What we are here to do today, as John said, is to celebrate the acceptance of our painting to the society, gifted to the society, previously unknown to scholarly discussion. In a sense, I'm very much aware that what I'm doing here is assembling the information towards a catalogue entry, is that perhaps we have joined as a supplement our great picture catalogue that we published a few years ago. It takes us into the worlds of 18th century biography of the attribution of pictures and the histories of place concerned with where the sitter of this portrait Charles Marsh lived and contemporary debates about antiquities and in particular one very famous object the Barbarini Port d'un Vox. Yn chi'n Chael's Marsh, ydych chi'n gweithio? Fy oedd yn 1735-1812.  Fy oeddwn i'n chael's Marsh yw'r llwyffydd yn Llywodraeth yn Llywodraeth yn 1748, oedd yn 13 oed. Rwy'n meddwl i'r Llywodraeth Cymru yn 1757, ac yn Llywodraeth Cymru yn 1758. Rwy'n meddwl i'r Llywodraeth yn Llywodraeth yn Llywodraeth, yn ddau'r Llywodraeth yn ddim yn ddau'r ddigon, a dyma'r ddigon, ddim yn ddangos y ddydd gondol, ddyn nhw'n ddim yn ddegon i'r ddweud. Rwy'n meddwl i'r Llywodraeth yn ddegon, yn ddegon i ddegon i ddiweddol, wedi bod i'r ddegon i'r ddefnyddio'r haws argynnu i twycanol. Charles Marsh never married, and the thing that interests me, there are many ways of interpreting and thinking about that conagra, particularly with this great group of 18th century scholars. But what interests me about that fact is that when we look at portraits and the things people collected, we're constantly thinking about how they wish to be seen by others, what was in the world that originated in Renaissance history, what was their self-fashioning by these things, and what was their impression of legacy. It's clear that people in that situation are not leaving large sums of money, therefore to their immediate heirs, sons and daughters, and therefore they have maybe a freedom to buy, to collect, to assemble things that other people do not. We don't know a lot about Charles Marsh's scholarship and where he got his keenness for classical antiquities from. But in January 1784, he was elected a fellow of the Society of Antiquaries. At the time when the society of course was resident at Somerset House, and for those of you who don't realise this one, you go into Somerset House and look at the door into the shop on the left, and there over the entrance is the insignia of the society because upstairs from there were rooms created for us in those apartments which the Courtauld Gallery had just recently vacated the picture collection whilst the institute is refurbished. It's interesting that in his election to the fellowship he had four major sponsors. It's very interesting when we look at the history of our fellows as who knew who because it's by those ways that we know scholarship was passed around and objects discussed. Two of those four also went to Westminster School, two went to Trinity Cambridge. One of them was the Scotsman William Roy, who was the surveyor and founder of the Ormond Survey project. Following his election in 1776, Roy's book The Military Antiquities of the Romans in North Britain was published by the Society in 1793. So this may be a particular moment in the history of the Antiquities and I'm moving therefore very much away as you'll see by this lecture from an idea of this being a portrait of the 1790s towards perhaps the 1780s equally possible. Because at the moment Marsh was elected in January 1784, it was just a month later that Dean Mills died and you've seen him in that drawing by Romans on the right. Welcome in when you fell out of the society. Marsh may have been one of the last people that Dean Mills actually admitted to our group. We've not a lot of evidence that Marsh is involved with the society thereafter except that he got involved in perhaps the most famous and passionate debate of the 1790s among the society. And that was over the election of the architect, James Wyatt, who was rejected in a ballot of 1796 because so many people objected to the way we treated the restoration of our great cathedrals including Sonsbury and most famously at Durham. And then when he was put up for a re-election in 1797, he didn't actually get through, but in his diary Joseph Farrington says that on the 6th of July Marsh said in a low voice it was their business to elect persons who would preserve Antiquities and not such as destroy them. But we know that Marsh later withdrew his motion to blackball Wyatt's candidature for the second time, but that's a meclater that Wyatt gets as Wyatt the destroyer in some aspects of architectural history. Marsh is clearly either reflecting that or may be one of the originators of that name. And of course the evidence of the painting itself refers to something very specific because of its inclusion of the Barbarini Portman vase. In May 1784, just four months after his election, Marsh gave a paper to the society on the elegant ornamental cameos of the Barbarini vase, which had a preface in English, but the paper itself was in Latin. And this was printed in volume eight of our journal Archaeologia in 1787. And I'll come back to some of the aspects of that article and what it says about the vase later on. So I wonder if portraiture, as I have said so many times in teaching, think of portraiture as the art of occasion. Just to get people thinking about why do you have your portraits painted in early modern times. If portraiture is an art of occasion, then it's possible that Marsh commissioned this portrait in the mid 1780s at the time he published this article because it very much reflects that particular publication. We know that at the end of his life in 1811 Marsh published a translation into Latin of Milton's Lallegro, and a copy was lodged with the society just after his death, the two years after his death in 1814. In his book, The Memorials of Twytonham, parochial and topographical, published in 1872, so that's a full 60 years after Marsh's death. Richard Cobbett, the local historian of the area who was a junior curate at St Mary's Twytonham, described Marsh as a man of literary tastes who possess a valuable library containing many rare texts. And so we might suppose that the book collecting which Marsh undertook may have started with his father's role as bookseller and clearly continued through his life. We need to find out more about that library, and that brings us of course, since we've mentioned Twytonham to where he lived. Well, we know