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Mouse Mat : The Vicar of Greenhithe hides his face as he leaves court having been accused of
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The Vicar of Greenhithe hides his face as he leaves court having been accused of
The Vicar of Greenhithe hides his face as he leaves court having been accused of assaulting a boy.
13 December 1935
TopFoto independent historic photographs and images all subjects and eras
Media ID 10987705
© John Topham / TopFoto.co.uk
Mouse Pad
Standard Size Mouse Pad 7.75" x 9..25". High density Neoprene w linen surface. Easy to clean, stain resistant finish. Rounded corners.
Archive quality photographic print in a durable wipe clean mouse mat with non slip backing. Works with all computer mice
Estimated Image Size (if not cropped) is 23.7cm x 18.5cm (9.3" x 7.3")
Estimated Product Size is 23.7cm x 20.2cm (9.3" x 8")
These are individually made so all sizes are approximate
Artwork printed orientated as per the preview above, with landscape (horizontal) orientation to match the source image.
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EDITORS COMMENTS
In this poignant print captured by John Topham, we witness a moment of intense emotion as "The Vicar of Greenhithe" exits the courtroom. The year is 1935, a time between the wars when society was grappling with its own demons. Accused of assaulting a young boy, the vicar hides his face from prying eyes, perhaps overwhelmed by shame or fear. Surrounded by a group of concerned individuals - both men and women - it becomes evident that this incident has deeply affected not only the accused clergyman but also those who knew him. Their expressions range from worry to disbelief, reflecting their struggle to reconcile their image of the respected figure they once admired with these grave accusations. Topham's monochrome composition adds an air of solemnity to the scene, emphasizing the gravity of the situation. The stark contrast between light and shadow further intensifies our focus on the vicar's hidden face, leaving us to ponder what lies behind that veil. This photograph serves as a powerful reminder that even those in positions of authority are not immune to human frailties. It prompts us to reflect on how easily trust can be shattered and challenges our assumptions about morality within institutions we hold dear. As we delve into Europeana Photography through Topham's lens, let us remember that history is not just composed of grand events but also comprises personal stories fraught with complexity and contradiction.
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