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1942 Lincoln Continental Convertible
The Continental was the brainchild of Edsel Ford and the design was executed by Ford's chief stylist, Bob Gregorie. It was introduced in 1940 as an exclusive, luxurious, hand-crafted automobile for the status conscious consumer.
The 1942 Continental's front end design was a major design departure from the 1940-41 models. The model also got a larger 306cid V12 engine with 130hp which is 10 more than earlier models. 1942 is also the rarest of all Continentals; it was in production for only a few months due to the outbreak of World War Two, which resulted in a shutdown of the U.S. auto industry. Only 136 Cabriolets were built out of production that totaled only 336 units in all in the short year before civilian automobile production ended.
The early Continental was recognized by the Museum of Modern Art as one of eight automotive 'works of art' and by Time magazine as one of the top ten best-designed commercial industrial products of all time.
This very rare Cabriolet benefits from a recent thorough restoration and remains clean and kempt throughout. Painted a deep glossy blue, the interior is an attractive dark navy color that complements the tan cloth top. This low mileage example is furnished with white wall tires, matching tonneau cover, radio and heater. The 3-speed transmission is equipped with overdrive to lower engine rpm during highway driving. Recognized as a full classic by CCCA, an AACA first place winner! Here is a rare opportunity to own an absolutely gorgeous and accurately restored Continental; 1 of only 136 examples ever constructed!
* Thoroughly restored to show quality!
* Gorgeous hand-crafted styling!
* A very rare find!
This morning (Friday 23 August) police in Rochdale executed two warrants in the Freehold neighbourhood as they continue their relentless pursuit of those intent on causing harm to the local community.
Three men aged 14 – 54, have been arrested on suspicion of conspiracy to supply class A and B drugs. They remain in police custody for questioning.
Following a thorough search of the addresses, significant quantities of class A and B drugs were found, with an estimated street sale value of £51,000. We also seized several weapons, including two samurai swords, and several items consistent with a significant drugs operation.
This is the latest activity which comes under the district’s Operation Affect, the force’s latest Clear, Hold, Build initiative. Police are systematically dismantling and disrupting organised crime in the area, by pursuing gang members and criminals to clear the area, holding the location to prevent criminals exploiting the vacuum created by the original disruption, and working with partners and Rochdale Boroughwide Housing (RBH) to build a prosperous and resilient community.
So far, the team have made 36 arrests, secured three full closure orders on nuisance properties linked to criminality, and seized large quantities of cash, drugs, and weapons.
Building on a successful community event held earlier this year, Rochdale Boroughwide Housing (RBH) are working with local residents and partners to design out crime in Freehold and rebuild a stronger community.
The overall investment is anticipated to be around £5M and will keep residents safer and improve the overall look of the local area, including providing higher quality common areas and improving the condition of the buildings.
Inspector Meena Yasin, who is leading Operation Affect, said: “Since launching this operation we’ve seen a real concerted effort to disrupt illegal drug supply in the Freehold area of Rochdale.
"From speaking with residents, we know that drug dealing, and anti-social behaviour has been a particular area of concern for them.
“The seizures this morning means we have been able to take tens of thousands of pounds worth of illicit and harmful products off our streets and dismantle a significant drugs operation which has been blighting our residents.
“Our officers remain in the area to provide a visible reassurance for residents. If you have any concerns or want to share information about suspicious behaviour in the area, please speak to them, they are there to help you.
“You know your community best, and your intelligence often forms a large and crucial park of our criminal investigations, helping us to remove criminals from the streets.”
Hayley Stockham, RBH Director of Neighbourhoods, said: "We have zero tolerance for anti-social behaviour and criminal activity in our neighbourhoods. We're very grateful to the local community for supporting our joint efforts to stamp out this behaviour.
“We will continue to work closely with our partners in the Police and at the Council, and we know that this is making a significant difference to the lives of local people. We encourage members of the community to continue to report crime and anti-social behaviour to RBH and to the Police.”
If you have any concerns about drugs in your area, let us know via our Live Chat function on our website, or by calling 101, so that we can take action.
Always dial 999 in an emergency.
Alternatively, you can report it to Crimestoppers, anonymously, on 0800 555 111.
This morning (Friday 23 August) police in Rochdale executed two warrants in the Freehold neighbourhood as they continue their relentless pursuit of those intent on causing harm to the local community.
Three men aged 14 – 54, have been arrested on suspicion of conspiracy to supply class A and B drugs. They remain in police custody for questioning.
Following a thorough search of the addresses, significant quantities of class A and B drugs were found, with an estimated street sale value of £51,000. We also seized several weapons, including two samurai swords, and several items consistent with a significant drugs operation.
This is the latest activity which comes under the district’s Operation Affect, the force’s latest Clear, Hold, Build initiative. Police are systematically dismantling and disrupting organised crime in the area, by pursuing gang members and criminals to clear the area, holding the location to prevent criminals exploiting the vacuum created by the original disruption, and working with partners and Rochdale Boroughwide Housing (RBH) to build a prosperous and resilient community.
So far, the team have made 36 arrests, secured three full closure orders on nuisance properties linked to criminality, and seized large quantities of cash, drugs, and weapons.
Building on a successful community event held earlier this year, Rochdale Boroughwide Housing (RBH) are working with local residents and partners to design out crime in Freehold and rebuild a stronger community.
The overall investment is anticipated to be around £5M and will keep residents safer and improve the overall look of the local area, including providing higher quality common areas and improving the condition of the buildings.
Inspector Meena Yasin, who is leading Operation Affect, said: “Since launching this operation we’ve seen a real concerted effort to disrupt illegal drug supply in the Freehold area of Rochdale.
"From speaking with residents, we know that drug dealing, and anti-social behaviour has been a particular area of concern for them.
“The seizures this morning means we have been able to take tens of thousands of pounds worth of illicit and harmful products off our streets and dismantle a significant drugs operation which has been blighting our residents.
“Our officers remain in the area to provide a visible reassurance for residents. If you have any concerns or want to share information about suspicious behaviour in the area, please speak to them, they are there to help you.
“You know your community best, and your intelligence often forms a large and crucial park of our criminal investigations, helping us to remove criminals from the streets.”
Hayley Stockham, RBH Director of Neighbourhoods, said: "We have zero tolerance for anti-social behaviour and criminal activity in our neighbourhoods. We're very grateful to the local community for supporting our joint efforts to stamp out this behaviour.
“We will continue to work closely with our partners in the Police and at the Council, and we know that this is making a significant difference to the lives of local people. We encourage members of the community to continue to report crime and anti-social behaviour to RBH and to the Police.”
If you have any concerns about drugs in your area, let us know via our Live Chat function on our website, or by calling 101, so that we can take action.
Always dial 999 in an emergency.
Alternatively, you can report it to Crimestoppers, anonymously, on 0800 555 111.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Date of unveiling: September 30, 2001 Material: Bronze Sculptor: Valeriy Medvedev Architects: Roman Kukharenko, Yuriy Melnychuk
The "Executed Children" memorial stands opposite the exit of the Dorohozhychi metro station. The bronze composition depicts a young girl and broken children's toys, symbolizing the tragedy of the children who perished in Babyn Yar during the Nazi occupation of Kyiv.
As of today, the memorial remains an integral part of the Babyn Yar National Historical and Memorial Reserve, which is dedicated to preserving the memory of Holocaust victims and other tragic events associated with this site.
Sentenced to death after a string of brutal robberies and murders in the 1950s. Six people were killed during a series of armed robberies and murders that became known as the "Mad Dog Killings". A number of others were shot, beaten, or pistol-whipped but survived. Taborsky earned his nickname due to the savagery of the killings. He was executed by electric chair at the age of 36 in 1960. His execution was the last in Connecticut until Michael Ross in 2005.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
The Postcard
A postally unused carte postale published by Decroek of Lille.
Lille in the Great War
Lille's occupation by the Germans began on the 13th. October 1914 after a ten-day siege and heavy shelling which destroyed 882 apartment and office blocks and 1,500 houses, mostly around the railway station and in the town centre.
By the end of October the town was being run by German authorities. Because Lille was only 20 km from the front line, German troops passed through the city regularly on their way to and from the front.
As a result, occupied Lille became a place both for the hospitalisation and treatment of wounded soldiers as well as a place for soldiers' relaxation and entertainment. Many buildings, homes, and businesses were requisitioned to those ends.
Lille was also the hunting ground of the Great War German flying Ace Max Immelmann who was nicknamed 'The Eagle of Lille'.
Lille was liberated by the Allies on the 17th. October 1918, when General Sir William Birdwood and his troops were welcomed by joyous crowds. The general was made an honorary citizen of the city of Lille on the 28th. October of that year.
The only audio recording known to have been made during the First World War was recorded near Lille in October 1918. The two minute recording captured the Royal Garrison Artillery conducting a gas shell bombardment.
Monument to the Executed of Lille
The Great War monument in the Square Daubenton in Lille shows four leaders of the city’s Resistance standing against a wall just moments before their execution by the German Army in the dungeons of the citadel.
Along with Léon Trulin, who can be seen lying at their feet, Eugène Jacquet, Georges Maertens, Ernest Deceuninck and Sylvère Verhulst set up a network for communicating information to the Allies about the German occupiers of Lille.
They were eventually betrayed and executed on the 22nd. September 1915.
In total, twenty-five individuals were executed in Lille by firing squad under the occupation. Notices were posted informing the public about executions of political prisoners, saboteurs, and hostages in response to attacks or acts of sabotage against the German occupiers.
An estimated 500,000 French men and women worked for the Resistance during Germany's occupation of France. Resistance workers carried out thousands of acts of sabotage against the German occupiers, even though the risks were great. More than 90,000 members of the Resisters were killed, tortured or deported by the Germans.
Fresco (plural frescos or frescoes) is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco (Italian: affresco) is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
TECHNOLOGY
Buon fresco pigment mixed with water of room temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster, intonaco, is used. Because of the chemical makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco, which itself becomes the medium holding the pigment. The pigment is absorbed by the wet plaster; after a number of hours, the plaster dries in reaction to air: it is this chemical reaction which fixes the pigment particles in the plaster. The chemical processes are as follows:
calcination of limestone in a lime kiln: CaCO3 → CaO + CO2
slaking of quicklime: CaO + H2O → Ca(OH)2
setting of the lime plaster: Ca(OH)2 + CO2 → CaCO3 + H2O
In painting buon fresco, a rough underlayer called the arriccio is added to the whole area to be painted and allowed to dry for some days. Many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later,[when?]new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, and a bag of soot (spolvero) banged on them on produce black dots along the lines. If the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. On the day of painting, the intonaco, a thinner, smooth layer of fine plaster was added to the amount of wall that was expected to be completed that day, sometimes matching the contours of the figures or the landscape, but more often just starting from the top of the composition. This area is called the giornata ("day's work"), and the different day stages can usually be seen in a large fresco, by a sort of seam that separates one from the next.
Buon frescoes are difficult to create because of the deadline associated with the drying plaster. Generally, a layer of plaster will require ten to twelve hours to dry; ideally, an artist would begin to paint after one hour and continue until two hours before the drying time - giving seven to nine hours working time. Once a giornata is dried, no more buon fresco can be done, and the unpainted intonaco must be removed with a tool before starting again the next day. If mistakes have been made, it may also be necessary to remove the whole intonaco for that area - or to change them later, a secco.
A technique used in the popular frescoes of Michelangelo and Raphael was to scrape indentations into certain areas of the plaster while still wet to increase the illusion of depth and to accent certain areas over others. The eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark 'outlining' of his central figures within his frescoes.
In a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were originally, nearly invisible, have sometimes become visible, and in many large-scale frescoes, these divisions may be seen from the ground. Additionally, the border between giornate was often covered by an a secco painting, which has since fallen off.
One of the first painters in the post-classical period to use this technique was the Isaac Master (or Master of the Isaac fresco, and thus a name used to refer to the unknown master of a particular painting) in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist.
OTHER TYPES OF WALL PAINTING
A secco or fresco-secco painting, in contrast, is done on dry plaster (secco meaning "dry" in Italian). The pigments thus require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall. It is important to distinguish between a secco work done on top of buon fresco, which according to most authorities was in fact standard from the Middle Ages onwards, and work done entirely a secco on a blank wall. Generally, buon fresco works are more durable than any a secco work added on top of them, because a secco work lasts better with a roughened plaster surface, whilst true fresco should have a smooth one. The additional a secco work would be done to make changes, and sometimes to add small details, but also because not all colours can be achieved in true fresco, because only some pigments work chemically in the very alkaline environment of fresh lime-based plaster. Blue was a particular problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli, the only two blue pigments then available, works well in wet fresco.
