“Curious Sculpture”

http://books.google.com/books?id=FNA6AQAAMAAJ

A letter from W.C. Trevelyan to John Adamson, secretary of the Antiquarian Society of Newcastle, Jan. 20, 1825:

In the autumn of 1823, I visited the interesting Church at Bridlington [Yorkshire] (founded about 1114, by Gilbert de Gant). On examining a tomb stone with an inscription and date of 1587, standing on two low pillars of masonry near the font, I found some appearances of sculpture on the under side of it, and having obtained leave to turn it over, the curious sculpture represented in the etching herewith sent, was discovered.

Its meaning, or date, I cannot attempt to explain. Can it have any reference to the building of the church? You will perceive both the circular and pointed arch (though the latter is probably only accidental, the space being limited).

The roof, I think, resembles some of the Roman buildings of the lower empire of which I have seen engravings.

The tiles, in shape, correspond exactly with those which were found among the remains of a Roman villa discovered a few years since at Stonesfield, near Oxford. The upper figures are very like some on Bridekirk Font (of the 10th century).

The figures of the Fox and Dove remind one of Æsop’s fable of the Fox and the Stork.

The society published the plate in its Archæologia Æliana. The best guess I can find is that it’s a 12th-century coffin lid that had been appropriated as a tombstone in 1587. But the meaning of the figures is unclear.

Bartitsu

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When engineer E.W. Barton-Wright returned to England after three years in Japan, he brought with him a new discipline: Bartitsu, a martial art of his own devising that combined jujutsu, judo, boxing, and stick fighting. He listed its essential principles in an article in Pearson’s Magazine in March 1899:

1. To disturb the equilibrium of your assailant.
2. To surprise him before he has time to regain his balance and use his strength.
3. If necessary to subject the joints of any part of his body, whether neck, shoulder, elbow, wrist, back, knee, ankle, etc. to strain which they are anatomically and mechanically unable to resist.

The combination of systems, he wrote, “can be very terrible in the hands of a quick and confident exponent. One of its greatest advantages is that the exponent need not necessarily be a strong man, or in training, or even a specially active man in order to paralyse a very formidable opponent, and it is equally applicable to a man who attacks you with a knife, or a stick, or against a boxer; in fact, it can be considered a class of self-defence designed to meet every possible kind of attack, whether armed or otherwise.”

In 1899 Barton-Wright established an academy in London to promote the new art, but he proved an indifferent promoter and the school closed its doors within three years. His eccentric fighting style might have been forgotten entirely but for one immortal mention: In The Adventure of the Empty House, when asked how he defeated Professor Moriarty in their climactic struggle at the Reichenbach Falls, Sherlock Holmes credits “baritsu, or the Japanese system of wrestling, which has more than once been very useful to me.”

Constellation

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Circling the earth aboard Friendship 7 in 1962, John Glenn had an odd encounter:

The strangest sight of all came with the very first ray of sunrise as I was crossing the Pacific toward the U.S. I was checking the instrument panel and when I looked back out the window I thought for a minute that I must have tumbled upside-down and was looking up at a new field of stars. I checked my instruments to make sure I was right-side-up. Then I looked again. There, spread as far as I could see, were literally thousands of tiny luminous objects that glowed in the black sky like fireflies. I was riding slowly through them, and the sensation was like walking backwards through a pasture where someone had waved a wand and made all the fireflies stop right where they were and glow steadily. They were greenish yellow in color, and they appeared to be about six to 10 feet apart. I seemed to be passing through them at a speed of from three to five miles an hour. They were all around me, and those nearest the capsule would occasionally move across the window as if I had slightly interrupted their flow. On the next pass I turned the capsule around so that I was looking right into the flow, and though I could see far fewer of them in the light of the rising sun, they were still there. Watching them come toward me, I felt certain they were not caused by anything emanating from the capsule. I thought perhaps I’d stumbled into the lost batch of needles the Air Force had tried to set up in orbit for communications purposes. But I could think of no reason why needles should glow like fireflies, nor did they look like needles. As far as I know, the true identity of these particles is still a mystery.

They seem to have been ice crystals, flakes of frost shed by the capsule and illuminated by the sun. Scott Carpenter saw a similar display on the next Mercury mission, Aurora 7, a few months later.

(John Glenn, “If You’re Shook Up, You Shouldn’t Be There,” Life, March 9, 1962.)

The Peace Arch

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The border between the United States and Canada blurs a bit between Blaine, Wash., and Surrey, B.C. There stands the Peace Arch, a 20-meter monument to amity between the two nations commissioned by railroad executive Sam Hill in 1921.

The arch stands precisely on the border, at the center of an international park: Citizens of either nation can pass without passport or visa into the other nation’s territory, provided they don’t stray beyond a dedicated area.

The U.S. side of the arch bears the inscription “Children of a common mother,” and the Canadian side reads “Brethren dwelling together in unity.” An iron gate stands open on either side, and an inscription above reads “May these gates never be closed.”

Full Circle

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Image: Wikimedia Commons

For 88 years the Memorial Bridge carried traffic across the Piscataqua River between Portsmouth, N.H., and Kittery, Maine.

At its opening in 1923, 5-year-old Eileen Foley cut the ribbon.

In 2011, Foley, now 93, tied a ribbon at the closing ceremony.

In the interval she had served several terms as mayor of Portsmouth. “Thank you very much for this afternoon,” she said. “I will never forget it.”

(Thanks, Zach.)

