Category Archives: Renaisssance

Stratford-Strange III…


… “I suppose, Carbrook Hall ‘took the biscuit’ in that respect.”

“Yes, it’s one thing to be ignored by a bar-tender at a bar but not to be seen at all!”

“And all the while I was snapping away, being not inconspicuous, in a less than full drinking establishment. At Haddon Hall we managed to completely clear an otherwise packed living room, so that you could sit in front of the fire.”

“That place did feel homely!”

“And at Barbrook, in the sun, we walked a landscape that nobody else could see…”

“And then tried to point it all out to another group who also couldn’t see it!”

“There is, though, I think, a link with these experiences.”

“I know, they’re all old places.”

“It’s a phenomenon known as ‘time-bleed’,” announced a third, somewhat gravelly voice, and we both turned our heads sharpley to watch, intrigued, as the light strewn figure drifted across the room towards us…




A dog called Toby? II…

William-Adolphe Bouguerea


… “If a story is canonical in one tradition and uncanonical in another it immediately raises two questions.”

“What makes it ‘canonical’ for one tradition?”

“And what makes it ‘uncanonical’ for the other?”

“One might have supposed that it would have been more likely to be canonical for the Hebrews, considering its age and subject matter?”

“Many years ago when we first became aware of Apocryphal Bible stories, we got very excited about this tale when we heard about it, especially in view of the fish connection. We immediately procured a copy of said Apocrypha, at no little expense, and looked at this story first, fully expecting to be accosted with highly significant arcane knowledge… and drew a blank.”

“And now?”

“Well now, I strongly suspect that there is highly significant arcane knowledge within it.”

“Which would be?”

“The trouble with arcane knowledge, it’s very difficult to transmit in mundane terms.”

“But one has to, at least, try.”

“Agreed. The first clue to the importance of this story is to realise that it is a Grateful Dead tale. I know, I know, this element of the tale has not yet been given.”

“So, you had better make amends post haste, hadn’t you…”

“…Before Tobit sends his son, Tobias, on the ‘errand’ there is a long introduction to the tale which establishes Tobit in, for wont of a better term, ‘righteousness’. He lives in Ninevah, a place which does not recognise his religion, and yet he continues to practice that religion despite persecution from the ‘local authorities’. As part of this practice he comes across a dead man who has been flung out into the street and his body left to rot. Tobit, an old man, single handedly buries the body and performs the funeral rites of his religion but then falls asleep by the side of the grave in exhaustion. As he sleeps, sparrows fly over him and their droppings land in his eyes so that when he wakes up, he is blind.”

“Blimey! At this stage it does not appear that the Dead were overly ‘grateful’.”

“Quite. But all good things come to those who wait.”

“So, then what?”

“Well, it is at this point that Tobit, now having lost his sight, and the means to a livlihood, decides to send out his son to bring in what he is owed.”

“Understandable, perhaps, but it is hardly earth shatteringly arcane, is it?”

“No, but listen, although, ‘errand’ is an interesting enough term for Tobias’ journey, in itself, what if we were to deem it a ‘pilgrimage’, instead?” …



Tobias and the Angel, Davide Ghirlandaio (David Bigordi) (Italian, Florence 1452–1525 Florence), Tempera and gold on wood

David Ghirlandaio  circ. 1479