It has also become increasingly clear, thanks to modern analytical techniques, that even in the early Italian Renaissance painters quite frequently employed a secco techniques so as to allow the use of a broader range of pigments. In most early examples this work has now entirely vanished, but a whole fresco done a secco on a surface roughened to give a key for the paint may survive very well, although damp is more threatening to it than to buon fresco.
A third type called a mezzo-fresco is painted on nearly dry intonaco - firm enough not to take a thumb-print, says the sixteenth-century author Ignazio Pozzo - so that the pigment only penetrates slightly into the plaster. By the end of the sixteenth century this had largely displaced buon fresco, and was used by painters such as Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of a secco work.
The three key advantages of work done entirely a secco were that it was quicker, mistakes could be corrected, and the colours varied less from when applied to when fully dry - in wet fresco there was a considerable change.
For wholly a secco work, the intonaco is laid with a rougher finish, allowed to dry completely and then usually given a key by rubbing with sand. The painter then proceeds much as he would on a canvas or wood panel. The two types of fresco painting are buon fresco and fresco secco. Buon fresco is painting into wet plaster, which makes a painting last a long time. Fresco secco is painting onto dry plaster, which does not last as long.
HISTORY
ANCIENT NEAR EAST
The earliest known examples of frescoes done in the Buon Fresco method date at around 1500 BC and are to be found on the island of Crete in Greece. The most famous of these, The Toreador, depicts a sacred ceremony in which individuals jump over the backs of large bulls. While some similar frescoes have been found in other locations around the Mediterranean basin, particularly in Egypt and Morocco, their origins are subject to speculation.
Some art historians believe that fresco artists from Crete may have been sent to various locations as part of a trade exchange, a possibility which raises to the fore the importance of this art form within the society of the times. The most common form of fresco was Egyptian wall paintings in tombs, usually using the a secco technique.
CLASSICAL ANTIQUITY
Frescoes were also painted in ancient Greece, but few of these works have survived. In southern Italy, at Paestum, which was a Greek colony of the Magna Graecia, a tomb containing frescoes dating back to 470 BC, the so-called Tomb of the Diver was discovered on June 1968. These frescoes depict scenes of the life and society of ancient
Greece, and constitute valuable historical testimonials. One shows a group of men reclining at a symposium while another shows a young man diving into the sea.
Roman wall paintings, such as those at the magnificent Villa dei Misteri (1st century B.C.) in the ruins of Pompeii, and others at Herculaneum, were completed in buon fresco.
Late Roman Empire (Christian) 1st-2nd-century frescoes were found in catacombs beneath Rome and Byzantine Icons were also found in Cyprus, Crete, Ephesus, Cappadocia and Antioch. Roman frescoes were done by the artist painting the artwork on the still damp plaster of the wall, so that the painting is part of the wall, actually colored plaster.
Also a historical collection of Ancient Christian frescoes can be found in the Churches of Goreme Turkey.
INDIA
Thanks to large number of ancient rock-cut cave temples, valuable ancient and early medieval frescoes have been preserved in more than 20 locations of India. The frescoes on the ceilings and walls of the Ajanta Caves were painted between c. 200 BC and 600 and are the oldest known frescoes in India. They depict the Jataka tales that are stories of the Buddha's life in former existences
as Bodhisattva. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research on the subject since the time of the site's rediscovery in 1819. Other locations with valuable preserved ancient and early medieval frescoes include Bagh Caves, Ellora Caves, Sittanavasal, Armamalai Cave, Badami Cave Temples and other locations. Frescoes have been made in several techniques including tempera technique.
The later Chola paintings were discovered in 1931 within the circumambulatory passage of the Brihadisvara Temple in India and are the first Chola specimens discovered.
Researchers have discovered the technique used in these frescos. A smooth batter of limestone mixture is applied over the stones, which took two to three days to set. Within that short span, such large paintings were painted with natural organic pigments.
During the Nayak period the Chola paintings were painted over. The Chola frescos lying underneath have an ardent spirit of saivism expressed in them. They probably synchronised with the completion of the temple by Rajaraja Cholan the Great.
The frescoes in Dogra/ Pahari style paintings exist in their unique form at Sheesh Mahal of Ramnagar (105 km from Jammu and 35 km west of Udhampur). Scenes from epics of Mahabharat and Ramayan along with portraits of local lords form the subject matter of these wall paintings. Rang Mahal of Chamba (Himachal Pradesh) is another site of historic Dogri fresco with wall paintings depicting scenes of Draupti Cheer Haran, and Radha- Krishna Leela. This can be seen preserved at National Museum at New Delhi in a chamber called Chamba Rang Mahal.
SRI LANKA
The Sigiriya Frescoes are found in Sigiriya in Sri Lanka. Painted during the reign of King Kashyapa I (ruled 477-495 AD). The generally accepted view is that they are portrayals of women of the royal court of the king depicted as celestial nymphs showering flowers upon the humans below. They bear some resemblance to the Gupta style of painting found in the Ajanta Caves in India. They are, however, far more enlivened and colorful and uniquely Sri Lankan in character. They are the only surviving secular art from antiquity found in Sri Lanka today.
The painting technique used on the Sigiriya paintings is “fresco lustro.” It varies slightly from the pure fresco technique in that it also contains a mild binding agent or glue. This gives the painting added durability, as clearly demonstrated by the fact that they have survived, exposed to the elements, for over 1,500 years.
Located in a small sheltered depression a hundred meters above ground only 19 survive today. Ancient references however refer to the existence of as many as five hundred of these frescoes.
MIDDLE AGES
The late Medieval period and the Renaissance saw the most prominent use of fresco, particularly in Italy, where most churches and many government buildings still feature fresco decoration. This change coincided with the reevaluation of murals in the liturgy. Romanesque churches in Catalonia were richly painted in 12th and 13th century, with both decorative and educational -for the illiterate faithfuls- role, as can be seen in the MNAC in Barcelona, where is kept a large collection of Catalan romanesque art. In Denmark too, church wall paintings or kalkmalerier were widely used in the Middle Ages (first Romanesque, then Gothic) and can be seen in some 600 Danish churches as well as in churches in the south of Sweden which was Danish at the time.
One of the rare examples of Islamic fresco painting can be seen in Qasr Amra, the desert palace of the Umayyads in the 8th century Magotez.
EARLY MODERN EUROPE
Northern Romania (historical region of Moldavia) boasts about a dozen painted monasteries, completely covered with frescos inside and out, that date from the last quarter of the 15th century to the second quarter of the 16th century. The most remarkable are the monastic foundations at Voroneţ (vo ro nets) (1487), Arbore (are' bo ray) (1503), Humor (hoo mor) (1530), and Moldoviţa (mol do vee' tsa) (1532). Suceviţa (sue che vee' tsa), dating from 1600, represents a late return to the style developed some 70 years earlier. The tradition of painted churches continued into the 19th century in other parts of Romania, although never to the same extent.
Andrea Palladio, the famous Italian architect of the 16th century, built many mansions with plain exteriors and stunning interiors filled with frescoes.
Henri Clément Serveau produced several frescos including a three by six meter painting for the Lycée de Meaux, where he was once a student. He directed the École de fresques at l'École nationale supérieure des beaux-arts, and decorated the Pavillon du Tourisme at the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne (Paris), Pavillon de la Ville de Paris; now at Musée d'Art Moderne de la Ville de Paris. In 1954 he realized a fresco for the Cité Ouvrière du Laboratoire Débat, Garches. He also executed mural decorations for the Plan des anciennes enceintes de Paris in the Musée Carnavalet.
The Foujita chapel in Reims completed in 1966, is an example of modern frescos, the interior being painted with religious scenes by the School of Paris painter Tsuguharu Foujita. In 1996, it was designated an historic monument by the French Government.
MEXICAN MURALISM
José Clemente Orozco, Fernando Leal, David Siqueiros and Diego Rivera the famous Mexican artists, renewed the art of fresco painting in the 20th century. Orozco, Siqueiros, Rivera and his wife Frida Kahlo contributed more to the history of Mexican fine arts and to the reputation of Mexican art in general than anybody else. Together with works by Orozco, Siqueiros, and others, Fernando Leal and Rivera's large wall works in fresco established the art movement known as Mexican Muralism.
CONSERVATION OF FRESCOES
The climate and environment of Venice has proved to be a problem for frescoes and other works of art in the city for centuries. The city is built on a lagoon in northern Italy. The humidity and the rise of water over the centuries have created a phenomenon known as rising damp. As the lagoon water rises and seeps into the foundation of a building, the water is absorbed and rises up through the walls often causing damage to frescoes. Venetians have become quite adept in the conservation methods of frescoes. The mold aspergillus versicolor can grow after flooding, to consume nutrients from frescoes.
The following is the process that was used when rescuing frescoes in La Fenice, a Venetian opera house, but the same process can be used for similarly damaged frescoes. First, a protection and support bandage of cotton gauze and polyvinyl alcohol is applied. Difficult sections are removed with soft brushes and localized vacuuming. The other areas that are easier to remove (because they had been damaged by less water) are removed with a paper pulp compress saturated with bicarbonate of ammonia solutions and removed with deionized water. These sections are strengthened and reattached then cleansed with base exchange resin compresses and the wall and pictorial layer were strengthened with barium hydrate. The cracks and detachments are stopped with lime putty and injected with an epoxy resin loaded with micronized silica.
WIKIPEDIA
A glass pillow by Brian Catling marks the approximate spot where people were executed inside the walls of the Tower of London.
This morning, officers executed four arrest warrants at addresses on Derbyshire Avenue in Stretford, resulting in five arrests.
At the first address, a 16‑year‑old boy was arrested on suspicion of possession with intent to supply Class B drugs, as well as an unrelated robbery offence.
At the second address, a 39‑year‑old man was arrested on suspicion of possession with intent to supply Class B drugs.
At the third address, two men, aged 28 and 61and a 59‑year‑old woman were arrested on suspicion of possession with intent to supply Class A and Class B drugs.
No drugs were located at the fourth address; however, a mobile phone was seized as part of the ongoing investigation.
These warrants were executed following a proactive investigation led by Trafford North’s Neighbourhood Team into drug supply linked to Derbyshire Avenue.
The team remains committed to tackling drug dealing and associated criminality across the Trafford area.
Intelligence from the local community played a vital role. Based on this information, officers believed the four addresses were connected to the supply of controlled substances.
Collaboration was key to the success of this operation. The Neighbourhood Team worked alongside the Tactical Dog Unit, the Drone Unit, our Challenger Team, and the Regional Organised Crime Unit, ensuring a coordinated and robust approach.
upon entry, officers recovered cannabis at three properties, secured multiple arrests, and seized a quantity of white powder - believed to be cocaine - which has been sent for forensic testing.
All five suspects remain in custody for further questioning.
Inspector Jamie Jeffries, from the Trafford North Neighbourhood Team said: “Executing four warrants at the same time on the same street is a significant undertaking and reflects the seriousness of the intelligence we received.
“This level of coordinated action demands careful planning and considerable resources, and it shows our determination to disrupt drug networks operating in Trafford.
“Thanks to crucial information from the public, our Trafford North Neighbourhood Team was able to act decisively against addresses suspected of working together in drug supply.
“Conducting multiple warrants in one operation sends a clear message: if you choose to deal drugs, we will gather the evidence and take robust, swift action.
“We remain firmly committed to keeping Trafford safe, and I encourage anyone with concerns to keep coming forward — community intelligence directly drives operations like today’s.
Anyone with information about criminal activity is urged to contact police on 101, Live Chat or report anonymously via Crimestoppers on 0800 555 111.
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
Executed one year after the couple married, these are the only standing, life-size, full-length wedding pendants Rembrandt ever painted.
The two portraits were purchased jointly by the Netherlands and France for €160 million at the end of January 2016. Thanks to this joint purchase the masterpieces are now in the public domain and can be seen by everyone in the Louvre and the Rijksmuseum in turn. The two museums have agreed that the paintings will always be shown together.
Following the restoration by the Rijksmuseum’s conservation workshop, the portraits will be shown in the Rijksmuseum for three months (as part of the High Society exhibition), followed by three months in the Louvre.
After that they will be on display in the Rijksmuseum for five years and then five years in the Louvre. Thereafter they will be exhibited in the Rijksmuseum and the Louvre alternately for eight years at a time.
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Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Exécutée au tout début du 18ème siècle, cette œuvre s'inspire pour beaucoup du style du sculpteur dijonnais Jean Dubois (1625-1694). La niche de style classique comprend une vasque et une coquille pour la partie supérieure. L'ensemble est surmonté par un minuscu-le pot à feu. Vêtue d'une robe aux plis épais retombant à ses pieds, la Vierge est coiffée d'une couronne, tenat dans sa main droite une croix. L'enfant qu'elle porte sur son bras gauche est à moitié nu. De sa main gauche, il porte un globe figurant la terre.
