Images from Outside and Inside of St Davids Cathedral, St Davids, Pembrokeshire, Wales.
The Light from a Golden Dawn ……..
Round Tower and Church
Located in county Kilkenny, Aghaviller Round Tower and Church are together one of the most interesting of Irish Historic sites. Based on the presence of the round tower, it is believed that the Agherviller monastic settlement was once a relatively high-status ecclesiastical foundation dating back to Early Christian times. The church and a holy well not far from the site have been dedicated to St Brennain. We don’t know who founded the monastery but it could have been St Brennain. The round tower is built on top of a square stone plinth, an unusual feature which is only found in one other place in Ireland –at nearby Kilree. Sadly, only the lower 9.6 metres of the round tower survived.
The original NE facing round-arched doorway is in its customary location about 4 metres above ground level, although a ground-level lintelled doorway has been added in more recent times. The sandstone tower was unfortunately in deep shade from the nearby dense woods on our late afternoon visit, but it is worth a return trip in morning light to photograph the stonework which is beautifully dressed to the curve inside and out. There is a southwest facing square-headed window at the second storey level.
The church dates to the 12th Century but was significantly modified in the 15th by the addition of a massive tower over the chancel that served as a residence. Only the foundation of the nave remains. An archaeological excavation revealed a gully filled with kiln material and a sizeable ditch/boundary running north–south with stone revetting on its eastern side. This ditch is believed to have surrounded a second or outer enclosure, a common feature of high-status monastic sites.
Today’s post is about as far away from wild Landscapes and attractive views as you could wish for 🙂 , I can fully understand if this post is not for everyone but I hope at least you find it an interesting reflection of social beliefs and traditions from our some what dark European past ….
Earlier this month (May 2017) while visiting the great English seaside town of Whitby, with it great Museum, I came across an item that I had never heard of or seen before. Sitting in a glass cabinet in the beliefs and local traditions area was the very old and grey hand, from a long dead man, a man who would have lived locally in the town but at some point in his life come across the misfortune of being found guilty of a crime for which he would have been hanged.
The hand was described as “The hand of Glory” and in the early 19th century it would have been very much a price possession as it was believed that it offered great power, when using it according to old European beliefs along with a candle made of the fat from a malefactor who died on the gallows, lighted, and placed (as if in a candlestick) in the Hand of Glory, which comes from the same man as the fat in the candle, it then would render motionless all persons to whom it was presented.
The second of the Ingoldsby Legends (a collection of myths, legends, ghost stories and poetry written supposedly by Thomas Ingoldsby of Tappington Manor), “The Hand of Glory, or, The Nurse’s Story”, describes the making and use of a Hand of Glory. The first lines are:
Now open, lock!
To the Dead Man’s knock!
Fly, bolt, and bar, and band!
Nor move, nor swerve,
Joint, muscle, or nerve,
At the spell of the Dead Man’s hand!
Sleep, all who sleep! — Wake, all who wake!
But be as the dead for the Dead Man’s sake!
Like many people, I fine absolutely fascinating these old and somewhat dark traditions, here is a full description of this ones history and its reported uses ….
The Hand of Glory – History of the term
Etymologist Walter Skeat reports that, while folklore has long attributed mystical powers to a dead man’s hand, the specific phrase “Hand of Glory” is in fact a folk etymology: it derives from the French main de gloire, a corruption of mandragore, which is to say mandrake.Skeat writes, “The identification of the hand of glory with the mandrake is clinched by the statement in Cockayne’s Leechdoms, i. 245, that the mandrake “shineth by night altogether like a lamp”. Cockayne in turn is quoting Pseudo-Apuleius, in a translation of a Saxon manuscript of his Herbarium.
According to old European beliefs, a candle made of the fat from a malefactor who died on the gallows, lighted, and placed (as if in a candlestick) in the Hand of Glory, which comes from the same man as the fat in the candle, this would render motionless all persons to whom it was presented. The method for holding the candle is sketched in Petit Albert. The candle could be put out only with milk. In another version, the hair of the dead man is used as a wick, and the candle would give light only to the holder. The Hand of Glory also purportedly had the power to unlock any door it came across. The method of making a Hand of Glory is described in Petit Albert, and in the Compendium Maleficarum.