of two places where he lived. He lived some of his time and certainly died in his apartment here in Piccadilly, so Marsh is in a sense coming home by coming into this building. But we also know that in 1799, so bear in mind by this time in his mid-60s, and more than a decade since perhaps the publication and the making of the portrait, he bought Radnor House at Twytonham a large property on the river. And hence the comments by the later local historian that I mentioned just now, Cobbett in 1872. And Marsh owned this house until his death in 1812, so he lived there for 13 years. The house is recorded in this print after a drawing by the German artist Augustine Heckel. Heckel came to Britain in a very interesting career. He was from Augsburg, and he came to England in 1746 in his retirement and lived at Richmond, and in 1747 he made a print of the Battle of Culloden. So very much plunges into the immediate world of British politics and of topographical views. And in this print after Heckel's Watercolour, we see a battlemented 18th century Gothic style house. So it's very interesting that Radnor House, at mid-18th century, just think of and come up with obviously the building of Strawberry Hill and Horace Warpole's work there. That this Gothic style house is by the river as early as 1750, and we think that's due to the work of John Roberts, the Earl of Radnor, who owned the property from 1722 through to the 1750s. That view of Radnor House really has a very long life, and what I think is interesting about it is that we have to situate it in this enormous quantity and great richness of drawings, paintings, prints of this stretch of the river between Richmond and Pickenham which became such a keynote of British topographical history in the 18th and early 19th centuries. So there it is in a print of the 1840s, and I found alongside it a ground plan of the house, also from the 1840s, just before the moment in the mid-19th century when the house was given a refit. There after looked very much like a mixture of Gothic house and rather Italian at Villa, and I've begun to wonder whether the building of Osborne in these very years is somehow influential on how Radnor House later appeared. After several 19th centuries owners of the property, the house passed to Pickenham Council, but sadly was obliterated by bombing during the Second World War. Here we are on the site today, and on site what remains are though repositioned obviously and changed considerably in the meantime, are two of the small summer houses by the river that we have just seen in those early prints and we'll see them again later on. Otherwise the site today has a flood level marking from the 18th century, some fragments of brick walls but nothing otherwise remains of the house. Fortunately, and really because of a programme of conservation of a bigger grander sort and adventure than the one we're launching today to do with the Great House, in the 1930s Pickenham Council were really not doing anything with the property, and Queen Mary wrote a letter to the mayor saying that she would lend her support and patronage to any ambitions to restore this great house. So this prompted a full article by Country Life in 1937, so fortunately because Country Life went there we have these photographs at a time of great pressure for conservation. So what we've seen and we've seen in these pictures are elaborate interiors from the era of Raddwell's time from the mid 18th century, including there on the right, a painted ceiling in an upstairs long room by the French artist Jean-François Clermont. Now there's no evidence from these photographs to get back to Marsh to say anything that suggests that Marsh did anything major with the house, we know he did practically nothing with the exterior because of those plans and drawings from the mid 19th century that essentially shows the 18th century house before the refit. So very little evidence that much happened to the house after the Raddwell's time until that refit a century later.  Now the Gothic appearance of Raddwell's house and its proximity to Strawberry Hill inevitably begs the question and introduces the appearance of Horace Walpole into this lecture. Here's the 1784, very relevant to the things we're looking at today, Map of Twypenham by Samuel Lewis and what we see here where it's flagged as Mr Bassett's house, which is just there. And Strawberry Hill is just here, so they're very close, bringing all sorts of questions about the possible influence of this house upon Walpole's designs for his much more celebrated mansion. And we know that Sir Francis Bassett, Baron de Gunstanville on Bassett, was the most significant owner of Raddwell's house between the Earl's time and Marsh's time. And we know that he visited Strawberry Hill because we have the tickets of, you went as tourists to Strawberry Hill, Walpole didn't necessarily greet you there, however, high and mighty you were. The tickets survived his visits to the house, including some visitors that he took along several times during the late 1780s. There's no evidence, however, that he actually encountered Walpole himself, or that Walpole was a visitor to Raddwell's house. And similarly with Marsh, the only reference we find in Walpole's correspondence is the rather disparaging comment about the Arthurian archaeologia. In a letter from Richard French of February 1790, where he contests Marsh's interpretation of the Portland vase. And of course, by the time Marsh bought the house in 1799, Walpole had been dead for three years. There is no one link between Walpole and Raddner House that's interesting and worth further exploration. In the mid-1750s, the Swiss artist Johann Friedrich Muntz spent seven years in England. I happened to have an opportunity to look at his work quite closely some years ago, and I was working on the vine because John Shoot, the patron of the vine in the mid-18th century, also employed Muntz because he was a close friend of Horace Walpole. He stayed for some years with Walpole in the 1750s until Muntz happened to fall out really with the entire Walpole circle of friends. And it's Muntz who recorded the Riverside of Raddner House, and here are those pavilions, as I showed you in the pictures on site today. Now this one is closest to the original, that one is much older. On the river frontage, the house up here would have been back there, and there they are in this view from the print I showed in 1750. So that business, if you're looking into the history of the house, of