Cachée à la Révolution, cette statue fut replacée sur son socle sous le Consulat. Cassée à deux reprises, la tête de l'Enfant Jésus fut re-faite en 1973 par le sculpteur dijonnais Jacques Yencesse.
If I knew how to do serious post-processing, I bet could declutter the background so that the sight of these birds, coming straight for our heads, was somehow more impressive.
Japanese professional snowboarder Yuto Totsuka executing a trick while competing in the halfpipe event during the Burton US Open in Vail Colorado in 2020. Totsuka is a prominent competitor in men's halfpipe snowboarding, having won gold medals at major international events like the FIS Snowboard World Cup. He is known for technical tricks, including landing back-to-back 1,440-degree triple corks. Totsuka often uses equipment branded by Yonex, a Japanese sporting goods manufacturer. He has competed in multiple Olympic Winter Games, placing in the top ranks
700 Uighurs executed, 16.000 imprisoned... who stands up for language, culture and religion of the Uighures gets marked as "Terrorist". Alone since March 23, at least 760 Uighures were arrested.
Berlin 04/23/2008 - An association of Uyghurs in exile accused China of "cultural genocide" and called for a boycott of the Beijing Olympics at the start of a Uyghur congress in Berlin on Monday. Uyghurs from the north-western Chinese region of Xinjiang were being detained, tortured and deported in an attempt to crush their language and culture, Rebiya Kadeer, president of the World Congress of Uyghurs (WUC), said.
The repression of the largely Sunni Muslim Uyghurs had increased during the run-up to the Games, Kadeer said.
She called for the Olympics to be boycotted, and more particularly for political leaders to boycott the opening ceremony on August 8, saying the Beijing Games had brought her people nothing but suffering.
Kadeer said Chinese authorities had effectively deported hundreds of thousands of Uyghur women between the ages of 15 and 25 to other parts of China under the pretext of providing jobs for them. (But it's actually supposed to recuce the Uighur community to a minimum...)
Many Chinese had been brought to the region to take their places with the aim of eradicating Uyghur culture, she said.
Kadeer, a mother of 11 and a successful businesswoman, was once a member of the Chinese National People's Congress.
After spending time in prison in China, she now lives in exile in the United States. According to the WUC, two of her sons are in detention in China.
The human rights commissioner of the German parliament, Guenter Nooke, called on Beijing to enter into constructive and open dialogue with the minority Uyghurs.
He also demanded that journalists should be allowed to report on conditions in China ahead of the Games.
Nooke urged European Union countries to accept 17 Uyghurs being held at the US Guantanamo Bay military base, noting that the US authorities are prepared to release them.
www.uyghurnews.com/ReadNews.asp?UyghurNews=exiled-uyghurs...
In 1514 Raphael executed another small but significant fresco cycle for Agostino Chigi. The frescoes represent the Prophets and Sibyls. They are located in the chapel at the left of the apse of the Church of Santa Maria della Pace in Rome. The Sibyls sit above the arch that leads to the second private chapel of the banker Chigi. The turning movements of the bodies are reminiscent of those of The Virtues in the Stanza della Segnatura, but the coloration suggests they were painted at a later date.
The figures occupy a trabeated loggia, on two levels. The structure of the loggia reflects the architecture of the chapel: its arches coincide with those of the window and entrance. The Prophets (Habakkuk, Jonah, David and Daniel, according to the most widely accepted interpretation) are generally attributed to a collaborator (perhaps Timoteo Viti) who must have based them on an original drawing by Raphael, for they are highly coherent. The Sibyls (Cumaean, Persian, Phrygian and Tiburtine) are attributed to Raphael. Like the Virtues in the Stanza della Segnatura, each of the figures is accompanied by an angel who indicates the divine spirit present in their prophecies. Between the Sibyls at the top of the arch is a small angel holding a lighted torch, the symbol of prophecy, which enlightens the darkness of the future.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
The Postcard
A postally unused postcard that was published in 2007 by the Trustees of the British Museum. The card was printed in England.
On the back of the card it states:
'Details of armoured infantry men
showing the variety of facial types.
Qin Dynasty (221-206 BC)
Museum of the Terracotta Warriors
and Horses of Emperor Qin Shihuang,
Lintong.'
The First Emperor of China controlled a vast territory, and wielded enormous power. He summoned 700,000 men to build his tomb and other structures.
These were designed to reproduce the First Emperor's empire underground for eternity.
These perfectly executed, life-size sculptures, some over 190cm in height, were an early feat of mass production: a small and quite limited repertoire of body parts were joined together in a multitude of combinations, with details worked by hand afterwards.
The Terracotta Army
The Terracotta Army is a collection of terracotta sculptures depicting the armies of Qin Shi Huang, the first emperor of China. It is a form of funerary art buried with the emperor in 210–209 BCE with the purpose of protecting the emperor in his afterlife.
The figures, dating from approximately the late third century BCE, were discovered in 1974 by local farmers in Lintong County, outside Xi'an, Shaanxi, China.
The figures vary in height according to their roles, the tallest being the generals. The figures include warriors, chariots and horses.
Estimates from 2007 were that the three pits containing the Terracotta Army held more than 8,000 soldiers, 130 chariots with 520 horses, and 150 cavalry horses, the majority of which remained buried in the pits near Qin Shi Huang's mausoleum.
Other terracotta non-military figures were found in other pits, including officials, acrobats, strongmen, and musicians.
History of the Terracotta Army
The construction of the tomb was described by historian Sima Qian (145–90 BCE) in Records of the Grand Historian, the first of China's 24 dynastic histories, which was written a century after the mausoleum's completion.
Work on the mausoleum began in 246 BCE soon after Emperor Qin (then aged 13) ascended the throne, and the project eventually involved 700,000 conscripted workers.
Geographer Li Daoyuan, writing six centuries after the first emperor's death, recorded in Shui Jing Zhu that Mount Li was a favoured location due to its auspicious geology:
"Famed for its jade mines, its northern side was
rich in gold, and its southern side rich in beautiful
jade; the first emperor, covetous of its fine reputation,
therefore chose to be buried there".
Sima Qian wrote that the first emperor was buried with palaces, towers, officials, valuable artifacts and wondrous objects. According to this account, 100 flowing rivers were simulated using mercury, and above them the ceiling was decorated with heavenly bodies, below which were the features of the land.
Some translations of this passage refer to "models" or "imitations"; however, those words were not used in the original text, which makes no mention of the terracotta army. High levels of mercury were found in the soil of the tomb mound, giving credence to Sima Qian's account.
Later historical accounts suggested that the complex and tomb itself had been looted by Xiang Yu, a contender for the throne after the death of the first emperor. However, there are indications that the tomb itself may not have been plundered.
Discovery of the Terracotta Army
The Terracotta Army was discovered on the 29th. March 1974 by a group of farmers—Yang Zhifa, his five brothers, and neighbour Wang Puzhi—who were digging a well approximately 1.5 kilometres (0.93 mi) east of the Qin Emperor's tomb mound at Mount Li (Lishan), a region riddled with underground springs and watercourses.
For centuries, occasional reports mentioned pieces of terracotta figures and fragments of the Qin necropolis – roofing tiles, bricks and chunks of masonry. The farmers' discovery prompted Chinese archaeologists, including Zhao Kangmin, to investigate, revealing the largest pottery figurine group ever found.
A museum complex has since been constructed over the area, the largest pit being enclosed by a roofed structure.
The Necropolis
The Terracotta Army is part of a much larger necropolis. Ground-penetrating radar and core sampling have measured the area to be approximately 98 square kilometers (38 square miles).
The necropolis was constructed as a microcosm of the emperor's imperial palace or compound, and covers a large area around the tomb mound of the first emperor.
The earthen tomb mound is located at the foot of Mount Li and built in a pyramidal shape, and is surrounded by two solidly built rammed earth walls with gateway entrances. The necropolis consists of several offices, halls, stables, and other structures as well as an imperial park placed around the tomb mound.
The warriors stand guard to the east of the tomb. Up to 5 metres of reddish, sandy soil had accumulated over the site in the two millennia following its construction, but archaeologists found evidence of earlier disturbances at the site.
During the excavations near the Mount Li burial mound, archaeologists found several graves dating from the 18th. and 19th. centuries, where diggers had apparently struck terracotta fragments. These were discarded as worthless and used along with soil to backfill the excavations.
Mausoleum of the First Qin Emperor
The tomb appears to be a hermetically sealed space roughly the size of a football pitch (c. 100 × 75 m). The tomb remains unopened, possibly due to concerns over the preservation of its artifacts. For example, after the excavation of the Terracotta Army, the painted surface present on some terracotta figures began to flake and fade. The lacquer covering the paint can curl in fifteen seconds once exposed to Xi'an's dry air, and can flake off in just four minutes.
The Pits at the Excavation Site
Four main pits approximately 7 metres (23 ft) deep have been excavated. These are located approximately 1.5 kilometres (0.93 mi) east of the burial mound. The soldiers within were laid out as if to protect the tomb from the east, where the Qin Emperor's conquered states lay.
-- Pit 1
Pit 1, which is 230 metres (750 ft) long and 62 metres (203 ft) wide, contains the main army of more than 6,000 figures. Pit 1 has eleven corridors, most more than 3 metres (10 ft) wide and paved with small bricks with a wooden ceiling supported by large beams and posts.
This design was also used for the tombs of nobles and would have resembled palace hallways when built. The wooden ceilings were covered with reed mats and layers of clay for waterproofing, and then mounded with more soil raising them about 2 to 3 metres (6 ft 7 in to 9 ft 10 in) above the surrounding ground level when completed.
-- Pit 2
Pit 2 has cavalry and infantry units as well as war chariots, and is thought to represent a military guard.
-- Pit 3
Pit 3 is the command post, with high-ranking officers and a war chariot.
-- Pit 4
Pit 4 is empty, perhaps left unfinished by its builders.
Some of the figures in Pits 1 and 2 show fire damage, while remains of burnt ceiling rafters have also been found. These, together with the missing weapons, have been taken as evidence of the reported looting by Xiang Yu and the subsequent burning of the site, which is thought to have caused the roof to collapse and crush the army figures below.
The terracotta figures currently on display have been restored from the fragments.
Additional Pits
Other pits that formed the necropolis have also been excavated. These pits lie within and outside the walls surrounding the tomb mound. They variously contain bronze carriages, terracotta figures of entertainers such as acrobats and strongmen, officials, stone armour suits, burial sites of horses, rare animals and labourers, as well as bronze cranes and ducks set in an underground park.
The Warrior Figures
The terracotta figures are life-sized, typically ranging from 175 cm (5.74 ft) to about 200 cm (6.6 ft) (the officers are typically taller). They vary in height, uniform, and hairstyle in accordance with rank.
Their faces appear to be different for each individual figure; scholars, however, have identified 10 basic face shapes. The figures are of these general types: armored infantry; unarmored infantry; cavalrymen who wear a pillbox hat; helmeted drivers of chariots with more armor protection; spear-carrying charioteers; kneeling crossbowmen or archers who are armored; standing archers who are not; as well as generals and other lower-ranking officers.
There are, however, many variations in the uniforms within the ranks: for example, some may wear shin pads while others not; they may wear either long or short trousers, some of which may be padded; and their body armors vary depending on rank, function, and position in formation.
There are also terracotta horses placed among the warrior figures.
Pigments Used on the Terracotta Warriors
Originally, the figures were painted with: ground precious stones, intensely fired bones (white), pigments of iron oxide (dark red), cinnabar (red), malachite (green), azurite (blue), charcoal (black), cinnabar barium copper silicate mix (Chinese purple or Han purple), tree sap from a nearby source, (more than likely from the Chinese lacquer tree) (brown).
Other colors used included pink, lilac, red, white, and one unidentified color. The colored lacquer finish and individual facial features would have given the figures a realistic feel, with eyebrows and facial hair in black and the faces done in pink.
However, in Xi'an's dry climate, much of the color coating would flake off in less than four minutes after removing the mud surrounding the army.
Some scholars have speculated a possible Hellenistic link to these sculptures, because of the lack of life-sized and realistic sculptures before the Qin dynasty. They argued that potential Greek influence is particularly evident in some of the terracotta figures such as those of acrobats, combined with rare bronze artifacts made with a lost wax technique known in Greece and Egypt.
However, this idea is disputed by scholars who claim that there is "no substantial evidence at all" for contact between ancient Greeks and Chinese builders of the tomb, and the bases of such speculation are often imprecise or false interpretation of source materials or far-fetched conjectures.
