Ancestral Chains (DNA Part VII of VIII) Morgan Bloodline - Bishop, Mark D
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In this work, the reader is directed to Claydon village in rural Suffolk. Here the Morgan family of the author's memory lived, worked and propagated. Life was generally good with some up-and-downs, as these Morgans were descended from the minor gentry of Suffolk who originally hailed from Ipswich. Yet the Morgan Bloodline in the 19th and 20th centuries was ruled by trades people; the butchers & blacksmiths of the village, each with his business at the other end of town. Butcher by trade, but not by temperament and sporting the name Winfred Edward Mosart Morgan, this great-grandfather had had…mehr

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Produktbeschreibung
In this work, the reader is directed to Claydon village in rural Suffolk. Here the Morgan family of the author's memory lived, worked and propagated. Life was generally good with some up-and-downs, as these Morgans were descended from the minor gentry of Suffolk who originally hailed from Ipswich. Yet the Morgan Bloodline in the 19th and 20th centuries was ruled by trades people; the butchers & blacksmiths of the village, each with his business at the other end of town. Butcher by trade, but not by temperament and sporting the name Winfred Edward Mosart Morgan, this great-grandfather had had much trauma in his early life, but was fun to be with. Even then, he would never admit that he and the Morgan blacksmith family down the lane were distant cousins. Musical flair was in the church-going family who were integral to village life, but tragedy was never far away, as attested by the Henry Moore sculpture that graced their local church before strangely being moved to nearby Barham. Oh yes, there was money, too!
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Autorenporträt
This, the third and most involved work by the author on the growing research into Stone Age portable rock art, is a must read for all interested parties. Beginning with handaxes crafted by the earliest inhabitants of the British Isles, one million years ago, it details that they carved, pecked and knapped these artefacts as art. Handaxes of all types, shapes and forms were not so much meant for use as weapons, but more as tools and ceremonial objects, having dual ritualistic and practical functions. Passed down as ancestral heirlooms, they became enthused with 'mana' and were often placed as offerings in streams, or at tomb and grave sites, or by sacred groves. Until now, the designs seen of these artefacts have not generally been recognised as art. The main theme of this work therefore is to introduce these artforms in detail to the world of archaeology and the public alike. Intangible, ritualistic meanings they once held, yet tangible stone art they remain, preserved as monuments to the skill and cognitive abilities of our most distant ancestors.