the connection through Muntz of its representation is quite an interesting one. I suppose that Charles Marsh hung his portrait at his great house at Raddner, because following his death the painting has an unbroken provenance through a series of owners who all lived in Twickenham houses. It's absolutely down for the name changes because the portrait would have passed through the female line several times, and it stayed along the river at Twickenham until it was gifted to the society last year. At Marsh's death in 1812, his heir was his nephew, the Reverend Thomas Viles. As a king scholar and captain at Westminster School, Marsh was entitled to burial in the Abbey, and here we find the memorial to both himself and his nephew in the East Cloister. So let's turn now to the artist, Neymur Francis Abbott, and it's initially from the label on the back of the picture that we get the first hint that Abbott's authorship, and it says, most of the Charles is obliterated, that the S is there, S Marshesquire by LF Abbott, celebrated portraitist, an admirable likeness and much prized by his nephew, the Reverend Thomas Viles. I don't know, that may be too, maybe historic, but suggesting that this may have been appended to the back of this picture between 1812 and 1831 when Viles died. That's the date of this label, the date of his death. So we have some clue there, but also stylistically and by attribution down through this family line over the years, this picture has always been attributed to LF Abbott. And why, one wonders, this particular artist, why did Marsh give him the patronage? Abbott painted different sitters, sometimes interesting groups of patrons over many years, both military and naval figures, most famously his portrait of Nelson, which survives in many different versions. And of course, Marsh, working in the War Office, would have known some of those people in military and naval life. And he also painted scholars and scientists. And in particular, and some of you may well be an important enabler in this scenario, is Sir William Musgrove, who Abbott certainly painted, that's the version on there on the right, in the British Museum, in the British Library. And of course, Musgrove is very important in our history because he, through his extraordinary manuscripts and manuscript collection, which are now in the British Library, he enabled James Granger in 1769-74 and later Henry Bromley in 1793, published their great compendiums of engravings expressing the history of British portraiture. And of course, this is something which is referred to in the print, under his elbow, much like Marsh has his elbow on, or very close to the Portman vase in his picture. And what's also important here is that Musgrove was a vice president of this society in the mid 1780s, just at the time when Marsh's articles were published and when he would have been familiar in the society's premises. So there may be a connection there. It seems to me, when I look at the works of Elef Abbott, that he paints in rather different ways and in different means of production, and of course we'll find out a lot more when we get the picture restored as to what category this falls into, as he turns from different sitters, as he turns to different groups of patrons, as well as through the time span of his life. It did seem to me, just looking a couple of weeks ago, one more time, at the five pictures by Abbott currently on the walls of the National Portrait Gallery, that the pottery manufacturer, Thomas Turner there on the left, has a kind of, when I looked at it, I thought that has a kind of brightness, if I may say a blondness of the skin tone and everything, that maybe the sort of thing we're going to get when Abbott, sorry, when the Abbott portrait of Marsh is restored. That portrait dates from about 1790. But one commission in particular by Abbott links the painter's life, his illness and his death, Abbott's illness and death, with his practice. Because there on the right is his portrait in the MPG of the sculptor Joseph Nolkins, painted about 1797. In 1798, Abbott was certified as insane four years before his death in 1802. But he makes his will in 1800, refers to his dear wife, not necessarily committed to an asylum one was that maybe kept with his family until that day. And then on the 18th of August, 1803, the year after Abbott has died, Joseph Farrenman is in the sculptor Nolkins studio and he writes, A boy near 16 years of age was drawing up on slate from a plaster figure. Nolkins told me he was the only son of the late Mr Abbott portrait painter.  So that's the dear wife from another family perspective, wherever Nolkins and Farrenman heard this from. She insists upon her son making a Roman priest which he refuses and she will in consequence scarcely see him. He lives with her father and mother who allow him to pursue his inclination for the art. Just an interesting example that somebody writes like that, we're exactly halfway between the Gordon Riots and the Catholic Emancipation Act. So it's quite interesting that somebody makes that comment at that time. What about the style of the painter and just some general and more specific comments that I would make about this. Marsha Shone, as the scholar in his coat, often said that people wore these, from the quite early times on, wore these coats, often lined with fur in the mornings when they're at their scholarly and thinking. I certainly think, because I'm obviously making a push here for the presence and the power of this portrait that we are accepting and that we want to conserve with the presence in some of the great subjects of the Renaissance. That sense in the Lotto and Titian portraits of the sitter showing you, to go back to self-fashion in a sense of where he wants to belong, what he's interested in, in the two on the right by the collections that they have with Marsha, his scholarship around the Barbarini Portland vines. That interesting use of fur, and I was asking one or two of our scholars here today what they thought it was, and we concluded it's probably Fox that is the lining to Marsha's coat. Sometimes the wear of fur in the 18th century was a sign of having travelled, particularly foreign fur is unused, though the most common lining for these coats was Fox, or sometimes squirrel fur. I put up three Batonies here to remind us of how common this kind of dress was, three of Batonies, portrait painted in Rome of English sitters. One thinks too of the use in two other ways of caps, whether it's the extremity