They argue that such speculations rest on flawed and old "Eurocentric" ideas that assumed other civilizations were incapable of sophisticated artistry and thus foreign artistry must be seen through Western traditions.
Fabrication of the Terracotta Army
The terracotta army figures were manufactured in workshops by government laborers and local craftsmen using local materials.
Heads, arms, legs, and torsos were created separately and then assembled by luting the pieces together. When completed, the terracotta figures were placed in the pits in precise military formation according to rank and duty.
The faces were created using molds, and at least ten face molds may have been used. Clay was then added after assembly to provide individual facial features to make each figure appear different.
It is believed that the warriors' legs were made in much the same way that terracotta drainage pipes were manufactured at the time. This would classify the process as assembly line production, with specific parts manufactured and assembled after being fired, as opposed to crafting a figure as one solid piece and subsequently firing it.
In those times of tight imperial control, each workshop was required to inscribe its name on items produced to ensure quality control. This has aided modern historians in verifying which workshops were commandeered to make tiles and other mundane items for the terracotta army.
Weaponry
Most of the figures originally held real weapons, which would have increased their realism. The majority of these weapons were looted shortly after the creation of the army or have rotted away.
Despite this, over 40,000 bronze items of weaponry have been recovered, including swords, daggers, spears, lances, battle-axes, scimitars, shields, crossbows, and crossbow triggers.
Most of the recovered items are arrowheads, which are usually found in bundles of 100 units. Studies of these arrowheads suggests that they were produced by self-sufficient, autonomous workshops using a process referred to as cellular production or Toyotism. Some weapons were coated with a 10–15 micrometer layer of chromium dioxide before burial that was believed to have protected them from any form of decay for the last 2200 years.
However, research in 2019 indicated that the chromium was merely contamination from nearby lacquer, not a means of protecting the weapons. The slightly alkaline pH and small particle size of the burial soil most likely preserved the weapons.
The swords contain an alloy of copper, tin, and other elements including nickel, magnesium, and cobalt. Some carry inscriptions that date their manufacture to between 245 and 228 BCE, indicating that they were used before burial.
Scientific Research
In 2007, scientists at Stanford University and the Advanced Light Source facility in Berkeley, California, reported that powder diffraction experiments combined with energy-dispersive X-ray spectroscopy and micro-X-ray fluorescence analysis showed that the process of producing terracotta figures colored with Chinese purple dye consisting of barium copper silicate was derived from the knowledge gained by Taoist alchemists in their attempts to synthesize jade ornaments.
Since 2006, an international team of researchers at the UCL Institute of Archaeology have been using analytical chemistry techniques to uncover more details about the production techniques employed in the creation of the Terracotta Army.
Using X-ray fluorescence spectrometry of 40,000 bronze arrowheads bundled in groups of 100, the researchers reported that the arrowheads within a single bundle formed a relatively tight cluster that was different to other bundles. In addition, the presence or absence of metal impurities was consistent within bundles.
Based on the arrows’ chemical compositions, the researchers concluded that a cellular manufacturing system similar to the one used in a modern Toyota factory, as opposed to a continuous assembly line in the early days of the automobile industry, was employed.
Grinding and polishing marks visible under a scanning electron microscope provide evidence for the earliest industrial use of lathes for polishing.
Terracotta Warrior Exhibitions
The first exhibition of the figures outside of China was held at the National Gallery of Victoria in Melbourne in 1982.
A collection of 120 objects from the mausoleum and 12 terracotta warriors were displayed at the British Museum in London as its special exhibition "The First Emperor: China's Terracotta Army" from 13 September 2007 to April 2008.
This exhibition made 2008 the British Museum's most successful year, and made the British Museum the UK's top cultural attraction between 2007 and 2008. The exhibition brought the most visitors to the museum since the King Tutankhamun exhibition in 1972. The 400,000 advance tickets sold out so fast that the museum extended its opening hours until midnight.
Many people had to be turned away, despite the extended hours. During the day of events to mark the Chinese New Year, the crush was so intense that the gates to the museum had to be shut.
The Terracotta Army has been described as the only other set of historic artifacts (along with the remnants from the wreck of the Titanic) that can draw a crowd by the name alone.
Warriors and other artifacts were exhibited to the public at the Forum de Barcelona in Barcelona between May and September 2004. It was their most successful exhibition ever.
The same exhibition was presented at the Fundación Canal de Isabel II in Madrid between October 2004 and January 2005, their most successful ever.
From December 2009 to May 2010, the exhibition was shown in the Centro Cultural La Moneda in Santiago de Chile.
The exhibition traveled to North America and visited museums such as the Asian Art Museum of San Francisco, Bowers Museum in Santa Ana, California, Houston Museum of Natural Science, High Museum of Art in Atlanta, National Geographic Society Museum in Washington, D.C. and the Royal Ontario Museum in Toronto.
Subsequently, the exhibition traveled to Sweden and was hosted in the Museum of Far Eastern Antiquities between August 2010 and January 2011.
An exhibition entitled 'The First Emperor – China's Entombed Warriors', presenting 120 artifacts was hosted at the Art Gallery of New South Wales, between December 2010 and March 2011.
An exhibition entitled "The Warrior-Emperor of China and his Terracotta Army, featuring artifacts including statues from the mausoleum, was hosted by the Montreal Museum of Fine Arts from February 2011 to June 2011.
In Italy, from July 2008 to November 2008, five of the warriors of the terracotta army were displayed in Turin at the Museum of Antiquities, and from April 2010 to September 2010 nine warriors were exhibited in Milan, at the Royal Palace, at the exhibition entitled "The Two Empires". The group consisted of a horse, a counselor, an archer and six lancers.
The "Treasures of Ancient China" exhibition, showcasing two terracotta soldiers and other artifacts, including the Longmen Grottoes Buddhist statues, was held between February 2011 and November 2011 in four locations in India.
Soldiers and related items were on display from March 2013 to November 2013 at the Historical Museum of Bern.
Several Terracotta Army figures were on display, along with many other objects, in an exhibit entitled "Age of Empires: Chinese Art of the Qin and Han Dynasties" at The Metropolitan Museum of Art in New York City from April to July 2017.
An exhibition featuring ten Terracotta Army figures and other artifacts, "Terracotta Warriors of the First Emperor," was on display at the Pacific Science Center in Seattle, Washington, from April 2017 to September 2017 before traveling to The Franklin Institute in Philadelphia, Pennsylvania, to be exhibited from September 2017 to March 2018 with the addition of augmented reality.
An exhibition entitled "China's First Emperor and the Terracotta Warriors" was at the World Museum in Liverpool from February 2018 to October 2018. This was the first time in more than 10 years that the warriors had travelled to the UK.
An exhibition tour of 120 real-size replicas of terracotta statues was displayed in the German cities of Frankfurt am Main, Munich, Oberhof, Berlin and Nuremberg between 2003 and 2004.
newcastlephotos.blogspot.com/2006/06/all-saints-cemetery....
All Saints Cemetery
This Cemetery stands on Jesmond Road, opposite Jesmond Old Cemetery and was the first cemetery in Newcastle to be instigated by the Burial Board. Consecrated in 1855 and opened in 1856 this was very much a rural part of Newcastle. The residential housing surrounding the cemetery on 3 sides were built later.
Noted Newcastle architect Benjamin Green designed the cemetery, its buildings and the fine Gothic archway over the entrance from Jesmond Road. The cemetery is surrounded by cast iron railings with fleur-de-lys heads.
The cemetery was extended to Osborne Avenue, from just under 10 acres by another 1.3 hectares in 1881.
In 1924 Carliol Square Gaol was demolished and the bodies of its executed criminals were transferred into unmarked graves in the cemetery.
In total around 90,000 burials have taken place here.
Thomas Harrison Hair (1810-1875) the artist best known for his Views of the Collieries of Northumberland and Durham, is buried here in an unmarked grave.
Two Small Chapels:
2 chapels. 1856 by Green. Coursed squared sandstone with ashlar turrets and dressings; Welsh slate roofs. T-plan with additional porch on side away from centre of cemetery, and corner turret on innermost side at south end. Aligned north-south. Decorated style. Double doors, with elaborate hinges,on inner fronts have nook shafts and head-stopped dripmoulds; similar surround to plainer door in outward-facing porch; windows of 3 lights facing gateway, 2 lights on other fronts, have similar dripmoulds. Lancets to corner turrets with gabled belfry under octagonal spirelets. Buttresses. Steeply-pitched roofs with cross finials. LISTED GRADE 2.
1 of the Chapels is now the Russian Orthodox Church Of St. George.
Gate, walls, piers, gates and railings.
Cemetery gateway, walls, piers, gates and railings. Dated 1856; by Green. Coursed squared sandstone with ashlar dressings; wrought iron gates; cast iron railings. Gothic style. High gable over 2-centred arch with 12 shafts each side and many mouldings; gabled ends have fantastic beasts climbing down kneelers; head-stopped dripmoulds, buttresses and finials.
High, pointed coping to flanking walls containing pedestrian doors in arches; end piers have gables with fleur-de-lis moulding. Chamfered coping to dwarf quadrant walls and similar walls along cemetery front, with 4 square piers at each side having pyramidal coping. High gates are Gothic-patterned; railings have fleur-de-lis heads.
Burials:
Samuel Smith.
Celtic Cross monument. Samuel Smith OBE JP (1872-1949) was the founder of Rington's Tea. He was born in Leeds and became an errand boy for a tea merchants on leaving school at 11. In 1908 he moved to Newcastle and set up a small shop in Heaton with William Titterington. They called the company Ringtons. The tea was imported from India and Sri Lanka then tasted, blended and packaged. It was delivered by the company's black, gold and green horse-drawn coaches. In 1926 the business moved to purpose-built premises in Algernon Road. Eventually there were 26 branches of Ringtons in the North. The firm moved into coachbuilding during the World Wars, which led to the creation of Smith's Electric Vehicles at Team Valley Trading Estate.
Alexander Gardner.
Cross monument. Alexander Gardner (1877-1921) was a footballer for Newcastle United. Before the First World War, Newcastle United were in the First Division, won three league titles and won one FA Cup final of three. Alexander was the captain and played at right half (midfielder). He made 268 appearances and scored 20 goals. He was born in Leith in 1899. The 1904/5 team won 23 out of 34 league games. In 1909 Alexander broke his leg, which ended his football career. He became landlord of the Dun Cow Inn in Claremont Road.
Michael Joseph Quigley.
Gravestone of Michael Joseph Quigley (1837-1924), American Civil War veteran. Michael was born in Bradford and emigrated to America with his wife shortly before the outbreak of civil war. He served under General Robert E. Lee in Virginia but was wounded in his left arm. He was later employed in Government Service. He returned to Britain in 1876. He lived in St. Lawrence Square off Walker Road. His income was subsidised by a pension from the American Government.
James Skinner.
Obelisk monument to James Skinner (1836-1920), shipbuilder. James was born in London. He moved to Newcastle aged 14 to begin an apprenticeship at Coutts shipyard at Low Walker. He went on to manage Andrew Leslie's shipyard at Hebburn then opened a yard at Bill Quay with William Wood, shipyard cashier. The firm Wood Skinner & Co. built 330 vessels over 42 years up to 1925. They also built the 30-bed Tyne Floating Hospital for Infectious Diseases at Jarrow Slake, designed by Newcastle Civil Engineer, George Laws. The hospital ship was launched on 2 August 1885. It sank in 1888. She was refloated and remained moored there for over 40 years.
Francis Batey.
Urn monument to Francis Batey (1841-1915), steam tug boat owner. Francis joined his father's tug boat business at the age of 11 and eventually gained his master's certificate. When the Albert Edward Dock opened in 1884, he was assistant pilot on the Rio Amazonas, the first ship to enter the dock. He went on to be chairman of several tug related companies on the River Tyne. One of his sons, John Thomas Batey, became Managing Director of Hawthorn Leslie's Hebburn shipyard.
Antonio Marcantonio.
Impressive monument of a statue of a monk or friar holding an infant. Antonio Marcantonio (1886-1960), ice cream manufacturer, arrived in Newcastle in 1895 to join a small colony of Italians living in Byker. In the early 1900s he returned to Italy to marry Angela. He returned to Newcastle and began making ice cream in a room in his house using small pans of salt and ice to freeze it. Eventually he took over a small factory on Stepney Bank. 500 gallons of ice cream were made daily. He also owned five ice cream parlours, the first one was in the Grainger Arcade. The Mark Toney business still flourishes (factory at Benton Square).
George Henry Carr.
