Author Archives: yamey

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About yamey

Active author and retired dentist. You can discover my books by visiting my website www.adamyamey.co.uk .

A church with injuries in a village in Cambridgeshire

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WE OFTEN VISIT the excellent Pig and Abbot pub in the tiny village of Abington Piggots in south Cambridgeshire because it has good food and a homely atmosphere. Near the pub stands the parish church of St Michael and All Angels, parts of whose structure date to the twelfth century. It contains many interesting features including a seventeenth century pulpit combined with a reading desk and a clerk’s desk. This is made from timber panelling including some carvings and is probably Flemish in origin. Fascinating as this is, there are two unusual features, which were pointed out to us by a church volunteer when we visited the church in April 2025.

The north door of the nave, which faces the entrance on the south side of the church, has two small squarish holes in it. And if you look carefully at the stone archway that marks the boundary between the nave and the chancel, you can see that a small chunk of masonry is missing. The holes in the door were most likely caused by the sharp tip of a spear or of a pikestaff. The missing chunk of masonry is most likely the result of musket shot having been fired at the archway. It is believed that the damage to the door and the archway was done in the time of Oliver Cromwell, when he had ordered the removal of decorative features from churches, Interestingly, a few panes of mediaeval stained glass remain intact high up in a window in the north wall of the nave. Clearly, Cromwell’s men missed these while they were destroying the rest of the stained glass.

The damage to the church reminded me of our recent trip to Beverley in Yorkshire when we were shown damaged caused by a bullet fired from a Luftwaffe aeroplane during WW2. (see https://adam-yamey-writes.com/2025/04/06/pierced-by-a-bullet-while-praying-in-the-pews/). Clearly nothing is sacred, not even in a church.

Graffiti of historic interest in a church in Cambridgeshire

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LITLINGTON IS A SMALL village in the south of Cambridgeshire. Its parish church, St Catherine’s, dates from about 1150. Between then and the 15th century, it underwent many modifications. As in many old buildings, people have inscribed graffiti into the church’s stone walls. One stone in one of the south windows has some especially interesting graffiti.

The neatly carved inscription (in Latin), which refers to the great sailor Sir Francis Drake (c1540 – 1596) reads:

“Francis Drake, knight, about to set sail in the thirty-seventh year of the reign of the most august and serene princess Elizabeth, by the grace of God Queen of England, France and Ireland, defender of the faith. 1595. Always the same. The same always. John Sherman, April the tenth.”

The date refers to the year of Drake’s final voyage, from which he never returned (he was ‘buried’ at sea near Portobelo (now in Panama)). Drake had set out from Plymouth in September 1595 to carry out activities against the Spanish in Puerto Rico and other places in and around the Caribbean.

John Sherman lived in Litlington, as did his son-in-law, Robert Bownest, who died during Drake’s final voyage. In “A History of the County of Cambridge and the Isle of Ely: Volume 8” (published in 1982), we can read:

“John Sherman died in 1599, having transferred his manor and other purchased lands in 1597 to his eldest son William”

John’s father, William, was a wealthy landowner in Litlington. What is not clear is whether this John Sherman wrote the inscription and if he participated in in Drake’s ill-fated expedition of 1595, as did his son-in-law.

Tiny details such as the inscription I have described help to make visits to places in England really interesting, and, in a way, help to give vitality to what are otherwise simply historical events.

When two holy men meet in a picture from Afghanistan

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VISITING CHRISTIE’S AUCTION house near London’s Piccadilly is never disappointing. There are usually items on display, waiting to be auctioned, which are of great interest. Today (25 April 2025), we viewed the items awaiting a sale that will be held on the first of May. The sale is called “Art of the Islamic and Indian Worlds Including Rugs and Carpets”. Standing alone in one room is a folio (page) with coloured paintings on its front and back. This item has been called “The Prophet Muhammad Meets Jesus in the Beit Al-Ma’mur and the Arrival at the The Fourth Heaven”. It was created in Afghanistan in about 1466, and is in remarkably good condition.