in terms of portrait type of Russo in our so-called Armenian costume, where hat and dressings of the coat are of fur, or of course the lining to Hogarth's cap in his self-portrait. The 1780s was a particularly apparently great fashion for fur ruffs. This is Stitans by Gainsborough in the National Gallery, and Prince George himself had muffs in the 1780s made of sable. So, expensive things, and just looking again today, I think something has got that turning back of the sleeve. It's almost as if Marsha in his portrait has the makings of a muff there into which he's put his hands. While I'm almost engaging with Batonies' images of this kind, they're on the right is of Thomas Kerrich, and I can't but mention him in this particular room. Painting in Rome as a young man, because of course Thomas Kerrich was the donor of 28 paintings to the Society of Antiquies through his will in 1828, and many of them are in this room today. Our arch-top portrait, some of which are on their way back from the Past and Treasure Exhibition in America at Norwich, but two are back up there, Edwin IV and Richard III. The portrait by Anthony Samore of Yann Van Skorro, his master on the back wall, and of course, most importantly, our great portrait by Hans Heweth of Queen Mary I over the fireplace. So it's very interesting that we see this connection through fur between these fellows of the Society between their giving and commenting on things that were here. What's then about the painting's content, and here we enter this mind of information and an enormous amount of scholarship which I've only just begun to delve into. The vase in this picture, a very well-known history, and as you can see by showing the detail of the marge portrait and the vase itself, and of course it's in reverse, and I'll come back to the issues around that in a moment. But to recap, because the possibility of when-march might have seen this vase, how he knew it is very interesting in this recorded history. The Barbarini Portman vase is first recorded about 1600. It's owned by the Barbarini family for 150 years until it was sold to the Scottish dealer James Byers. And somewhere on its way home between Italy and London, it was purchased by Sir William Hamilton. And when he comes on leave to London in 1783, he begins his negotiation with the Duchess of Portland for her purchase of the vase and other items. So it's always been supposed that Sir William Hamilton purchased the vase really for Honour Wood's sale. The Duchess of Portland was described by Horace Warpole in the usual waspish nanna as a simple woman, but perfectly sober and intoxicated only by empty vases. The sale of the vase from Hamilton to the Duchess of Portland took place in January 1784, the very month that Marge was elected. And two months after Marge's election, as fellow in March 1784, Sir William Hamilton brought the vase to the Society of Antiquities in Somerffet House to show it. So the presentation of the vase on public shows it worked with fellows at the Society is exactly midway between Marge's election and the point where he gives the paper to the Society in Manning. So one says, surely therefore, Marge must have seen the original, and there we go back to the page of the entry in archaeology on the article and the vase itself. Marge must have seen the original. In the painting, Marge positions himself among the scholars who have debated and contested over the content of this vase and the meaning of its figures. Throughout the 18th century, the vase was believed to have originated in Rome on the Montedagorano from the tomb of the mid-3rd century emperor Alexander Severus, and it's tomb of Alexander Severus and his mother, Julia Mamaya. Sorry, it's illustrated as such by Pietro Sancto Barcelli in his liantiki Sipolcri of 1697, and here a couple of plates from that, both of the tomb and of the vase itself. It was later, of course, put into print also by Piranesi in his antiquity Romana of 1756, but it's particularly with the great scholar Bernard de Malfocon that Marge wishes to contest. Marge de Malfocon is, as we all know, a great scholar, a great person who lived between the 17th and the early 18th century, his liantiki explique there, which you've seen in the fifth volume, is a tremendously valuable and powerful work of the compendium of relics of antiquity. But, of course, it is that that Marge de Malfocon seems to contest with here three details of the painting, and I put, as you see it at the bottom there on the right, face on, and I turned it round up there. Malfocon's volume five, that I've shown the title page just then, Le Funenbain de Nassion ddagbar, de Lump, de Sompis, that's what he chooses to put in the picture. Malfocon, we never saw the vase, believed that the vase was made of agate, and that's a very obvious thing to contest and to prove that it's not a blast when the vase finally comes to England. Much of the debate through history has been about whether the content of this vase is something to do with the story of Peleus and Thetis. And Frank Marsh's summary of what he believes this vase is about doesn't have a tight iconographic programme at all. He describes it as scattered features of well-known history, satirically sketched out. So, he is the only person, for example, who identifies one of the figures on the vase as the adopted father of Alexander Severus, the Emperor Heliogabalus. Nobody else agrees with that. So, it's quite interesting that there is this huge speculation around what all these figures actually mean. Of course, all the representations of the vase show the figures in the printed, the common printed form, you make the drawing and then the print is in reverse. This must have been the currency of the knowledge of this vase throughout the 18th century, meaning that up until 1784, when it arrives, or 1783 to 4, when it arrives in Hamilton's possession. What's very interesting is that it is in Hamilton's own engravings of the vase that we've seen for the first time in engraving the right way round, where he's actually representing the vase itself rather than simply its figures. But Marsh seems to take his cue from Bartley in showing this image in reverse from the print culture, as we see when we go back to comparing the detail of the vase and the painting of Marsh there on the left. Finally, let me turn to the condition of the painting and what we know about it from its physical appearance. I'm very much indebted here and I'm just briefly resonating the work of our picture conservators