A 13 feet high monument to George Henry Carr (1867-1889), racing cyclist. There is a shield on each side depicting a bicycle, flowers, the badge of the Jubilee Rovers Bicycle Club and the badge of Clarence Bicycle Club. Carr was a prominent figure on the racing circuit. He died aged 22 of inflammation of the brain.
John James Lightfoot,
Monument of an angel to John James Lightfoot (1877-1897), apprentice joiner. John James was crushed to death aged 19 during restoration of the 200 year old Green Tree beerhouse in Robson's Entry, Sandgate.The building collapsed killing 4 people and injuring 12. The disaster was sketched by the Chronicle's artist and published on 6 March 1897 the day after the accident. The article describes the scene - 'in the house to the east there was a yawning space where the wall had tumbled in; behind the hole a staircase stood, but seemed, like the sword of Damocles, to have no more than a hair-strength to support it'.
Josephine Esther Salisse.
Family vault of M. and H.M. Salisse. A stone sarcophagus with a bronze female figure mourning over it. Josephine Esther Salisse (1905-1924) was from Thornton Heath in Surrey. She died suddenly at her aunt's home in Stratford Road, Heaton, aged 19.
John and Benjamin Green were a father and son who worked in partnership as architects in North East England during the early nineteenth century. John, the father was a civil engineer as well as an architect. Although they did carry out some commissions separately, they were given joint credit for many of their projects, and it is difficult to attribute much of their work to a single individual. In general, John Green worked on civil engineering projects, such as road and rail bridges, whereas Benjamin worked on projects that were more purely architectural. Their work was predominantly church and railway architecture, with a sprinkling of public buildings that includes their masterpiece, Newcastle's Theatre Royal.
Drawings by John and Benjamin Green are held by the Laing Art Gallery in Newcastle upon Tyne.
Biographies
John Green was born on 29 June 1787 at Newton Fell House, Nafferton, two miles north of Ovington, Northumberland. He was the son of Benjamin Green, a carpenter and maker of agricultural implements. After finishing school, he worked in his father's business. The firm moved to the market town of Corbridge and began general building work with young John concentrating on architectural work. About 1820, John set up business as an architect and civil engineer in nearby Newcastle upon Tyne.
John Green married Jane Stobart in 1805, and they had two sons, John (c.1807–68) and Benjamin (c1811-58), both of whom became architects. Little is known about the career of John, but Benjamin worked in partnership with his father on many projects.
In 1822 John Green designed a new building for the Newcastle Literary and Philosophical Society. The building, which houses the society's substantial library, is still in use today. He also designed a number of farmhouses, being employed on the Beaufront estate near Hexham and also on the Duke of Northumberland’s estates.
John Green was principally a civil engineer, and built several road and rail bridges. In 1829–31 he built two wrought-iron suspension bridges crossing the Tyne (at Scotswood) and the Tees (at Whorlton). The bridge at Scotswood was demolished in 1967 but the one at Whorlton still survives. When the High Level Bridge at Newcastle was proposed ten years later, John Green submitted plans, but those of Robert Stephenson were accepted by the York, Newcastle and Berwick Railway. Green also built a number of bridges using an innovative system of laminated timber arches on masonry piers, the Weibeking system, based on the work of Bavarian engineer C.F. Weibeking. The two he built for the Newcastle and North Shields Railway, at the Ouseburn and at Willington Quay remain in use, though the timbers were replaced with wrought iron in a similar lattice pattern in 1869. In 1840 he was elected to the Institution of Civil Engineers, and in 1841 he was awarded the institution's Telford Medal for his work on laminated arch design.
John Green died in Newcastle on 30 September 1852.
Benjamin Green
Benjamin Green was a pupil of Augustus Charles Pugin, father of the more famous Augustus Welby Northmore Pugin. In the mid-1830s he became a partner of his father and remained so until the latter's death in 1852. The two partners differed somewhat. John has been described as a 'plain, practical, shrewd man of business' with a 'plain, severe and economical' style, whereas Benjamin was 'an artistic, dashing sort of fellow', with a style that was 'ornamental, florid and costly'.
The Greens worked as railway architects and it is believed that all the main line stations between Newcastle and Berwick upon Tweed were designed by Benjamin. In 2020 Morpeth Station was restored to Green's original designs following a £2.3M investment. They also designed a number of Northumbrian churches, the best examples being at Earsdon and Cambo.
The Green's most important commissions in Newcastle were the Theatre Royal (1836–37) and the column for Grey's Monument (1837–38). Both of these structures were part of the re-development of Newcastle city centre in neo-classical style by Richard Grainger, and both exist today. Although both of the partners were credited with their design, it is believed that Benjamin was the person responsible.
Another well-known structure designed by the Greens is Penshaw Monument (1844). This is a folly standing on Penshaw Hill in County Durham. It was built as a half-sized replica of the renowned Temple of Hephaestus in Athens, and was dedicated to John George Lambton, first Earl of Durham and the first Governor of the Province of Canada. The monument, being built on a hill is visible for miles around and is a famous local landmark. It is now owned by the National Trust.
Benjamin Green survived his father by only six years, and died in a mental home at Dinsdale Park, County Durham on 14 November 1858.
Major works
Presbyterian Chapel, Newcastle upon Tyne, 1822 (demolished 2011)
Literary and Philosophical Society, Newcastle upon Tyne, 1822–1825
St Peter's Church, Falstone, 1824–1825
Westgate Hill Cemetery, Newcastle upon Tyne, 1825–1829 (lodge demolished 1970, railings and gates removed, piers and basic layout remains)
Ingram Farm, Ingram, 1826
Whorlton Suspension Bridge, Wycliffe, County Durham, 1829–1831
Hawks Cottages, Gateshead, 1830 (demolished 1960)
Scotswood Chain Bridge, Newcastle upon Tyne, 1831, (demolished 1967)
Church of St Mary and St Thomas Aquinas, Stella, 1831–1832[1]
Bellingham Bridge, Bellingham, 1834
Holy Trinity Church, Stockton-On-Tees, 1834–1835[2]
Holy Trinity Church, Dalton (near Stamfordham), 1836
Vicarage of St Alban, Earsdon, 1836
Church of St Alban, Earsdon, 1836–1837
St Mary's Roman Catholic Church, Alnwick, 1836
Church of the Holy Saviour, Newburn, 1836–1837
Poor Law Guardians Hall, North Shields, 1837
Master Mariners Homes, Tynemouth, 1837–1840[3]
Theatre Royal, Newcastle upon Tyne, 1837
Parish Hall of the Church of the Holy Saviour, Newburn, 1838
Column of Grey's Monument, Newcastle upon Tyne, 1838
Willington Viaduct, Wallsend, 1837–1839
Ouseburn Viaduct, Newcastle upon Tyne, 1837–1839
Church of the Holy Saviour, Tynemouth, 1839–1841
Ilderton Vicarage, Ilderton, 1841
The Red Cottage, Whitburn, 1842
Holy Trinity Church, Cambo, 1842
Holy Trinity Church, Horsley-on-Rede, 1844
The Earl of Durham's Monument, Sunderland, 1844
St Edwin's, Coniscliffe, Co. Durham, 1844 (restoration of mediaeval church)
40–44 Moseley Street, Newcastle upon Tyne, 1845
Witham Testimonial Hall, Barnard Castle, 1846
Old Railway Station, Tynemouth Rd, Tynemouth 1846–1847
Acklington Station, Acklington, 1847
Chathill Station, Chathill, 1847
Belford Station, Belford, Northumberland, 1847
Morpeth Station, Morpeth, Northumberland, 1847
Warkworth Station, Warkworth, Northumberland, 1847
Holy Trinity Church, Seghill, 1849
Newcastle Joint Stock Bank, St Nicholas Square, Newcastle, c.1850
Norham station, Norham, 1851
St Paul's Church, Elswick, 1854
All Saints Cemetery, Jesmond, 1854
Sailor's Home, 11 New Quay, North Shields, 1856
United Free Methodist Church, North Shields, 1857
Corn Exchange, Groat Market, Newcastle (demolished 1974)
Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.
Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.
The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.
Roman settlement
The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.
The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.
Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.
Anglo-Saxon development
The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.
Norman period
After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.
In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.
Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.
Middle Ages
Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.
The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.
Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.
In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.
In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.
Religious houses
During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.
The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.
The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.
The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.
The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.
The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.
All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.
An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.
Tudor period
The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.
During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).
With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.
Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.
The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.
In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.
Stuart period
In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.
In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.
In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.
In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.
In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.
A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.
Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.
In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.
In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.
Eighteenth century
In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.
In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.
In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.
Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.
The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.
In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.
A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.
Victorian period
Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.
In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.
In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.
In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.
In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.
Industrialisation
In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.
Innovation in Newcastle and surrounding areas included the following:
George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.
George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.
Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.
Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.
William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.
The following major industries developed in Newcastle or its surrounding area:
Glassmaking
A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.
Locomotive manufacture
In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.
Shipbuilding
In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.
Armaments
In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.
Steam turbines
Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.
Pottery
In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.
Expansion of the city
Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.
Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.
Twentieth century
In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.
During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.
In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.
Newcastle City Council moved to the new Newcastle Civic Centre in 1968.
As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.
In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.
As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.
The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.
Recent developments
Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
Towards the end of the second World War, on the tenth day of June in 1944, a massacre took place in the small town of Oradour sur Glane, in the Haute Vienne department of France.
A group of soldiers from the 2nd SS Panzer Division, entered then surrounded the town.
Under the guise of an identity check they ordered all the inhabitants to congregate on the town's fairground.
They separated the women and children, sending them into the local church, and divided the men into six groups and sent them to various barns around the town.
Then opened fire and killed 642 people, the men, women and children. Only a handful survived, crawling out from underneath the bodies of their friends and neighbours.
The massacre sites were set aflame, and whilst the bodies burned the soldiers hunted down and executed anyone found to have evaded the initial roundup.
The remains of the town stand now as a memorial.
The full story and further photographs can be found at www.oradour.info.
From left, Adam Brown, Jack Holt, Dan Greenfield, Sally Falkow, Paul Gillin, Will Morrison, Alan Cattier and Katie Paine at the wrap-up Day 1 Q&A at the Executing Social Media Conference, Atlanta, Nov 14-16, 2007
Taken in the exercise yard at Galleries of Justice Nottingham - the doors directly above the window is where people where hanged
The impressive Matchbox 1994 Mitsubishi 3000GT first appeared back in 2022 and since then has enjoyed five separate releases culminating in its brand new metallic white version. Very well executed for a basic, so much so that there was very little Matchbox could do when it was released as a premium leaving it looking a bit superfluous.
Part of 2025 Case J sourced recently from Jcar in the US.
Mint and boxed.
St. Peter’s Church (Chicago Loop)
Architect: (Cross designed by Arvid Strauss, executed by artist J. Watts)
Date: 1953
Style: Art Deco
Address: 110 W. Madison St.
Height: (Cross Sculpture: 18ft)
Materials: Marble, Stained Glass
Program: Building of Worship
The St. Peter’s Church was built in 1953 and sits among many towering skyscrapers in Chicago. It is staffed by Franciscan Friars of the Province of the Sacred Heart of Jesus. The 18 foot marble cross that occupies the facade was designed by Arvid Strauss and was executed by Chicago artist J. Watts.
"Sylvette" sculpture (1969)
executed in concrete in the Betograve technique by Carl Nesjar (NOR, July 6, 1920, Larvik, Norway - May 23, 2015, Oslo, Norway) in collaboration with Pablo Picasso (SP, 25 October 1881, Malaga - 8 April 1973, Mougins, France)
in front of Museum Boijmans Van Beuningen extension (2003)
Museumpark 18-20
3015 CX Rotterdam
The Netherlands
"Breathe Walk Die" (2014), a neon sculpture from the Rainbow series by Ugo Rondinone (CH) stands on top of the museum extension by architects Robbrecht en Daem (BE)
© picture by Mark Larmuseau
Agents with the Cullman Narcotics Enforcement Team (CNET) and deputies with the Cullman County Sheriff’s Office (CCSO) arrested nine individuals for Unlawful Possession of a Controlled Substance and Unlawful Possession of Drug Paraphernalia.
