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St John the Baptist, Barham, Kent by Jelltex

I began the Kent church project back in 2008, and Barham was one of the first dozen I visited. I took a few shots, and from then I remember the window showing a very fine St George and a balcony from where the bells are rung giving great views down the church.

I have not stepped foot inside a Kent church since the end of September, and so I felt I needed to get back into it, as the orchid season is possibly just four months away, and then I will be lost for months.

Barham is like an old friend; it lies on a short cut from the A2 to the Elham Valley, so I pass down here many times a year, zig-zaggin at its western end as the road heads down towards the Nailbourne.

You can see the spire from the A2, nestling in the valley below, and yet being so close to a main road, the lane that winds it way through the timber framed and clapboard houses is wide enough to allow just one car to pass at a time.

Unusually, there is plentiful parking on the south side of the church, and from there there is a great view of the southern face of the church with its magnificent spire.

As hoped, it was open, and the church has so much more than I remember from what, eight years back.

Rows of modern chairs have replaced pews, but it looks good like thet. The church has a good collection of Victorian glass, some better than others, and there is that St George window at the western end of the north wall.

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A long and light church, best viewed from the south. Like nearby Ickham it is cruciform in plan, with a west rather than central, tower. Sometimes this is the result of a later tower being added, but here it is an early feature indeed, at least the same age (if not earlier) than the body of the church. Lord Kitchener lived in the parish, so his name appears on the War Memorial. At the west end of the south aisle, tucked out of the way, is the memorial to Sir Basil Dixwell (d 1750). There are two twentieth century windows by Martin Travers. The 1925 east window shows Our Lady and Child beneath the typical Travers Baroque Canopy. Under the tower, affixed to the wall, are some Flemish tiles, purchased under the will of John Digge who died in 1375. His memorial brass survives in the Vestry.

www.kentchurches.info/church.asp?p=Barham

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Many churches in Kent are well known for their yew trees but St. John the Baptist at Barham is noteworthy for its magnificent beech trees.

The Church guide suggests that there has been a Church here since the 9th Century but the present structure was probably started in the 12th Century although Syms, in his book about Kent Country Churches, states that there is a hint of possible Norman construction at the base of the present tower. The bulk of the Church covers the Early English, Decorated and Perpendicular periods of building. Many of the huge roof beams, ties and posts are original 14th Century as are the three arches leading into the aisle..

In the Northwest corner is a small 13th Century window containing modern glass depicting St. George slaying the dragon and dedicated to the 23rd Signal Company. The Church also contains a White Ensign which was presented to it by Viscount Broome, a local resident. The Ensign was from 'H.M.S. Raglan' which was also commanded by Viscount Broome. The ship was sunk in January, 1918 by the German light cruiser 'Breslau'.

The walls contain various mural tablets. Hanging high on the west wall is a helmet said to have belonged to Sir Basil Dixwell of Broome Park. The helmet probably never saw action but was carried at his funeral.

The floor in the north transept is uneven because some years ago three brasses were found there. According to popular medieval custom engraved metal cut-outs were sunk into indented stone slabs and secured with rivets and pitch. In order to save them from further damage the brasses were lifted and placed on the walls. The oldest dates from about 1370 is of a civilian but very mutilated. The other two are in good condition and dated about 1460. One is of a woman wearing the dress of a widow which was similar to a nun. The other is of a bare headed man in plate armour. These are believed to be of John Digges and his wife Joan.

At the west end of the church is a list of Rectors and Priests-in-Charge - the first being Otho Caputh in 1280. Notice should be made of Richard Hooker (1594), the author of the Laws of Ecclesiastical Polity. The tiles incorporated into the wall were originally in place in the Chancel about 1375. They were left by John Digges whose Will instructed that he was to be buried in the Chancel and "my executors are to buy Flanders tiles to pave the said Chancel".

The 14th century font is large enough to submerse a baby - as would have been the custom of the time. The bowl is octagonal representing the first day of the new week, the day of Christ's resurrection. The cover is Jacobean.

The Millennium Window in the South Transept was designed and constructed by Alexandra Le Rossignol and was dedicated in July 2001. The cost of the project (approximately £6,500) was raised locally with the first donation being made by the then Archbishop of Canterbury, Dr George Carey.

The porch contains two wooden plaques listing the names of men from the village who were killed in the Great Wars - among them being Field Marshall Lord Kitchener of Broome Park.

www.barham-kent.org.uk/landmark_church.htm

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ANTIENTLY written Bereham, lies the next parish eastward. There are five boroughs in it, viz. of Buxton, Outelmeston, Derrington, Breach, and Shelving. The manor of Bishopsborne claims over almost the whole of this parish, at the court of which the four latter borsholders are chosen, and the manors of Reculver and Adisham over a small part of it.