who have looked at this and done a preview of what might happen to it. The picture is very obvious when you go and look closely and I hope you all will at the end of the lecture is unlined. It's over a four-membered pine structure. It's very stiff and undulating and there are patches to hold the tears or hold at the top left and the bottom left, which you can see on the back. The paint is inadequate in good condition, we're assured, but it's very discoloured by the varnish and there's quite a lot of surface dirt. But of course when you throw the good camera at these things and the light brings them up, you can see how splendid this could look and there is something there because that looks brighter than the face you'll see it in the picture as you will see later on. But when I talk about that brightness and blondness in the picture in the MPG, something of that I think may come up in the keenies of this work and there are some further details of the fur and this train of paint across the top of the surface to get highlights and to get the characteristics of the different colourations of this material. And the frame. The frame profile is in pine, its surface decoration is created with gesso and the face of the frame is oil and water gilded and we're advised that that is not the original decorative scheme, it's been tampered with and what we see today is probably a campaign of the 1860s to restore it. What did the original scheme of this frame look like? One very interesting thing emerges though that brings us back to Charles Marsh and the origins perhaps of this frame and its making. Charles Marsh's sister Anne married Amos Viles and they are the parents of the Reverend Thomas Viles whom we saw is commemorated with Charles in Westminster Abbey and to whom Marsh leaves his estate. Amos Viles' elder brother was the frame maker Thomas Viles and it was his workshop that was responsible for the frames around the two portraits of Sir Joshua Reynolds and Sir William Chambers in the Royal Academy next door. Thomas Viles the frame maker died in 1781 leaving his business to his niece Sarah. So I'm not sure yet whether that Sarah is the Reverend Thomas Viles buried with Charles Marsh's sister or maybe the daughter of some other brother of Amos and the elder Thomas. But what's quite intriguing, what I'd like to follow and think about is did Sarah, because we know she then managed her uncle's business, did she manage the making of this frame for her uncle or certainly close relative Charles Marsh when his portrait was made during the 1780s, the first decade of her managing this business. So an interesting place there to begin to think about the making of this frame, only the technical analysis when the frame is removed, the picture is removed, and we examine the frame very carefully. And compare it with other Viles' work and of course some of you in this room will know we're very much in debt to Jacob Simon's work on frame maker's wonderful database there on the National Portrait Gathering website is that we can start to do some technical analysis and indeed comparison. To end I just want to say that I think this portrait will have a tremendously significant place in our collection of 18th century portraits that we've already expected about various places where it could hang in its splendour when it is restored. I think it will, I think it outshines though their very important members of the society before portrait on our stairs are not as good in terms of quality as this portrait. I think it's a greater work as it were even than our wonderful portrait of Martin Folx, the last purchase of a historical portrait by the society in the early 90s here just to the right of the screen. It sits alongside the portrait of Humphrey Wanley I think in terms of its interest and how interesting there that we almost see a kind of difference through the 18th century of someone, a portrait painted with a man surrounded by a rather complex narrative on his interest in the translation of text and his involvement with classism. Whereas the portrait of Marsh is done by a very straightforward but very integrated reference by just one of it into what the man knew and believed in. And on the other side of course our games of wisdom, I just put up Mr Minette there, Mr and Mrs Menette which hang up in our library. We'll be able to I think judge and see the quality of that when the picture is restored. So this is the beginning of our fundraising campaign for this. We already have some funds behind us so we are fully confident we can get there. I want to thank many people for the help I've had so far in doing some examination of this portrait to all the staff at the Antiquers but particularly to Heather Rowland and Dominic Wothers for their help in making this occasion possible. I want to thank the local historians and particularly the librarians of Twickenham and Richmond who were very helpful to me. I want to thank the local historian of Twickenham, Mike Cherry for his recent book on Radnor House and the scholars Michael Snowden and Lucy Pelts in particular who have not seen the picture in recent times and given good advice on what to start looking for. But finally I want to thank the donor of this portrait, Sheila Lockhart who's with us here today and to say that this portrait will finally hang on the walls in memory of her brother Simon who died a couple of years ago who was the last owner of this portrait and who I think had he lived would have been a great scholar and certainly a fellow of this society. Sadly that did not happen. So it's to them that I want to make the greatest vote of thanks today and also to thank all of you for coming in to listen to what I have to say. Thank you.


The awesome thing is there are so many drugs out there now approved for other cancers and drugs in development. So we just need to get our act together in terms of again sequencing what is the makeup of the tumor, what makes the tumor tick, what drug or combination of drugs could help a particular patient and then design a focused study because if you find that perfect combination you don't need to do a hundred patient study. You may get an answer in 10 patients. And so I think the more understanding of the science, the drivers of glioblastoma, the better drugs that we make, the more opportunities to accelerate the cures for this disease. And I am really excited I think for the next five years or so that I think we're going to see a lot more progress happen faster than ever before.


