmylou Harris, too, since she's recorded it on two of her CDs; the other is Live At The Ryman.

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September 3rd, 2005 at 8:56 am

Political correctness and Communist propaganda

A very perceptive comment from Theodore Dalrymple:

Political correctness is communist propaganda writ small. In my study of communist societies, I came to the conclusion that the purpose of communist propaganda was not to persuade or convince, nor to inform, but to humiliate; and therefore, the less it corresponded to reality the better. When people are forced to remain silent when they are being told the most obvious lies, or even worse when they are forced to repeat the lies themselves, they lose once and for all their sense of probity. To assent to obvious lies is to co-operate with evil, and in some small way to become evil oneself. One's standing to resist anything is thus eroded, and even destroyed. A society of emasculated liars is easy to control. I think if you examine political correctness, it has the same effect and is intended to.

Theodore Dalrymple is a contributing editor to City Journal, a highly-recommended quarterly magazine on modern culture and its discontents. He also writes frequently for British newspapers and periodicals.

Read the whole thing.

via Dissecting Leftism.

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