Squipsh Test by Adam Fleck

Saturday 20th June 2008
A TRIP AROUND SUSSEX

A few days off work, so taking advantage of the four days of British summer before the rain inevitably sets in again, I set out on a cultural trip around Sussex accompanied by Edward and my brand new Epson RD-1s.

On the subject of my new RD-1s, here I'd like to thank both Epson for the brand new replacement for my existing RD-1 which had developed mechanical problems, and Jack at Robert White for his continued and unfailing patience over the past few months as the camera went back and forth in an effort to get it sorted.

We started at the incredibly impressive Arundel Cathedral.

Dedicated in 1873 as the Catholic parish church of Arundel, Arundel Cathedral now serves as the seat of the Bishop of Arundel and Brighton.

The Cathedral's location, construction, design, and dedication owe much to the Howard Family, who, as Dukes of Norfolk and Earls of Arundel are the most prominent English Catholic family, and rank first (below the English royal family) in the Peerage of England.

The architectural style of the cathedral is apparently French Gothic, a style that would have been popular between 1300 and 1400—the period in which the Howards and the Dukes of Norfolk rose to national prominence in England.

Note the 16th Century 'hotte aire bellows' on the right-hand side. Probably transplanted from a pre-reformation religious house, these 'bellows' were used to encourage monks to stay longer in their stalls at prayer, following a rare complaint from a certain monk, "Cuthbert", that 'the coldness of the stone upon the arse is causing evenly the godliest of men to quicken their chant to avoid the very eruption of 'pyles'. Apparently the problem had become so bad amongst the religious of that period, that it was know as "Priors Prunnes".

"Vada the bona lallies on that Long Omi, a right little feast for the minces" we heard a passer-by remark as we got out of the car.

The Long Man - carved on a hill near the village of Wilmington - an example of one of the huge, iconic, historically significant landmarks that sets us Brits apart from the other people in the world who don't feel the need to blight the countryside with random strange drawings.

Apparently,the earliest record of the carving was in a drawing done by William Burrell following a visit to Wilmington Priory. Sad to say the Long Omi used to have an 'appendage' that was removed by the Victorians who believed an old sussex lore which said that 'if a farmers daughter should gaze too long upon the giant's manhood during the month of May, her milk churns will produce rancid butter for forty days'.

Archaeological work done by University of Reading suggests that the figure dates from the sixteenth or seventeenth century AD.

Edward, always hard to please, found the Long Man wanting.

Berwick Church is famous for it's murals painted during the Second World War by the Bloomsbury artists, Duncan Grant, Vanessa Bell and Quentin Bell. Who could believe such a gem could be nestling just off the A27?

It may look a bit of a mess, but bear in mind that for hundreds of years decent, pious, folk have been throwing themselves on their knees at the altar of this church, and leading exemplary lives of rural fecundity.

Feasting our eyes on the 14th century sepulchre, it was with reluctance we tore them away to goggle at the 20th century murals painted by, amongst others, the famous Duncan Grant who was renowned not only for the feather lightness of his fairy cakes, but also for his deft hand with gauche and watercolours.

The working through of the relationship between the perfect fatless sponge and an intricate eye for detail in the pictorial representation of Sussex rural life, may, for some readers not be immediately obvious, which suggests to me that more research is urgently needed in this area.

The Chancel Arch - the mural, by Duncan Grant in 1941, depicts Christ, having offered Himself on the cross, now enthroned in heaven with angels worshipping Him. On the right of the Chancel arch are Bishop Bell (kneeling), and behind him the Rector of Berwick, Reverend G Mitchell. On the left are the kneeling figures of a soldier, a sailor and and airman.

The barn in the nativity is a Sussex barn at Tilton and through the opening is a view to Mount Caburn. The models for the shepherd, far left, and shepherds on the left hold 'Pyecombe' crooks. The infant Christ is very similar to pictures of Quentin Bell as a baby. Angelica Bell posed for Mary.

The Victory of Calvary by Duncan Grant. The artist Edward Le Bas posed for the picture tied to an easel.

In The Supper at Emmaus by Quentin Bell, the risen Jesus appears to two disciples on his way to Emmaus. They do not recognise Him until the moment He takes bread and breaks it. It is this moment of revelation which is depicted. The models of the two disciples were men of the Australian Air Force quartered in Sussex during the war. Leonard Woolf, husband of Virginia Woolf, is said to have posed for Jesus.