Arrested for Unlawful Possession of a Controlled Substance and Unlawful Possession of Drug Paraphernalia were:
• Santos Lynn Thomas (25 - Hispanic) Cleveland, AL - $5000 Bond
• Sarah Marie Milligan (23 -White) Cullman, AL - $5000 Bond
• Omar Rivera Loyola (24 - Hispanic) Oneonta, AL - $5000 Bond
• Tonya Lynn Wagner (35 -White) Crane Hill, AL - $5000 Bond
• Brian Keith Bagwell (32 -White) Holly Pond, AL - $5000 Bond
• Ricky Charles Mewbourn (50 - White) Cullman, AL - $5000 Bond
(also had a warrant for Unlawful Possession of Drug Paraphernalia)
• Hugo Contreaus-Cenantes (33 - Hispanic) Altoona, AL - $5000 Bond
• Angela Denise Stewart (44 - White) Hayden, AL - $5,000 Bond
Arrested for Unlawful Possession of Drug Paraphernalia and also had warrants for Unlawful Possession of a Controlled Substance and Unlawful Possession of Drug Paraphernalia:
• Santanna Marie Barnett (25 - White) Cullman, AL - $13,000 Bond
The operation that led to the arrest of the nine suspects was executed in the 800 block of County Road 1319, also known as Basch Road, on Thursday February 4, 2016.
CNET and CCSO deputies made entry into the residence and arrested those suspects who had warrants. While inside, CNET agents and deputies located multiple suspects inside the residence were methamphetamine, other drugs and drug paraphernalia were located.
CCSO seized approximately 10 grams of meth, syringes, glass meth pipes, straws and Marijuana.
Following the arrest Cullman County Sheriff Matt Gentry had these remarks:
“I believe anytime you can arrest a large number of drug pushers and several of them are not from our community it sends the message we don’t want your drugs in Cullman County and if you come here you will go to jail. I would also like to thank CNET and our deputies for the great job they did on this arrest."
For the full story including images of those arrested and example of items seized. please so here:
cullmantoday.com/2016/02/04/cnet-executes-far-reaching-cu...
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
U.S. Army Spc. Kimberly McKinney, 114th Signal Battalion, wraps her arm around the throat of Spc. Pauel Munerman, 114th Signal Battalion, at Fort Detrick, Md. on Jan. 28, 2010. Spc. McKinney demonstrates the proper way to execute the rear naked choke hold on Spc. Munerman during a level one combatives certification class. (U.S. Army photo by Spc. Walter Reeves/Released)
Date of unveiling: September 30, 2001 Material: Bronze Sculptor: Valeriy Medvedev Architects: Roman Kukharenko, Yuriy Melnychuk
The "Executed Children" memorial stands opposite the exit of the Dorohozhychi metro station. The bronze composition depicts a young girl and broken children's toys, symbolizing the tragedy of the children who perished in Babyn Yar during the Nazi occupation of Kyiv.
As of today, the memorial remains an integral part of the Babyn Yar National Historical and Memorial Reserve, which is dedicated to preserving the memory of Holocaust victims and other tragic events associated with this site.
20th #CBRNE #Soldiers from the 184th Explosive Ordnance Disposal Battalion (EOD) prepare and execute training to improve #EOD core competencies and enhance #CBRN readiness skills for future combat operations Monday at Fort Campbell, Ky.
This morning (Thursday 15 January 2026), officers executed an arrest warrant at an address on Brooklands Avenue, Chadderton, resulting in three arrests.
A 26-year-old man was arrested on suspicion of possession with intent to supply Class A, B, and C drugs, as well as possession of offensive weapons. A man aged 62, and a woman aged 61, were also arrested on suspicion of being concerned in the supply of drugs.
The warrant was the culmination of a thorough investigation by Chadderton’s Neighbourhood Team, who remain committed to tackling drug supply and misuse across the borough.
Acting on intelligence provided by the local community, officers identified the address as a suspected hub for drug activity. Police Sergeant Tom Layton and PC Aleks Gornisiewicz led the investigation, securing sufficient evidence to obtain today’s warrant.
Upon entry, officers located a man in an attic bedroom. Officers were able to seize drugs located in the bedroom.
Inside the property, officers discovered a variety of Class A, B, and C drugs, including suspected cocaine, nitrous oxide, and cannabis. Several bladed weapons—such as axes, machetes, and zombie knives were also seized, along with multiple mobile phones and luxury items.
The three suspects currently remain in custody for further questioning and all seized drugs will be transported to our labs for testing.
PS Tom Layton from the Chadderton Neighbourhood team said: "Today’s warrant was a great success, made possible thanks to vital intelligence from our community.
“I want residents to know that we are here to listen and act on your concerns. As a Neighbourhood Sergeant, my priority is keeping our community safe.
“Greater Manchester Police is relentless in tackling the supply and use of drugs across the force, and I am deeply committed to that mission here in Oldham.
“We have zero tolerance for offensive weapons and removing them from our streets remains an absolute priority.
“I urge anyone with information about criminal activity to come forward. Today’s warrant demonstrates just how crucial community intelligence is and how we act on it to protect you."
You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.
Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.
You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.
You can access many of our services online at www.gmp.police.uk
The photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.
Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.
Use the technique of the light shift.
The sketches very often executed in such a way further are drawn in the graphic editor as it would be on a canvas a brush. Plug-ins and filters are not used.
Shot story (in russian):
Detail of the Baptistry Window, a masterpiece of abstract stained glass designed by John Piper and executed by Patrick Reyntiens.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
KIRBY MUXLOE CASTLE, KNOWN ALSO AS KIRBY CASTLE IS AN UNFINISHED 15TH CENTURY FORTIFIED MANOR HOUSE IN KIRBY MUXLOE, LEICESTERSHIRE. THE MANSION WAS LEFT UNFINISHED WHEN ITS OWNER WAS EXECUTED FOR TREASON. THE OWNER WAS WILLIAM, LORD HASTINGS, WHO BEGAN WORK ON KIRBY MUXLOE CASTLE IN 1480, CREATING A FORTIFIED HOUSE OF RED BRICK SURROUNDED BY A WIDE MOAT. THERE WAS ALREADY A 14TH CENTURY HOUSE ON THE SITE, BUILT BY THE PAKEMAN FAMILY, WHEN HASTINGS BEGAN HIS CASTLE. FOUNDATIONS OF THAT FIRST HOUSE CAN BE SEEN WITHIN THE CASTLE ENCLOSURE. THE HASTINGS FAMILY GAINED OWNERSHIP OF THE KIRBY MUXLOE ESTATE IN 1460, AND LORD HASTINGS DEMOLISHED MUCH OF THE EARLIER HOUSE IN ORDER TO USE THE STONE TO BUILD HIS NEW CASTLE.
WORK HAD ONLY BEEN GOING ON FOR THREE YEARS WHEN LORD HASTINGS WAS CAUGHT UP IN THE TRANSITION OF POWER FROM EDWARD IV TO RICHARD III. HASTINGS HAD BEEN A FIRM A FAVOURITE OF EDWARD, AND ACTUALLY SUPPORTED RICHARD'S CLAIM TO THE THRONE. SO IT CAME AS SOME SURPRISE WHEN, IN JUNE 1483, RICHARD HAD HASTINGS SUDDENLY SEIZED, CHARGED WITH TREASON, AND SUMMARILY EXECUTED. ONE THEORY IS THAT HASTINGS REFUSED TO SUPPORT RICHARD'S PLANS TO KILL HIS YOUNG NEPHEWS, THE SO-CALLED PRINCES IN THE TOWER. WHILE WE WILL PROBABLY NEVER KNOW THE TRUE REASONS FOR HASTING'S EXECUTION, THE EFFECT ON KIRBY MUXLOE CASTLE WAS DRAMATIC. WORK DID NOT CEASE IMMEDIATELY, FOR LADY HASTINGS CONTINUED CONSTRUCTION FOR A BRIEF TIME, BUT ACTIVITY PETERED OUT AFTER 1484 AND ONLY SPORADIC WORK WAS EVER DONE AFTER THAT POINT, AND EVENTUALLY THE SITE WAS ABANDONED.
THE CASTLE SITE IS ENTERED BY WAY OF AN IMPOSING GATEHOUSE, AND A STRONG THREE STORY TOWER STANDS SILENT WATCH OVER THE MOAT. THE MOAT ENCLOSES A SITE 110 METRES LONG AND 90 METRES WIDE, WHILE THE ISLAND UPON WHICH THE CASTLE STANDS IS 80 METRES BY 60 METRES. THE GATEHOUSE AND WEST TOWER ARE IN RED BRICK DRESSED WITH STONE, MAKING THIS ONE OF THE FIRST GROUPS OF BRICK BUILDINGS IN THE MIDLANDS. HARDER WEARING STONE IS USED FOR BOTH DOOR AND WINDOW SURROUNDS, HOWEVER.
THE GATEHOUSE IS VERY STRIKING; IT IS ONE OF THE FIRST IN ENGLAND TO HAVE GUNPORTS FOR FIRING AT ATTACKERS. SEVERAL OF THE GUNPORTS ARE BELOW THE WATERLINE, OUT OF SIGHT TO MODERN VISITORS. WHAT IS THE POINT OF HAVING GUNPORTS UNDER WATER? PRESUMABLY THEY WERE INTENDED FOR USE WHEN WATER LEVELS IN THE MOAT WERE LOW. THERE IS A LARGE, EMPTY PANEL OVER THE ENTRANCE ARCHWAY, PREPARED FOR LORD HASTINGS COAT OF ARMS, BUT THE CARVINGS WERE NEVER ADDED BEFORE THE OWNER'S DEATH LED TO BUILDING WORK BEING ABANDONED. THE GATEHOUSE IS REACHED BY A DRAWBRIDGE OVER THE MOAT, AND THE GATEWAY PASSAGE IS FURTHER DEFENDED BY A PORTCULLIS AND TWO SETS OF GATES.
THE SITE IS A ROUGH OBLONG, RATHER THAN A SQUARE PLAN LIKE ASHBY CASTLE. ONE PART OF THE CASTLE THAT WAS COMPLETE IS THE LOVELY CORNER TOWER, STANDING THREE STOREYS HIGH, WITH A SPIRAL STAIR RISING TO A CRENELLATED PARAPET WALK. THE STAIR IS MADE OF BRICK; ONE OF THE EARLIEST AND MOST IMPRESSIVE USE OF BRICK FOR A STAIRCASE IN ENGLAND.
U.S. Marines assigned to the 273rd Marine Wing Support Squadron, Air Operations Company, Fuels Platoon at Marine Corps Air Station Beaufort, S.C., execute a forward air refueling point operation with the South Carolina National Guard at McEntire Joint National Guard Base, S.C. on May 14. Elements of the South Carolina Air and Army National Guard and the U.S. Marines conduct joint operations which are crucial to the ongoing success of operational readiness and deployments around the world. (U.S. Air National Guard photo by Airman 1st Class Ashleigh S. Pavelek/Released)
Leeds Dock (formerly New Dock and previously Clarence Dock) is a mixed development with retail, office and leisure presence by the River Aire in central Leeds, West Yorkshire, England. It has a large residential population in waterside apartments.
History
The dock was constructed for boats using the Leeds and Liverpool Canal and the Aire and Calder Navigation to tranship goods and commodities from Leeds city centre in 1843. It was primarily used to bring coal from collieries around Rothwell and Wakefield to supply heavy industries in Hunslet and business and commerce in Leeds city centre.
The western side of the dock once had a large crane on tracks along the side of the dock to load and unload goods from canal barges. In the 1990s the surrounding area was made up of Victorian industrial buildings most of which were derelict. Throughout the second half of the 20th century the area suffered steady industrial decline. The mills and many heavy engineering works began to close, move further out of town or scale down.
Construction of the £42.5 million purpose-built Royal Armouries Museum marked the start of the area's redevelopment which opened in March 1996. No further development was made until 2004 when a multi-storey car park opened followed by an Express hotel in August 2006. The retail and leisure sector was launched on 11 October 2008 with fashion shows from celebrity fashion consultant and TV presenter Gok Wan. However few retail chains were attracted to the area and the site failed to take off as a shopping centre.
The site, which had been known as Clarence Dock, became New Dock in mid-2012 as part of a re-branding initiative. The site was bought by Allied London, and rebranded as Leeds Dock in 2013.
Facilities
Leeds Dock is the home of the Royal Armouries Museum, a major national museum. The site attracts around 1.5 million visitors a year. Although the site was originally intended to include a destination shopping centre, few shops opened and most of the shops that did open have since closed. Leeds Dock's main shopping street, 'The Boulevard' radiates southbound from Armouries Square. Another focal point is 'The Anchorage' at the top of the dock. Clarence House is a 218-foot (66 m) tower containing 227 apartments and six retail units.
Leeds is a city in West Yorkshire, England. It is the largest settlement in Yorkshire and the administrative centre of the City of Leeds Metropolitan Borough, which is the second most populous district in the United Kingdom. It is built around the River Aire and is in the eastern foothills of the Pennines. The city was a small manorial borough in the 13th century and a market town in the 16th century. It expanded by becoming a major production centre, including of carbonated water where it was invented in the 1760s, and trading centre (mainly with wool) for the 17th and 18th centuries.