BARHAM is situated at the confines of that beautiful country heretofore described, the same Nailbourne valley running through it, near which, in like manner the land is very fertile, but all the rest of it is a chalky barren soil. On the rise of the hill northward from it, is the village called Barham-street, with the church, and just beyond the summit of it, on the further side Barham court, having its front towards the downs, over part of which this parish extends, and gives name to them. At the foot of the same hill, further eastward, is the mansion of Brome, with its adjoining plantatious, a conspicuous object from the downs, to which by inclosing a part of them, the grounds extend as far as the Dover road, close to Denne-hill, and a costly entrance has been erected into them there. By the corner of Brome house the road leads to the left through Denton-street, close up to which this parish extends, towards Folkestone; and to the right, towards Eleham and Hythe. One this road, within the bounds of this parish, in a chalky and stony country, of poor barren land, there is a large waste of pasture, called Breach down, on which there are a number of tumuli, or barrows. By the road side there have been found several skeletons, one of which had round its neck a string of beads, of various forms and sizes, from a pidgeon's egg to a pea, and by it a sword, dagger, and spear; the others lay in good order, without any particular thing to distinguish them. (fn. 1)

In the Nailbourne valley, near the stream, are the two hamlets of Derrington and South Barham; from thence the hills, on the opposite side of it to those already mentioned, rise southward pretty high, the tops of them being covered with woods, one of them being that large one called Covert wood, a manor belonging to the archbishop, and partly in this parish, being the beginning of a poor hilly country, covered with stones, and enveloped with frequent woods.

BARHAM, which, as appears by the survey of Domesday, formerly lay in a hundred of its own name, was given anno 809, by the estimation of seven ploughlands, by Cenulph, king of Kent, to archbishop Wlfred, free from all secular demands, except the trinoda necessitas, but this was for the use of his church; for the archbishop, anno 824, gave the monks lands in Egelhorne and Langeduna, in exchange for it. After which it came into the possession of archbishop Stigand, but, as appears by Domesday, not in right of his archbishopric, at the taking of which survey, it was become part of the possessions of Odo, bishop of Baieux, under the title of whose lands it is thus entered in it:

In Berham hundred, Fulbert holds of the bishop Berham. It was taxed at six sulings. The arable land is thirty two carucates. In demesne there are three carucates, and fifty two villeins, with twenty cottagers having eighteen carucates. There is a church, and one mill of twenty shillings and four pence. There are twentlyfive fisheries of thirty-five shillings all four pence. Of average, that is service, sixty shilling. Of herbage twenty six shillings, and twenty acres of meadow Of pannage sufficient for one hundred and fifty hogs. Of this manor the bishop gave one berewic to Herbert, the son of Ivo, which is called Hugham, and there be has one carucate in demesne, and twelve villeins, with nine carucates, and twenty acres of meadow. Of the same manor the bisoop gave to Osberne Paisforere one suling and two mills of fifty sbillings, and there is in demesne one carucate, and four villeins with one carucate. The whole of Barbam, in the time of king Edward the Confessor, was worth forty pounds, when be received it the like, and yet it yielded to him one hundred pounds, now Berhem of itself is worth forty pounds, and Hucham ten pounds, and this which Osberne bas six pounds, and the land of one Ralph, a knight, is worth forty shillings. This manor Stigand, the archbishop held, but it was not of the archbishopric, but was of the demesne ferm of king Edward.