The 1722 Petit Albert describes in detail how to make a Hand of Glory, as cited from him by Grillot De Givry:
Take the right or left hand of a felon who is hanging from a gibbet beside a highway; wrap it in part of a funeral pall and so wrapped squeeze it well. Then put it into an earthenware vessel with zimat, nitre, salt and long peppers, the whole well powdered. Leave it in this vessel for a fortnight, then take it out and expose it to full sunlight during the dog-days until it becomes quite dry. If the sun is not strong enough put it in an oven with fern and vervain. Next make a kind of candle from the fat of a gibbeted felon, virgin wax, sesame, and ponie, and use the Hand of Glory as a candlestick to hold this candle when lighted, and then those in every place into which you go with this baneful instrument shall remain motionless
De Givry points out the difficulties with the meaning of the words zimat and ponie, saying it is likely “ponie” means horse-dung. De Givry is expressly using the 1722 edition, where the phrase is, according to John Livingston Lowes “du Sisame et de la Ponie” and de Givry notes that the meaning of “ponie” as “horse dung” is entirely unknown “to us”, but that in local Lower Normandy dialect, it has that meaning. His reason for regarding this interpretation as “more than probable” is that horse-dung is “very combustible, when dry”.
In the French 1752 edition (called Nouvelle Édition, corrigée & augmentée., i.e., “New Edition, corrected and augmented”), however, this reads as “..du sisame de Laponie..”, that is, in Francis Grose’s translation from 1787, “sisame of Lapland”, or Lapland sesame. This interpretation can be found many places on the Internet, and even in books published at university presses. Two books, one by Cora Daniels, another by Montague Summers, perpetuate the Lapland sesame myth, while being uncertain whether zimat should mean verdigris or the Arabian sulphate of iron.
The Petit Albert also provides a way to shield a house from the effects of the Hand of Glory:
The Hand of Glory would become ineffective, and thieves would not be able to utilize it, if you were to rub the threshold or other parts of the house by which they may enter with an unguent composed of the gall of a black cat, the fat of a white hen, and the blood of the screech-owl; this substance must be compounded during the dog-days
The hand of glory on display at Whitby Museum
An actual Hand of Glory is kept at the Whitby Museum in North Yorkshire, England, together with a text published in a book from 1823. In this manuscript text, the way to make the Hand of Glory is as follows:
It must be cut from the body of a criminal on the gibbet; pickled in salt, and the urine of man, woman, dog, horse and mare; smoked with herbs and hay for a month; hung on an oak tree for three nights running, then laid at a crossroads, then hung on a church door for one night while the maker keeps watch in the porch-“and if it be that no fear hath driven you forth from the porch…then the hand be true won, and it be yours”
Over the Christmas and New year period I visited Arley Hall and its great Gardens
Arley Hall is a country house in the village of Arley, Cheshire, England, about 4 miles (6 km) south of Lymm and 5 miles (8 km) north of Northwich. It is home to the owner, Viscount Ashbrook and his family. The house is a Grade II* listed building, as is its adjacent chapel. Formal gardens to the southwest of the hall are also listed at Grade II* on the National Register of Historic Parks and Gardens. In the grounds are more listed buildings, a cruck barn being listed as Grade I, and the other buildings as Grade II.
The hall was built for Rowland Egerton-Warburton between 1832 and 1845, to replace an earlier house on the site. Local architect George Latham designed the house in a style which has become known as Jacobethan, copying elements of Elizabethan architecture. A Gothic Revival chapel designed by Anthony Salvin was subsequently built next to the hall. By the mid-20th century parts of the house were in poor condition and were demolished, to be replaced by five private homes in a matching architectural style.
The present gardens were created in the 1830s, and were developed during the 20th century. The garden’s Herbaceous Border was one of the first of its type in Britain, and remains one of the finest. The house and its gardens have been open to the public since the 1960s, and have also been used as a film location. Stockley Farm, part of the Arley estate, is an additional visitor attraction for children and families.