The images show two episodes in the Mi’raj, which as the Christie’s website explained is:

“… one of the most important moments in the life of the Prophet Mohammed. In the Qur’an, sura al-‘Isra alludes to the fact that Allah transported ‘his servant Muhammad by night from the Masjid al-Haram to the Masjid al-Aqsa, whose surroundings we have blessed, so that We may show him some of Our signs’. Though traditions vary, most take this to be a reference to the Prophet being miraculously taken from Mecca to Jerusalem and thence to Heaven.”

Muhammad is depicted as riding on Buraq, his quadruped mount. In the picture at Christie’s, Buraq has been shown as having a human head. In one picture, the Prophet Muhammad is dressed in green and can be seen riding on Buraq and meeting a man dressed in brown robes, who is Jesus (Isa) Christ. In between Jesus and the Prophet, there is a figure with wings, the angel Jibra’il (Gabriel). These holy men are shown meeting in the Beit Al-Ma’mur, which is a celestial form of the Holy Kaaba at Mecca. The picture on the reverse of the folio, we find the Angel Gabriel depicted again. He seems to be heading for a group of angels, followed by the Prophet dressed in green and riding on Buraq.  The angels in the picture are shown greeting the Prophet and Gabriel as they make their way through the tiers of heaven.

Apart from being amazingly beautiful, there were some details that caught my eye. Jesus is depicted with a face that could be Arabic. All the other faces, including that of Muhammad, have oriental eyes typical of Central Asia or further east. The faces of others in the pictures, including that of Buraq, are typically Far Eastern in type. I suppose that in 15th century Afghanistan, Central Asian faces were a familiar sight.  In the picture that depicts Muhammad moving towards the angels, much of the space surrounding the figures is filled with swirling golden clouds which makes the picture look like a Chinese creation at first sight. Another detail that interested me, and which I spotted in some other pictures on display at Christies, was that although the artist had drawn a frame around the image, one angel seemed to be standing partly outside the frame.

One of the delightful features about Christie’s is that if one asks a member of staff a question about an exhibit, he or she will go out of their way to answer it accurately. In the case of the pictures described above, a gallery assistant asked one of the specialists who dealt with it to come from her office to discuss it with us. This lady answered our questions and explained that what we were looking at is extremely rare. The folio at Christie’s was from a book, whose pages have been dispersed to many different places over time.  In Paris there is another very similar but slightly older example of that book, but the page with the episodes I have just described has been lost from it.  

The auction whose lots we saw on display contains many fine Mughal and other Indian pictures and objects, as well as items, such as the folio, which originated in Islamic countries such as Persia, Turkey, and places in Central Asia. Once again, a visit to Christie’s has proved most rewarding.

Covering the walls with flowers

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AT THIS TIME OF the year (April), many walls in London are partly hidden behind the exuberant bunches of flowers sprouting from the twisted trunks of Wisteria plants.

The Wisteria was originally grown in China, Japan, Korea, Vietnam, southern Canada, the north of Iran, and in the east of the USA.  The first Wisteria plant to be grown in Britain was imported from Canton in China in 1816, This was a Wisteria sinensis plant. In 1830, another variety was introduced from Japan. Both varieties have both mauve flowers and white flowers.

In and around London’s Kensington, where I live, although both colours of flower can be seen, the mauve outnumbers the white.

Britain and social change thirty to forty years ago in photographs

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THE FIRST ROOOM of the Tate’s exhibition of photographic images of Britain in the 1980s, “The 80s Photographing Britain”, was disappointing. There were too many small photographs, which would have been far easier to appreciate by seeing them in a catalogue or book. However, the other rooms of this show, which is on until 5 May 2025, contain many photographs that are often interesting as well as artistic. As the Tate’s website explained, during the ‘80s:

“… photography was used as a tool for social change, political activism, and artistic and photographic experiments.”

It continued to say that the visitor to the exhibition will:

“See powerful images that gave voice and visibility to underrepresented groups in society. This includes work depicting the Black arts movement, queer experience, South Asian diaspora and the representation of women in photography.”

After my initial disappointment in the first room of the exhibition, I soon began enjoying the exciting range of pictures on display in the rest of the show. During most of the 1980s, I was working as a dentist in a small, rather conservative provincial district in Kent, and was largely unaware of the social changes that were going on around me. So, now, many years later after having seen the exhibition at the Tate Britain, it has only dawned on me what had passed me by while I was concentrating on looking after the dental health of some of the inhabitants of the Medway Towns.