My granny used to always give me Texas hash recipes. I don't know why, but I think she thought you could feed a whole family cheat with Texas hash. Hey y'all, it's Timmy. With Collard Valley Cooks, today we're making Texas hash out of our volume two cookbook. We had some extra ground beef. It's something that Amy enjoys. So we're gonna throw it together right quick. It's really good this time of year. And so I hope you enjoy this recipe. Now, in my recipe book, I tell you to saute the bell pepper and onion and skillet. So you're gonna be using a few tablespoons of bell pepper, about three, and a whole onion, which is close to about a cup. About three tablespoons of pepper. We're just gonna saute it until it gets nice and soft. In the meantime, while this is sauteing, just leave it on a low temperature. We'll start putting our other stuff again. You're gonna take one and one-half cups of water and one nor beef bouillon. And I usually break it up a little. And we're gonna place this in the microwave until it's boiling. I would say at least three and a half minutes on high. About three cups of this ground beef that I've browned today. We're gonna put in a teaspoon of pepper, two teaspoons of salt. We're going to put in a tablespoon of chili powder, kidney beans, drained, one can of diced tomatoes. I'm using parboiled rice. It doesn't have to be, but that's what I like to use. We're gonna put in one cup of rice. We got the bell pepper, the olive oil, the ground chuck, the boiling waters in the microwave, the beef bouillons in the microwave. We got our chili powder, our tomatoes, our kidney beans, salt and pepper, the rice. And then we add the cheese last before we put it in the oven to bake. We're gonna bake this at 350 for 45 minutes. We're gonna check and see if our water's boiling. It's not quite boiling. So you need to leave it in there on a high until you see it boiling. These are ready. We're gonna put these in our bowl. Looks really good. Oh, really good. It's such a good and easy recipe, y'all. Your kids don't even like it. All right, we're gonna get out of our boiling water. I'm gonna whisk it a little bit before adding. It gets that bouillon mixed up really more bouillon. You can use better than bouillon, but just make sure you mix it up. And it's got a lot of good flavor in it. Pour this over all of our ingredients. You got chili powder, onion, pepper, salt, pepper. It's gonna be really good. Okay, now we're gonna mix in eight ounces of cheese and leave a little bit for the top. This is Mexican blend. It's what the recipe calls for. Got that in there good.  Got some olive oil spray. And I'm gonna spray my dish so that it's easy clean up when I'm done. It smells so good. My granny used to always give me Texas hash recipes. I don't know why, but I think she thought you could feed a whole family cheat with Texas hash. I remember going over there one time and she had a reader's digest. Y'all know they always used to read the stories in there and it had a Texas hash recipe in it. And she made me get that and bring it home. She wanted me to make it for my family. I miss my greenie bee. I love her. All right, we're gonna put this in the oven. If it's in that dish, just perfect. I may put a little foil underneath it, but it shouldn't boil over. So we're gonna get it out of the oven. Let's dip into this Texas hash. See what it looks like. Looks really good, y'all. That's a cheese on the top. Gosh, it smells so good. This is a good dish, y'all, and it's so easy. And it's smoking hot. Good for a winter time. This is packed full of flavor and your family's gonna love it. My Texas hash recipe and volume two cookbook. Thanks for watching. Color Valley Cooks, where we cook, like Granny did.


Some days are bright and sunny like today. Some days have clouds with them, but no matter what kind of day you're having today, God is with you and we're gonna hear all about that today. Welcome to Hope Today. I'm Tom, I'm here with Anna, I'm here with Sydney. Anna, tell us, cause we've got people that are gonna share their story with us today along those lines. Yes, we surely do. It's so good to be with you on this Tuesday. And today we get to hear the music and God stories from Christian Music Duo after Grace. Cody Clark and Jared Moffitt became brothers through marriage and started making music from their hometown of Mountain Home, Arkansas. Doesn't it sound like a wonderful place to live? Well, Jared comes with encouragement for parents considering adoption and Cody shares about dealing with grief and loss. It's gonna be a diverse conversation, just two different topics, but it's two different individuals where God is working in their lives, and it's gonna be good. You know, I always love when we get to hear people's stories and their testimonies of what God has walked them through, what God has brought them through, because maybe as you're listening, I think for all of us that we can have these little nuggets, I'm like, ah, I've been there before. And you know, one thing I love, Tom and Anna, when we hear about these testimonies that if God brought them through, guess what, he's gonna bring you through too.  Well, you give us a call at our prayer line at<PHONE_NUMBER>, because we have prayer partners that are always standing by, no matter where you are, if you're in Pittsburgh, Alabama, California, Arkansas, you can give us a call. That's right, and maybe watching us on Roku, you know, we had a little trouble with Roku for the past three weeks or so, and maybe you weren't able to see us, but we're back on Roku, so good to have you back. But I do love those stories, Sidney, and I love where people, see, it says that the word of their testimony, they overcame him by the blood of the lamb and the word of their testimony.  And so I love hearing those stories. Yeah, it's truly incredible when we hear those stories.  I mean, there's so many good things that are happening that it makes me so encouraged and excited. I know, it is awesome. And you know, as a side note, I just, I don't know if you guys talked about this yesterday, but we were with a whole bunch of you on Sunday at an event in Pittsburgh. It was a fundraising gala for the Women's Care Center, and we were kind of chatting behind the scenes how wonderful our viewers are. So we just wanna give you all a shout out.  