Leeds developed as a mill town during the Industrial Revolution alongside other surrounding villages and towns in the West Riding of Yorkshire. It was also known for its flax industry, iron foundries, engineering and printing, as well as shopping, with several surviving Victorian era arcades, such as Kirkgate Market. City status was awarded in 1893, and a populous urban centre formed in the following century which absorbed surrounding villages and overtook the population of nearby York.
Leeds economy is the most diverse of all the UK's main employment centres, and has seen the fastest rate of private-sector jobs growth of any UK city and has the highest ratio of private to public sector jobs. Leeds is home to over 109,000 companies generating 5% of England's total economic output of £60.5 billion, and is also ranked as a gamma world city by the Globalization and World Cities Research Network. Leeds is considered the cultural, financial and commercial heart of the West Yorkshire Urban Area. Leeds is the largest legal and financial centre in the UK, with the financial and insurance services industry worth £13 billion to regional economy.
Leeds is also served by four universities, and has the fourth largest student population in the country and the country's fourth largest urban economy. The student population has stimulated growth of the nightlife in the city and there are ample facilities for sporting and cultural activities, including classical and popular music festivals, and a varied collection of museums.
Leeds has multiple motorway links such as the M1, M62 and A1(M). The city's railway station is, alongside Manchester Piccadilly, the busiest of its kind in Northern England. Public transport, rail and road networks in the city and wider region are widespread. It is the county's largest settlement with a population of 536,280, while the larger City of Leeds district has a population of 812,000 (2021 census). The city is part of the fourth-largest built-up area by population in the United Kingdom, West Yorkshire Built-up Area, with a 2011 census population of 1.7 million.
Loidis, from which Leeds, Yorkshire derives its name, was anciently a forested area of the Celtic kingdom of Elmet. The settlement certainly existed at the time of the Norman conquest of England and in 1086 was a thriving manor under the overlordship of Ilbert de Lacy. It gained its first charter from Maurice de Gant in 1207 yet only grew slowly throughout the medieval and Tudor periods. The town had become part of the Duchy of Lancaster and reverted to the crown in the medieval period, so was a Royalist stronghold at the start of the English Civil War.
In the seventeenth and eighteenth centuries Leeds prospered and expanded as a centre of the woollen industry and it continued to expand rapidly in the Industrial Revolution. Following a period of post industrial decline in the mid twentieth century Leeds' prosperity revived with the development of tertiary industrial sectors.
Name
The name "Leeds" is first attested in the form "Loidis": around 731 Bede mentioned it in book II, chapter 14 of his Historia ecclesiastica, in a discussion of an altar surviving from a church erected by Edwin of Northumbria, located in "...regione quae vocatur Loidis" ('the region known as Loidis'). This was evidently a regional name, but it subsequently occurs in the 1086 Domesday Book denoting a settlement, in the later Old English form Ledes. (The 1725 map by John Cossins spells it as Leedes.) The name is not Old English in form, so is presumably an Anglo-Saxonisation of an earlier Celtic name. It is hard to be sure what this name was; Mills's A Dictionary of British Place-Names prefers Celtic *Lādenses 'people living by the strongly flowing river'. This name may be derived from the Brittonic *lāto- meaning "rut, heat" (in animals ready to mate),[3] an element represented in Welsh as llawd, "heat", and possibly cognate to Greek plōtós, "flowing".
It has been surmised that the name denoted either a forest covering most of the kingdom of Elmet, which existed during the fifth century into the early seventh, or an early river-name, presumably that of the River Aire. An inhabitant of Leeds is locally known as a Loiner, possibly derived from Loidis.
Leeds City Council maintains "a photographic archive of Leeds" using the title "Leodis", thought to be an Old English or Celtic form of the name.
Prehistoric to Anglo-Saxon periods
There is no dependable reference to any place that might be associated with Leeds, before Bede's mention in circa 730 AD; and that was to a region rather than a village or town; thus little is known of any Roman, British or Anglo-Saxon predecessors to Leeds.
As well as scattered Bronze Age objects throughout the Leeds area, there were, according to 19th-century records, two Bronze Age barrows on Woodhouse Moor. In the pre-Roman and Roman Iron Age, the vicinity of Leeds was associated with the Brigantes; as well as possible Roman-period earthworks, a paved ford across the River Aire has been discovered, and is supposed to date to Roman times. Brigantian remains have been found in villages and towns in the vicinity of Leeds, and there are Roman remains in nearby settlements, notably at Adel, and at Alwoodley; in the suburb of Headingley a stone coffin was found in 1995 at Beckett's Park which is believed to date from Roman times.
Bede's account indicates activity in the vicinity of Leeds, though not necessarily near the town as it is now known: his unidentified place-name Campodonum might refer to an important place in the area; and one Abbot Thrythwulf had a monastery nearby in Bede's time, though it did not last long into the medieval period. Campodonum is possibly, Elmet capital and Roman fort (anylised as camp+(l)odonum), Cambodunum. Cambodunum is a possible earlier Latin form name of Camelot, likely due to its location and early Brittonic ties.
Evidence for major wealth and status comes from fragments of at least six stone crosses/other monuments, with the ninth- to tenth-century decoration characteristic of Anglo-Scandinavian culture, which were found in the fabric of the 14th-century Leeds Parish Church when it was demolished and replaced in 1838, now site of Leeds Minster. The best preserved, now in the modern church, depicts alongside other images the story of Wayland the Smith.
Leeds's profile was raised by the 2008-09 discovery of the West Yorkshire Hoard, a small, probably tenth- or eleventh-century treasure hoard of items from the early 7th century onwards, in the Leeds area. It seems likely that the Anglo-Saxon settlement consisted largely of an ecclesiastical site, a ford over the River Aire, and Kirkgate. Other evidence for occupation in the Anglo-Saxon period lies in the old Shire Oak at Headingley, which is believed to have lent its name to the wapentake of Skyrack, and in the presence of many places around Leeds which have the termination of their names in ley: such as Bramley, Rodley, Farnley, Armley, Wortley, and Farsley, which is derived from the Anglo-Saxon leah, an open place in the wood.
Norman period
Leeds parish is thought to have developed from a large British estate sub-divided, under Anglo-Saxon occupation, into smaller land holdings. The ancient estate straddled the wapentakes of Morley and Skyrack, encompassing Leeds, Headingley, Allerton, Gipton, Bramley, Armley, Farnley, Beeston and Ristone (Wortley). Leeds parish in Skyrack was the most important of these holdings. Leeds was then further sub divided so that when the first dependable historical record about Leeds (as "Ledes") was written in the Domesday book of 1086, it was recorded as having comprised seven small manors in the days of Edward the Confessor. At the time of the Norman conquest, Leeds was evidently a purely agricultural domain, of about 1,000 acres (4 km2) in extent. It was divided into seven manors, held by as many thanes; they possessed six ploughs; there was a priest, and a church, and a mill: its taxable value was six pounds. When the Domesday records were made, it had slightly increased in value; the seven thanes had been replaced by twenty-seven villeins, four sokemen, and four bordars. The villains were what we should now call day-labourers: the soke or soc men were persons of various degrees, from small owners under a greater lord, to mere husbandmen: the bordars are considered by most specialists in Domesday terminology to have been mere drudges, hewers of wood, drawers of water. The mill, when this survey was made, was worth four shillings. There were 10 acres (40,000 m2) of meadow. The tenant in chief was Ilbert de Lacy to whom William the Conqueror had granted a vast Honour stretching widely across country from Lincolnshire into Lancashire, and whose chief stronghold was at Pontefract Castle, a few miles to the south-east.
That Leeds was owned by one of the chief favourites of William was fortunate; the probability is that the lands of the de Lacy ownership were spared when the harrying of the North took place. While the greater part of the county was absolutely destitute of human life, and all the land northward lay blackened, Leeds in 1086 had a population of at least two hundred people.
There were two significant foci to the settlement; the area around the parish church and the main manorial landholding half a mile to the west of the church. In 1399, according to the Hardynge Chronicle, the captive Richard II was briefly imprisoned at Leeds, before being transported to another de Lacy property at Pontefract, where he was later executed.
The kyng then sent kyng Richard to Ledis,
there to be kepte durely in previtee;
fro thens after to Pykering went he needis,
and to Knaresbro' after led was he
but to pontefrete last where he did dee.
In 1147, Cistercian monks settled at Kirkstall, and there from about 1152 began to build Kirkstall Abbey.
First borough charter
Leeds was subinfeudated – along with much other land in Yorkshire, by the de Lacy family to the Paynel family; Ralph Paynel is mentioned often in the Domesday entries. He was one of the principal tenants-in-chief in Yorkshire. It was from a descendant of the Paynels, sometimes described as Maurice de Gant, that the inhabitants of Leeds received their first charter, in November, 1207. Leeds had the geographical advantages of being on a river crossing and being on the York to Chester route as well as being close to the Wharfedale to Skipton route through the Pennines. The manorial lords were keen to increase their revenues by exploiting these advantages.
The preamble of the charter reads:
"I Maurice Paynall have given and granted and by this charter confirmed to my burgesses of Leeds and their heirs franchise and free burgage and their tofts and with each toft half an acre of land for tillage to hold these of me and my heirs in fief and inheritance freely quit and honourably rendering annually to me and my heirs for each toft and half an acre of land sixteen pence at Pentecost and at Martinmas."
The charter made various provisions for the appointment of a bailiff (prator) to preside over a court of justice, to collect rents and dues, and to fine recalcitrants; others stipulated for aids when the lord needed monetary help, and placed tenants under obligation to grind corn at his mill and bake in his oven Leeds was granted some rights of self-government and it had burgesses who were freemen. Yet the charter granted to the townspeople of Leeds only the lowest conditions needed for urban development. It did not transform the manor into a borough but established a borough within a manor. It was not coextensive with the manor but consisted of only a group of tenements within it. The new town was laid out along the line of a street, later to be called Briggate, which was wide enough to hold a market, with about thirty burgage plots on either side. The south end of the street had a river crossing but the earliest recorded bridge, from which its name is derived (bridge gate), is in 1384. The population was small in 1207 and remained scanty for a long time afterwards. At the time of the Poll Tax of 1379 it appears not to have exceeded three hundred persons at the very outside; it was certainly one of the smallest towns in Yorkshire, such places as Snaith, Ripon, Tickhill, and Selby exceeding it in importance. Even in the thirteenth century, Leeds consisted of several distinct areas of habitation and activity. There was the old settlement around the parish church, the newly founded borough, the manor house and mill to the west and the town fields at Burmantofts (borough men's tofts). By establishing the borough the manorial revenues were increased and Leeds became more prosperous. Tax returns of 1334 and 1377 show that population of the whole parish before the Black Death was about 1,000 people of whom 350 to 400 lived in the central area including the borough. Leeds began to rank with the more prosperous towns to the east.
In 1217 Maurice de Gant lost the Leeds estate by figuring on the wrong side at the battle of Lincoln. His holding passed from him to Ranulf, Earl of Chester, and through him reverted to the de Lacy family; when the de Lacy estates became merged by marriage in the Duchy of Lancaster they passed to the royal family, and, on the accession of Henry IV, were absorbed into the possessions of the Crown.
Late Middle Ages
For four centuries after the Norman invasion, the growth of Leeds was slow. Its site had no particular military advantages: the great strategic position of that part of Yorkshire was at Pontefract, close by. It had, at first, no commercial values—it may have been that its first beginnings in its staple wool trade sprang from the wool growing of the Cistercians at Kirkstall Abbey, on its western borders. The township was concerned with little more than agriculture, and such trade as it knew was confined to those retailings which establish themselves wherever communities spring up—dealings in the necessities of life, which, reduced to a minimum, are merely food and clothing. The town itself was small—it was probably confined within a triangle formed on the lines of the present lower Briggate, Kirkgate, and the River Aire, with the parish church at one angle somewhere about, perhaps on, the site of the modern one. The streets would be narrow, unpaved and unlighted. The houses, in spite of the fact that stone is so plentiful in the district, were of wood, whitewashed, in many cases, thatched. St Mary's Whitkirk is the only medieval church remaining, a 15th-century building replacing an earlier one. All around the town lay the open fields and meadows, cultivated on the principle of strip-farming. And beyond these lay the forest of Elmet.
Tudor period and incorporation
The Tudor period was a time of transition for Leeds, from a relatively mean settlement to a solid cloth-trading town. In 1470, it was obscure enough to be described as being "near to Rothwell", which in the fifteenth century had the rights of a market town. By 1536, when John Leland visited it, he was able to report of it that it was a pretty market town which stood most by clothing and was as large as Bradford, though not so "quik", by which he evidently meant not so enterprising. Nevertheless, much of the old life and conditions still existed. The Crown was now over-lord, and had been so ever since the accession of Henry IV, and the folk still ground their corn at the King's mills and baked their bread at the King's oven. There was as yet no charter of incorporation, and though the people were rapidly approaching to conditions of liberty their lot was still not very appreciably different from that of their forefathers. Up to the end of the sixteenth century Leeds may be looked upon as existing in semi-feudalism.