Would I recommend seeing this show? My answer is ‘yes’, but hurry because it is ending soon.

Wood as art and the art of woodwork

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DURING THE EASTER weekend, we visited two exhibitions. Unlike many exhibitions I have written about lately, neither of them finish soon. Both shows relate to wood and trees. One is being held at the Serpentine South Gallery in Kensington Gardens and it ends on 7 September 2025, and the other is at Japan House in High Street Kensington and continues until 6 July 2025. So, there is plenty of time to see both exhibitions.

By Giuseppe Penone

The show at the Serpentine is of artworks by the Italian artist Giuseppe Penone. I have already written a bit about him (https://adam-yamey-writes.com/2025/04/15/boulders-lodged-in-trees-at-a-park-in-london/). I did this after seeing those of his works that are on display near the outside of the Serpentine Gallery. I have now seen what is on display within the gallery, and was pleasantly surprised. Penone is fascinated by the intricate relationships between humans and nature, and this is what inspires his artworks. Many of the artefacts (paintings, installations, and sculptures) on display relate to trees and their leaves. The walls of the central hall of the Serpentine Gallery are lined with containers that hold thousands of dead laurel leaves. Another exhibit consists of semi-abstract sculptures that resemble human forms, and these are entwined with living plants growing out of large flower pots. Other works are formed from pieces of wood and twigs. One particularly effective work consisted of living branches with leaves and twigs. One of the twigs has been forced through a hole cut in a photograph of a man’s face in such a way that the twig seems to have grown from within the centre of the eye. I like this piece because it encapsulates what Penone does: he sees nature through his eyes and is inspired by what he sees.  

In contrast to Penone’s work at the Serpentine, which is art for art’s sake, the exhibition at Japan House is designed to illustrate how man can create artistic yet functional artefacts from wood. Called “The Craft of Carpentry: Drawing Life from Japan’s Forests”, the show sets out (successfully) to illustrate the amazing skills of traditional Japanese carpentry. This informatively labelled exhibition has exhibits showing the variety of tools used, the types of wood employed, the range of joinery methods, templates for cutting shapes, and some of the final products including a life-size replica of the Se-an teahouse in a temple in Kyoto. Although everything on display is related to creating functional products, each exhibit is so beautiful that it could be considered a work of art in its own right. As with every exhibition I have seen at Japan House, the exhibits are displayed imaginatively and beautifully. The exhibitions themselves are works of art.

I recommend visiting both exhibitions not only because they are fascinating but also because they illustrate two completely different approaches to dealing with trees and their wood.

A bird with two heads in London’s Earls Court

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COLEHERNE COURT IS a large block of flats located on the corner of Old Brompton Road and Redcliffe Gardens. The late Princess Diana lived there before she married Prince Charles. At the corner of the building there is an entrance surmounted by a carving of a bird with two heads each on a long neck.

A map surveyed in 1916 indicates that there was a bank at this corner, The two headed bird was probably above its entrance. The only British bank I know of that uses the double-headed eagle as its symbol is Hoare’s Bank. There may have been others, but I do not know about them.

If anybody knows any more about the double-headed bird on the corner of Coleherne Court, do please let me know.

Does it matter which cricket team you support?

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IN 1960, THE CONSERVATIVE politician Norman Tebbit devised what has become known as ‘the cricket test’ to ascertain how well immigrants had become integrated into the life of the United Kingdom and how loyal they had become to their adopted home. It related to which team they supported when the team from their country of origin was playing test cricket against a British team. He suggested that those immigrants who support their native country’s cricket team rather than England’s  are not significantly integrated into the United Kingdom

My father was an immigrant. He was born, brought up, and educated in South Africa. He took a keen interest in professional sport, when it was presented on the radio (we did not have a television at home). I remember seeing him sitting at his desk in his study working with the radio on in the background. He delighted in listening to radio commentaries of cricket and tennis matches. I am not sure whether he was able to visualise the games in his mind, or whether he was only interested in the scores, or both. When, after apartheid was ended in South Africa, and the South African cricketers were once again playing the English team, he was asked which of them he hoped would win. He said:

“It does not matter to me,” he replied, “I support both of them.”

I wonder whether this counted as a pass or fail in Tebbit’s cricket test?