And it truly is just a beautiful thing of the Cornerstone television family. Absolutely. I had a few people come up to me and say certain things. One lady is like, I have Cornerstone on for my grandkids. I have a plan. So they hear the word of God, you know? So yeah, we love that. And love when you take the time to let us know that this ministry is touching your life as well. Yeah, so you can always give us a call. We would always love to connect with you. I mean, so many of you give us calls like different times during the week and we are able to talk with you and pray for you. So just know for here with hope today, we're really about being a family. That's what makes us different. So that's what we love that you are watching us whether it's in the morning, the evening, afternoon. We love you. All right, well now for some music and some good God stories. Cody Clark and Jared Moffitt have been leading worship at conferences and events around the country since 2013, opening for artists such as Toby Mack, Colton Dixon and many others. These two come from Mountain Home, Arkansas and join us to share their real life God stories. Jared comes with encouragement for parents considering adoption and Cody shares about dealing with grief and loss. Here they are with their music video for their song, Simple Things. Some glad morning when this life is all of my way. Here's on Sundays, listening to daddy preaching, watching people pray, service went a little too long and they kept singing the same old song but looking back I wouldn't change a thing. Well, Jared and Cody, welcome to Hope Today, Austin. Before we get into talking about your purpose and mission behind After Grace, can you share? There are some very special people in that video. Yeah, it's always tough in things like this because watching it beforehand sometimes you don't realize how much it's gonna hit you. So I'm trying not to cry. So forgive me if I do. But no, it was a special moment for us to do that because we didn't know that shortly after we shot that video that my dad was gonna pass away unexpectedly and then my grandpa, which was the older man in the video, my dad's dad, that he was gonna pass away a couple months after my dad did. So it was just a very, it was a cold God moment where it's emotional and sometimes sad to look back on but we're also thankful to have, to just have something like that where we have a memory of being there, shooting at my grandparents' house on my grandparents' front porch like that. That was actually the very last family meal in that video is the last family meal we got to share together before dad passed away. So it was just a cool moment that we got to capture that and be able to look back on it for sure. Yeah, very special indeed that you'll always be able to have that recording for your family to look back and see God's blessing and legacy in your family. So let's talk a bit about the name after grace. Tell us a bit about yourselves, how you came to choose that name and your mission. So the verse 2 Timothy 1-9, it says, for God has saved us and called us to a holy life, not because of anything we have done but because of his own purpose and grace and that this grace was given to us before the beginning of time. So it's the idea of like God's grace is always there for us. And then talking about the moment of when you experience that grace for the first time, what happens in your life afterward? So after grace, that's kind of where that comes from. And Cody, you're on the left, or Jared, you're on the left, I think for as far as, yes, okay, where in the hat? Can you tell us a little bit about your, just your worship through the years, how your heart has connected with audiences and how your mission has remained or if it's changed at all? Sure, yeah. God has called each of us individually to ministry through music. It's something that we've always been passionate about. Cody and I are brothers in law and we're the same age. We went to the same school growing up. So we've been playing music together for 15, 16 years. And I mean, through those years, our message, our purpose really has not changed. It's been to offer hope through melodies, through sharing stories, through the songs that God gives us. It's really been to put him first through that. And we've just watched him honor our commitments throughout the years. It's truly what we are most passionate about. It's truly what we have been called to do. It's something that brings fulfillment in each of our lives and like anything else. But that's because it's God's calling over our lives. It's what he made us to do. Yeah. Yes, absolutely. And Jared, I understand that another calling, another passion in your life is adoption. Your family has grown recently. Can you tell us a little bit about that? Sure, yeah. Back in 2018, 2019, God put fostering an adoption on my wife's heart. And I was very hesitant to buy into that. I was feeling as though maybe she misheard from God because I was very scared. But we prayed about it together as a family and it felt like God was really calling us into this whole world of fostering adoption. Adoption through foster care, I guess is what I should say. So we dove headfirst into it with our own ideas. God slowly to rip all of those apart because his plans are often not our plans. And so we went into it thinking that we were gonna maybe adopt up to two kids and up to 10 years old and very long story short, what ended up happening was God brought a sibling group of five kids to us. And at the time they ranged from 13 down to two.  But little did I know God had other plans. And so, yeah, they came home in October of 2020 and we adopted them in June of 2021. And they're our babies. We went from zero to five overnight.  What a fantastic story. That really is diving headfirst into the adoption process. I just was interested. You guys are from Mountain Home, Arkansas. Like Anna said, it just sounds so great. Mountain Home, Arkansas. What's it like going from there? I've never been there.  Now you're in Nashville, big city. What's it been like to go from there playing your music in your local church to now traveling around, doing all these venues? What's been the challenges and the blessings of that? Oh man, I think Mountain Home is a cool city for sure. It's a beautiful place to live. It's a big fishing hub in America. People travel from all over the country to fish for trout, white river and stuff there. So that's kind of its big draw, a very outdoorsy type place. But Nashville area, yeah, live right outside of Nashville in Murfreesboro but same thing. The biggest difference for sure is the traffic. It is crazy and sometimes it just drives you nuts. Like the other day we had to go to a right and it's only 25 miles from my house to where the right was and it took us 90 minutes because traffic was backed up so bad or like a normal 20 minute drive. So that's the biggest thing. It's a kind of similar atmosphere of life. Still kind of the South scenery is the same. So it's basically kind of like maybe if you took Mountain Home and just amplified it up 100 fold kind of thing but it still has that homie feeling for sure. And Cody, I know that you, while both of you actually experienced such loss in your family not too long ago, can you share a little bit about that knowing that we have viewers who have also experienced such deep loss and how God has walked you through that? Yeah, I think for us it was one of those things like I talked about that video, we filmed it and then shortly after we released the song, Simple Things in that video, that's when kind of a lot of the downhill started happening. My dad got COVID the last week of August. We were supposed to have a family get together. My mom called, she was like, hey guys, we can't make it. Dad and I have COVID, we'll see in a couple of weeks, hung up the phone. Little did we know that that couple of weeks for our family was gonna turn into, instead of having the rescheduled family dinner, we were having my dad's funeral a few weeks later. It was a crazy thing. He was 55 years old. Just not something you would expect, no way to prepare for it, no way to grieve in advance or anything like that. And we did find ourselves doubting things because I