There is no mention of education in Leeds until 1552, when one William Sheafield, who seems to have been a chantry priest of St. Catherine in Leeds, left property in the town for the establishment of a learned school-master who should teach freely for ever such scholars, youths, and children as should resort to him, with the wise proviso that the Leeds folk themselves should find a suitable building and make up the master's salary to ten pounds a year. Here is the origin of Leeds Grammar School which, first housed in the Calls, and subsequently—through the beneficence of John Harrison—in Lady Lane, had by the end of that century become an institution of vast importance.
As the sixteenth century drew to a close, and while the seventeenth was still young, the towns-folk of Leeds secured in the first instance at their own cost, in the second by a strictly limited Royal favour two important privileges—the right of electing their own vicar and of governing themselves in municipal affairs. In 1583 the town bought the advowson of the parish church from its then possessor, Oliver Darnley, for £130, and henceforth the successive vicars were chosen by a body of trustees—the most notably successful experiment in popular election which has ever been known in the National Church. In 1626, Leeds received its first charter of incorporation from Charles I. The charter, premising that Leeds in the County of York is an ancient and populous town, whose inhabitants are well acquainted with the Art and Mystery of making Woollen Cloths, sets up a governing body of one Alderman, nine Burgesses, and twenty Assistants. But the privilege for some years was a limited one: the Crown reserved to itself the rights of appointment to any of the thirty vacancies which might occur by death: popular election did not come for some time.
English Civil War and political representation
Eighteen years after the granting of the charter of incorporation, Leeds joined with other towns in the neighbourhood in a Memorial to the King wherein he was besought to settle his differences with the rebellious Parliament. Of this no notice was taken, and in the earlier stages of the Civil War the town was garrisoned for the Royal cause under Sir William Savile. But it was a very small Leeds which he occupied for the King in January 1643, having under him 500 horse and 1,500 foot. He made elaborate preparations for the defence of the place, digging a six-foot trench from St. John's Church by Upper Headrow, Boar Lane, and Swinegate to the banks of the river; erecting breastworks at the north end of the bridge, and placing demi-culverins in a position to sweep Briggate. Against him on Monday, January 23, advanced the redoubtable Sir Thomas Fairfax, at the head of a Parliamentary force which appears to have numbered at least 3000 horse and foot. Finding the bridge at Kirkstall broken down, Fairfax crossed the Aire at Apperley Bridge, and came on to Woodhouse Moor, from where he called on Savile to surrender. Savile returned the answer which was doubtless expected, and in the teeth of a heavy snowstorm, Fairfax led his troops forward to the assault. The action began about two o'clock of the afternoon and appears to have developed on all sides of the town. It rapidly went in favour of the assailants, and by four o'clock the Parliamentarian leaders and their troops were in Briggate and Boar Lane, while Savile and others were fleeing for their lives. Fairfax took nearly 500 prisoners and immediately released them on their promising not to take up arms against the Parliament on any further occasion. Though not a very great affair, it settled the question of King or Commons so far as that part of the West Riding was concerned.
The Puritan regime followed on the first successes of the Parliamentarians, and Leeds saw two Puritan ministers placed in the parish church and the new church of St. John. But in 1644 Leeds folk had something else to think: an epidemic, so serious as to rank with the medieval visitations of plague, broke out, and resulted in the death of 1300 inhabitants. The weekly markets were discontinued, and deaths occurred with such startling rapidity that it was impossible to keep pace with them in the parish registers.
In 1646 Charles I. came to Leeds a prisoner. After his surrender to the Scottish generals at Kelham, near Newark, he was led northward to Newcastle; on his return from that city, he spent one night in the house called Red Hall, in Upper Head Row.
It seems curious that up to the middle of the seventeenth century Leeds had never been directly represented in Parliament. Many now quite insignificant places in Yorkshire had sent members to the House of Commons from a very early period--Malton, Beverley, Northallerton had returned members as far back as 1298; Otley had had two members for centuries. But it was not until 1654 that Adam Baynes was returned to sit at Westminster; he was returned again two years later with Francis Allanson as a second member. This representation came to an end at the Restoration in 1660, and Leeds had no more members of Parliament until the Reform Act 1832. But in 1661 it received some concession from the Crown which was perhaps of more importance to it—a new Municipal Charter. There had been some readjustment of the old one in 1642, but Charles II's Charter was of a far-reaching nature. It set up a Mayor, twelve Aldermen, twenty-four Assistants or Councillors, a Town Clerk, and a Recorder; it also provided for local election to vacancies. From the Charter of Charles I and that of his son are derived the well-known arms of the town. The owls are the Savile owls famous throughout the county, where the Saviles have been legion; the mullets figured on the arms of Thomas Danby, first Mayor. The dependent sheep typifies the wool trade.
In 1715 the first history of Leeds was written by Ralph Thoresby, entitled Ducatus Leodiensis; or the Topography of the antient and populous Town and Parish of Leedes.
Leeds was mainly a merchant town, manufacturing woollen cloths and trading with Europe via the Humber estuary and the population grew from 10,000 at the end of the seventeenth century to 30,000 at the end of the eighteenth. As a gauge of the importance of the town, by the 1770s Leeds merchants were responsible for 30% of the country's woollen exports, valued at £1,500,000 when 70 years previously Yorkshire accounted for only 20% of exports.
Woollen cloth trade
During the Middle Ages, Cistercian monks, such as those at Kirkstall, were involved in sheep farming, and weaving was introduced to West Yorkshire during the reign of Edward III. Leland records the organised trading of woollen cloth in a market that took place on a bridge over the Aire, at the foot of Briggate; this trade occurred under tightly regulated conditions, including specific times. The cloth was predominantly manufactured in individual homes, in the villages surrounding Leeds. (Bradford, by contrast, was the centre of the worsted cloth trade.) There was a fulling mill at Leeds by 1400, and cloth dying may also have been an early centralised activity.
By the early 18th century, cloth trading had outstripped the capacity of the bridge, and had moved to trestle tables in up to two rows on each side of Briggate. Ralph Thoresby was involved in the establishment of the first covered cloth market, when with others he secured the permission of the 3rd Viscount Irwin, holder of the Manor of Leeds, to erect the White Cloth Hall. The fact of Wakefield having erected a trading hall in 1710 was almost certainly a driver of change. The new hall opened on 22 May 1711 (It lasted for 65 years before being removed to a new site in The Calls; by the mid-19th century it was taking place in a dedicated trading hall.) Daniel Defoe (c. 1720) mentions that Leeds traders also travelled all over the country, selling cloth on credit terms; and that an export trade existed. In 1758, a coloured or mixed cloth hall was built near Mill Hill – a quadrangular building 66 yards (60 m) by 128 yards (117 m), with capacity for 1800 trading stalls, initially let at three guineas per annum, but later at a premium of £24 per annum. (In the 1890s both the hall and a subsequent hall were demolished to make way for the new General Post Office and the Metropole Hotel.)
In 1831, a strike at Gotts Woollen Mill led to the establishment of the Yorkshire Trades Union. This soon dissolved, but in 1887 the Yeadon and Guiseley Factory Workers' Union was founded, this later becoming part of the National Union of Dyers, Bleachers and Textile Workers.
Industrial Revolution Expansion
The industrial revolution had resulted in the radical growth of Leeds whose population had risen to over 150,000 by 1840. The city's industrial growth was catalysed by the introduction of the Aire & Calder Navigation in 1699, Leeds and Liverpool Canal in 1816 and the railways from 1834 onwards; the first being the Leeds and Selby Railway opened on 22 September 1834. The first Leeds railway station was at Marsh Lane; the Leeds Wellington station was opened in 1848; the Central in 1854, and the New station in 1869. Little by little the town was linked up with Hull, York, Sheffield, Bradford, Dewsbury; with the Durham and Northumberland towns; with Manchester and Liverpool; and with the Midlands and London.
In 1893 Leeds had been granted city status. These industries that developed in the industrial revolution had included making machinery for spinning, machine tools, steam engines and gears as well as other industries based on textiles, chemicals and leather and pottery. Coal was extracted on a large scale and the still functioning Middleton Railway, the first successful commercial steam locomotive railway in the world, transported coal into the centre of Leeds. The track was the first rack railway and the locomotive (Salamanca) was the first to have twin cylinders.
Various areas in Leeds developed different roles in the industrial revolution. The city centre became a major centre of transport and commerce, Hunslet and Holbeck became major engineering centres. Armley, Bramley and Kirkstall became milling centres and areas such as Roundhay became middle class suburbs, the building of the Leeds Tramway allowing them better connections with the rest of the city.
Barnbow
Barnbow in Cross Gates was a large ammunitions factory producing ten thousand shells per week by August 1915. The worst tragedy ever to happen within Leeds (in terms of fatalities) happened at the Barnbow tragedy of 5 December 1916. 35 workers (all women aged 14 or over) were killed in the Barnbow Munitions Factory, which later became the Royal Ordnance Factory Barnbow. The plant employed 16,000 workers, from Leeds, Selby, Wakefield, Tadcaster and Wetherby and had its own railway station to cope with the daily influx of workers. The railway station had an 850-foot (260 m) platform and 38 special trains from surrounding towns and cities. An explosion from Hall 42 killed 35 workers and mutilated many more. Mechanic Mr William Parking was presented with an engraved silver watch for his bravery in saving factory workers during the incident.
Leeds Pals
During the First World War, regiments were made up of men from particular towns, meaning that if one regiment suffered heavy losses, a town or city would suffer heavy losses of its male population. Leeds was one city unfortunate enough to suffer this. By the Second World War, regiments weren't so geographically based. The battalion formed in 1914 and suffered its worse losses in the Battle of the Somme in 1916.
Inter-war
During the period between the two world wars, the Leeds Women Citizens League was active in advocating what women's needs for housing were to the national Women's Housing Sub-Committee. This was a parliamentary committee which was established in 1918 by the Ministry of Reconstruction in order discover what a woman's view on post-war housing would look life. Recommendations for the Leeds branch of the league included 'porcelain sinks with plugs' that children could be washed in, as well as 'an upstairs'.
Second World War
During the Second World War Leeds made a further contribution to the war effort, although it was perhaps less historically notable than that of the first. Although the result of the sinking of the third Royal naval vessel named 'Ark Royal' which was Leeds's adopted ship the people of Leeds raised over £9 million in 1942 for a new ship, surpassing the £5 million target.
Bombing
Leeds escaped the worst of The Blitz, due mainly to its inland location and lack of any significant industrial targets. On the night of the 14 March and early hours of 15 March 1941, Leeds received its worst night of Luftwaffe bombing. Beeston had more bombs dropped on it than any other district of the city, yet escaped with the least damage. Flaxton Terrace was the only street to be damaged during the night-time blackout air raid, with nearly all the other bombs landing on Cross Flatts Park. In his 2005 poem 'Shrapnel' poet Tony Harrison, who was in Beeston on the night of the raid, speculates whether this was an act of heroism by the Luftwaffe pilot, a theory that has been explored ever since the raid. Significant damage was also caused in Holbeck and Headingley, while the Eastern side of the Town Hall was damaged. Bombs were also dropped on the Woodhouse area during nighttime air raids, as the Luftwaffe attempted to destroy an industrial target.
Thorp Arch
ROF Thorp Arch was the main munitions factory in the area at this time. The facility which is now a trading estate and retail park, was situated near Wetherby and like Barnbow featured significant railway facilities. The works suffered minor damage from bombing raids. People from all over West Yorkshire travelled to work at the facility by train from Leeds and Wetherby stations.
Yeadon
The town of Yeadon housed the underground factory that manufactured the parts for Avro Lancaster bombers. The factory was located alongside the current Leeds Bradford Airport.
Rodley
Rodley to the west had two factories, Smiths and Booths, that manufactured cranes and had been converted to make bombs.
Modern history
By the 20th century this social and economic had started to change with the creation of the academic institutions that are known today as the University of Leeds and Leeds Beckett University. This period had also witnessed expansion in medical provision, particularly Leeds General Infirmary and St James's Hospital. Following the Second World War there has been, as in many other cities, a decline in secondary industries that thrived in the 19th century. However this decline was reversed in the growth of new tertiary industries such as finance retail, call centres, offices and media. Today Leeds is known as one of eight core cities that act as a focus of their respective regions and Leeds is generally regarded as the dominant city of the ceremonial county of West Yorkshire.