Reflecting on Aswarby church

click photo to enlarge
I visit and photograph Aswarby church every year when we walk in the vicinity of Osbournby. Sometimes it's autumn or winter when we pass by, at other times it may be spring or summer. Whatever the time of year I never fail to admire both the building and its setting. On our recent visit it struck me that in many respects St Denys is a very typical English church. The earliest parts are twelfth century with the nave showing evidence of rebuilding in the thirteenth and fourteenth centuries, and the tower is a fine example of the fifteenth century, the last phase of Gothic. Much of the external ornament shows the inventiveness and wit of the minds of the medieval masons and sculptors who carved it.

A west tower is characteristic of English parish churches, as is a four-bay arcade and a lower, shorter chancel (this one was rebuilt in the Victorian period). The main entrance is typically through the south porch, though here, as is sometimes the case, the north door is favoured for convenience. The photograph above shows the view from the south, consequently the north aisle that projects from the nave and has its own lean-to roof can't be seen. However, such an addition is also very common. The north side was favoured for such an extension because the south side was usually chosen for burial before any other part of the churchyard.

Inside Aswarby church what we see is also very typical of what an English church offers. The view in my smaller photograph is one I took from the pulpit. It shows the bright west window seen through the tower arch. The area railed off in the corner by the north door holds the local landowner's tombs, in this case the Whichcote family. One less commonly found feature is the box pews. The Georgian period liked these for their comfort, privacy and freedom from draughts, but the Victorians often got rid of them, installing sturdy and uncomfortable pews. The rightmost box pews with the pierced, decorative woodwork are raised above the main blocks of seating and have a good view of the pulpit. This is the area reserved for the Whichcote family. Its elevated position reflects their elevated status. It also has its own fireplace!

The two boards above the tower arch are hatchments, paintings of coats of arms that were hung on the house of a deceased member of the well-to-do and often removed to the church after the burial. The Australian flag hangs in Aswarby church. This isn't unique but is unusual. It commemorates George Bass, a man who was raised in the locality, baptised at this church, and who discovered and mapped parts of Australia. The Bass Strait that separates the Australian mainland from Tasmania is named after him. It comes as no surprise to find that quite a few of the visitors to the church hail from Victoria and Tasmania.

photographs and text © Tony Boughen

Photo 1
Camera: Canon
Mode: Aperture Priority
Focal Length: 28mm
F No: f8
Shutter Speed: 1/400 sec
ISO: 100
Exposure Compensation:  -0.33 EV
Image Stabilisation: On

Plates of meat

click photo to enlarge
The extremities of the human body, as Leonardo da Vinci's "Vitruvian Man" clearly shows, are the head, hands and feet. When an artist wants to show something of the character of a person it is usually the face that he or she chooses to portray. Leonardo's "Self-Portrait"or his "Study of Five Characters" are good examples of this kind of image. Through their expression, and by the lines that time etches on a person's face we can see (or imagine we can see) something of the underlying singularity of the individual.

Many painters and photographers choose to include hands in their portraits, believing that they too reveal something that lies below the surface of the person. A painting such as Egon Schiels' "Self-Portrait with Hands on Chest" clearly includes the hands in order to say something more about the person that is depicted. The famous photographic portrait of the English painter, Aubrey Beardsley, is as much about his hands and their very long fingers, as it is about the profile of his face. Of course, in all these kinds of paintings and photographs we as viewers don't necessarily see that which the artist intended. However, we do see something, and the hands definitely add to that something.

So what about the third of our bodily extremities - our feet? There are far fewer paintings and photographs of feet than there are of heads and hands, or heads with hands. It's not difficult to see why the latter pairing is rarely to be found: it requires the suppleness of a contortionist to get them in close proximity. But how about feet themselves: why are there so few images of them? Possibly because they aren't very attractive. But that of itself isn't a compelling reason. Maybe it's because they are more often hidden away under socks and shoes. And yet feet are full of character and vary enormously between individuals. Today's photograph is my small contribution to increasing the number of photographs of feet! I noticed my battered pair as I was standing in the kitchen on a warm evening. The under-pelmet lighting was throwing interesting shadows around them so I pointed my camera down and took this shot of my "plates of meat" (Cockney rhyming slang for feet).

photograph & text (c) T. Boughen

Camera: Olympus E510
Mode: Aperture Priority
Focal Length: 20mm (40mm/35mm equiv.)
F No: f3.5
Shutter Speed: 1/8
ISO: 800
Exposure Compensation: -0.3 EV
Image Stabilisation: On