A Reunion

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In 1892 Frederic Martyn was fighting in West Africa with the French Foreign Legion when he met with an incident “so remarkable that I hesitate to mention it, as it is pretty certain to be regarded as a mere traveller’s tale”:

A Dahomeyan warrior was killed while in the act of levelling his gun, from behind a cotton tree, at Captain Battreau of the Legion, at point-blank range, and as he fell his rifle clattered down at the officer’s feet. Captain Battreau, seeing that it was an old Chassepot, picked it up out of curiosity, and suddenly became very much interested in it. He examined it very carefully, and then exclaimed, with a gasp of astonishment, ‘Well, this is something like a miracle! Here is the very rifle I used in 1870 during the war with Germany! See that hole in the butt? That was made by a Prussian bullet at Saint-Privat. I could tell that gun from among a million by that mark alone; but here’s my number stamped on it as well, which is evidence enough for anybody. Who would have thought it possible that I could pick up in Africa, as a captain, a rifle that I used in France, as a sergeant, twenty-two years ago? It is incredible!’

Martyn writes, “The sceptical reader will probably think that the captain was ‘pulling our legs’ a bit; but this explanation is inconsistent with the fact that the officer asked for and obtained special permission to keep the rifle as personal property on account of its associations, and he was hardly likely to have done this unless he could prove that it was, in fact, the identical rifle he had formerly used.”

(From Martyn’s 1911 memoir Life in the Legion. Thanks, Kevin.)

Second Chances

On June 30, 1960, a thunderstorm struck the Columbia, Missouri, area and made time not only stand still, but go backward. The Columbia Missourian reported that Mr. C.W. Brenton looked at his electrical clock at 7:55 P.M. and was startled to see that the clock was running backward. During the storm a surge of lightning had entered his home along the power lines and fused some of the wiring in the clock. This apparently reversed the magnetic field of the motor, causing the hands to turn in the wrong direction.

— Peter Viemeister, The Lightning Book, 1961

A Dark Day

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On Oct. 21, 1966, an avalanche of mining debris descended into the Welsh mining village of Aberfan, filling the classrooms of a local junior school with mud and killing 144 people, 116 of them children. In response to a subsequent newspaper appeal, Shrewsbury psychiatrist J.C. Barker received 76 letters from people who claimed to have had precognition of the event. Of these, 22 were supported by witnesses. This account, by the parents of 10-year-old Eryl Mai Jones, was compiled by a local minister and signed by them as correct:

She was an attractive dependable child, not given to imagination. A fortnight before the disaster she said to her mother, who at the time was putting some money aside for her, ‘Mummy, I’m not afraid to die.’ Her mother replied, ‘Why do you talk of dying, and you so young; do you want a lollipop?’ ‘No,’ she said, ‘But I shall be with Peter and June’ (schoolmates). The day before the disaster she said to her mother, ‘Mummy, let me tell you about my dream last night.’ Her mother answered gently, ‘Darling, I’ve no time now. Tell me again later.’ The child replied, ‘No, Mummy, you must listen. I dreamt I went to school and there was no school there. Something black had come down all over it.’ Her mother answered, ‘You mustn’t have chips for supper for a bit.’ The next day off to school went her daughter as happy as ever. In the communal grave she was buried with Peter on one side and June on the other.

“This last point may not, however, be significant, since the order of burial was apparently influenced by parents’ requests.”

(From the Oxford Book of the Supernatural.)

House Calls

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William … asks me to set down the story of Barbara Wilkinson’s Turtle Dove. Barbara is an old maid. She had 2 turtle Doves. One of them died the first year I think. The other bird continued to live alone in its cage for 9 years, but for one whole year it had a companion and daily visitor, a little mouse that used to come and feed with it, and the Dove would caress it, and cower over it with its wings, and make a loving noise to it. The mouse though it did not testify equal delight in the Dove’s company yet it was at perfect ease. The poor mouse disappeared and the Dove was left solitary till its death. It died of a short sickness and was buried under a tree with funeral ceremony by Barbara and her maiden, and one or two others.

— Dorothy Wordsworth, Grasmere Journals, Jan. 30, 1802

D.C. al Coda

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This Katzensymphonie, by Moritz von Schwind (1804-71), resides in the Staatliche Kunsthalle Karlsruhe in Germany. Dick Higgins, in Pattern Poetry, writes, “This piece, drawn in pencil and ink on music paper (but not orchestrated) has charm but does not appear to have been intended for performance at all. It may be a satire or lampoon on the famous violinist Joseph Joachim (1831-1904), to whom it is dedicated.”

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Perhaps it might be played on the Katzenklavier, a (thankfully) imaginary instrument described by Jean-Baptiste Weckerlin in his Musiciana, extraits d’ouvrages rare ou bizarre of 1877:

[A] chariot … carried the most singular music that can be imagined. It held a bear that played the organ; instead of pipes, there were sixteen cat heads each with its body confined; the tails were sticking out and were held to be played as the strings on a piano, if a key was pressed on the keyboard, the corresponding tail would be pulled hard, and it would produce each time a lamentable meow. The historian Juan Christoval Calvete, noted the cats were arranged properly to produce a succession of notes from the octave … (chromatically, I think).

In 1890 the Glasgow University magazine published this anonymous assessment of the musicianship of botanist and amateur violoncellist Frederick Orpen Bower:

There was a professor of flowers
The ‘cello he’d torture for hours
When the strings gave a growl
The cats gave a howl
And eclipsed all his musical powers.