remember pacing the hospital floor the day before we told the doctors to go ahead and pull the plugs and stuff. And I said, God, if you're who I've always believed you to be, I need you to save my dad because I can't do life without him. And it didn't happen in the way that I wanted it to. But the last few years, we've really seen God do some cool stuff and my dad's legacy of how he lived his life and showing us how to be a man, how to live for Christ and walking and talking like Jesus in the best way possible, being kind to people, being respectful to people and just loving people. And we've seen a lot of things come from that, people I've never met that have called or emailed us and been like, hey, you don't know me, but I wanna tell you this story about when your dad visited us in the hospital. I wanna tell you this story about when your dad brought us food. And I could name just tons of those stories from all these different people that I've never met before. And it's just been encouraging to know that, that even after you're gone, if you make a purpose to live your life like you should and be kind to people that your legacy is gonna matter and it's gonna aim to do out of this is, I just wanna live like my dad. I wanna show people Jesus like he did and be a representation of that as best as I can. And you wrote a very special song which we're gonna hear in just a minute and you wrote it for your son and it's called It's Okay, Feel This Way. Can you tell us a little bit about that? Yeah, so that song is one that, you know, after my dad passed, my dad and my son were super close. He was six years old at the time when dad passed. Everything you can think of that a grandpa and a grandson did together, they did together, right? So when my dad passed, it was really hard on my son and he almost got expelled from elementary school cause he was angry yelling at teachers, hitting students and stuff. And when he got home the day we heard about it, we just asked him, Bub, what's wrong? And he said, mom, dad, I just miss Pop Pop. No, I don't understand why he was taken from me. And so I just wrote the song to let him know that as his father, I love him and I'm here for him through everything. And then I want him to know that God's got his back and everything too and that it's okay to cry, hurt and ask the tough questions cause God wants us to. Well, thank you both for just your ministry through music.  And we're gonna take a listen now to your song. It's called, It's Okay, Feel This Way. Thank you for sharing your hearts today. Thank you guys. Is it wrong to hurt so much? Is it wrong to miss someone? Is it wrong to ask a question? How could this happen to me? Do you want to just move on, push it down? Pretend it's gone. Do you want to find an answer to ease your suffering? You don't have to be ashamed. You can't tell me anything cause it's okay to feel this way. You know that life is not the same even in your deepest pain. My love for you will never change. You don't have to fake that smile.  I'm here for you in the heartbreak so it's okay to feel this way. There's no use holding it in, let it fall. He's there for you to lean on when you just don't understand. If you're hopeless, nowhere you're out of every tear. So it's okay. I just love that sweet song from Cody and Jared talking about it's okay to feel this way. And just right now, if you're feeling that that really touched a place in your spirit, just hold out your hand and whatever is in your hand, whatever pain that is, whatever loss that is, whatever grief that you're dealing with, just give it to God. It's too heavy for you to carry. And I love that Jesus says that we can cast our cares upon him. You know, even in this moment as we were just listening to his song, something that God just spoke in my spirit is that, you know, you can sew your tears unto the Lord that when you're crying, that when you're grieving, when you feel all hope is lost, do you know you can take those tears and just give it back to God? And maybe today that is exactly where you are, that you're sad, there's so much sorrow. And we all know what it feels like to come to the end of ourselves to feel like you're in that deep pit. But I just even feel now that the Holy Spirit is coming into your living room, is coming into your bedroom, wherever you are watching from, let the Holy Spirit touch you in this moment. God heals the broken hearted and he binds up their wounds. And that's what we're believing for you today. And so if you're in that place, give us a call at our prayer line at<PHONE_NUMBER>.  You know, God says he stores our tears in a bottle. So there's never a tear that you have shed that God doesn't know about.  So whenever you sense that, you sense the losses, the reverses, the things that have happened in your life that have brought those tears, remember that God is there with you and he's storing up those things for just the healing, for your healing. Cause he, you know, he doesn't say, ah, forget about it. Don't worry about it.  He doesn't say that. What he says is it was important enough that you cried those tears that I, I stored them up knowing that my life and the life of Christ in you is what brings about your healing. So trust in God for that. He wants to bring healing. Yes, we'll always have the scar, but we won't always have the pain. God wants to heal us from that pain. I just want to mention quickly that if you're struggling like in a crisis of faith, I call it where you're wondering if God really is who he says he is. That is also okay, but what we want to encourage you with is to come to him with your questions, with your fears, with your anger. Like all of that is okay in the presence of God. He is good with that and he wants to come alongside you. He wants to speak into your heart, his comfort, his encouragement, his word. So as you grapple with your faith, this is not a time to walk away from God. This is a time to walk to God. And in that place, he is faithful.  Have hope today. On tomorrow's Hope Today, providing a guiding light through dark times. Author and Pastor Glenn Damon offers encouragement to those who are facing trials by helping us understand our circumstances through the lens of God's character. Don't miss tomorrow's Hope Today. No matter your age or circumstances, God wants you to move forward. Join best-selling author and teacher, Dr. David Jeremiah in a masterclass, revealing how to live fearlessly. You'll discover that it's never too late to find your purpose. Dr. David Jeremiah reveals powerful ways for people of any age to live a life that's meaningful. Inside Forward, you'll uncover strong Bible teaching coupled with incredible real-life stories and practical biblical insight. Learn how God wants to expand your dreams, give you divine direction, equip you with tools to overcome fear, and much more. Request your copy of this life-changing book when you support Cornerstone Television. Call<PHONE_NUMBER> or give online at ctvn.org slash donate. Find air times for a turning point with Dr. David Jeremiah at ctvn.org. Donate and request his book Forward. Thank you for your partnership with Cornerstone TV. Cornerstone Television wishes to thank all our faithful viewers, whose consistent prayers and financial support have made this program possible.