On the bishop's disgrace four years afterwards, and his estates being confiscated to the crown, the seignory of this parish most probably returned to the see of Canterbury, with which it has ever since continued. The estate mentioned above in Domesday to have been held of the bishop by Fulbert, comprehended, in all likelihood, the several manors and other estates in this parish, now held of the manor of Bishopsborne, one of these was THE MANOR AND SEAT OF BARHAM-COURT, situated near the church, which probably was originally the court-lodge of the manor of Barham in very early times, before it became united to that of Bishopsborne, and in king Henry II.'s time was held of the archbishop by knight's service, by Sir Randal Fitzurse, who was one of the four knights belonging to the king's houshould, who murdered archbishop Becket anno 1170; after perpetrating which, Sir Randal fled into Ireland, and changed his name to Mac-Mahon, and one of his relations took possession of this estate, and assumed the name of Berham from it; and accordingly, his descendant Warin de Berham is recorded in the return made by the sheriff anno 12 and 13 king John, among others of the archbishop's tenants by knight's service, as holding lands in Berham of him, in whose posterity it continued till Thomas Barham, esq. in the very beginning of king James I.'s reign, alienated it to the Rev. Charles Fotherbye, dean of Canterbury, who died possessed of it in 1619. He was eldest son of Martin Fotherby, of Great Grimsby, in Lincolnshire, and eldest brother of Martin Fotherby, bishop of Salisbury. He had a grant of arms, Gules, a cross of lozenges flory, or, assigned to him and Martin his brother, by Camden, clarencieux, in 1605. (fn. 2) His only surviving son Sir John Fotherbye, of Barham-court, died in 1666, and was buried in that cathedral with his father. At length his grandson Charles, who died in 1720, leaving two daughters his coheirs; Mary, the eldest, inherited this manor by her father's will, and afterwards married Henry Mompesson, esq. of Wiltshire, (fn. 3) who resided at Barhamcourt, and died in 1732, s. p. and she again carried this manor in marriage to Sir Edward Dering, bart. of Surrenden, whose second wife she was. (fn. 4) He lest her surviving, and three children by her, Charles Dering, who married Elizabeth, daughter of Sir Thomas Farnaby, bart. since deceased, by whom he has an only surviving daughter, married to George Dering, esq. of Rolling, the youngest son of the late Sir Edw. Dering, bart. and her first cousin; Mary married Sir Robert Hilyard, bart. and Thomas Dering, esq. of London. Lady Dering died in 1775, and was succeeded by her eldest son Charles Dering, esq. afterwards of Barhamcourt, the present owner of it. It is at present occupied by Gen. Sir Charles Grey, bart. K. B. commanderin chief of the southern district of this kingdom.

THE MANORS OF BROME and OUTELMESTONE, alias DIGGS COURT, are situated in this parish; the latter in the valley, at the western boundary of it, was the first residence in this county of the eminent family of Digg, or, as they were asterwards called, Diggs, whence it gained its name of Diggs-court. John, son of Roger de Mildenhall, otherwise called Digg, the first-mentioned in the pedigrees of this family, lived in king Henry III.'s reign, at which time he, or one of this family of the same name, was possessed of the aldermanry of Newingate, in Canterbury, as part of their inheritance. His descendants continued to reside at Diggs-court, and bore for their arms, Gules, on a cross argent, five eagles with two heads displayed, sable, One of whom, James Diggs, of Diggs-court, died in 1535. At his death he gave the manor and seat of Outelmeston, alias Diggs-court, to his eldest son (by his first wife) John, and the manor of Brome to his youngest son, (by his second wife) Leonard, whose descendants were of Chilham castle. (fn. 5) John Diggs, esq. was of Diggs-court, whose descendant Thomas Posthumus Diggs, esq. about the middle of queen Elizabeth's reign, alienated this manor, with Diggs-place, to Capt. Halsey, of London, and he sold it to Sir Tho. Somes, alderman of London, who again parted with it to Sir B. Dixwell, bart. and he passed it away to Sir Thomas Williams, bart. whose heir Sir John Williams, bart. conveyed it, about the year 1706, to Daniel and Nathaniel Matson, and on the death of the former, the latter became wholly possessed of it, and his descendant Henry Matson, about the year 1730, gave it by will to the trustees for the repair of Dover harbour, in whom it continues at this time vested for that purpose.

BUT THE MANOR OF BROME, which came to Leonard Diggs, esq. by his father's will as above-mentioned, was sold by him to Basil Dixwell, esq. second son of Cha. Dixwell, esq. of Coton, in Warwickshire, then of Tevlingham, in Folkestone, who having built a handsome mansion for his residence on this manor, removed to it in 1622. In the second year of king Charles I. he served the office of sheriff with much honour and hospitality; after which he was knighted, and cveated a baronet. He died unmarried in 1641, having devised this manor and seat, with the rest of his estates, to his nephew Mark Dixwell, son of his elder brother William, of Coton above-mentioned, who afterwards resided at Brome, whose son Basil Dixwell, esq. of Brome, was anno 12 Charles II. created a baronet. He bore for his arms, Argent, a chevron, gules, between three sleurs de lis, sable. His only son Sir Basil Dixwell, bart. of Brome, died at Brome,s. p. in 1750, and devised this, among the rest of his estates, to his kinsman George Oxenden, esq. second son of Sir Geo. Oxenden, bart. of Dean, in Wingham, with an injunction for him to take the name and arms of Dixwell, for which an act passed anno 25 George II. but he died soon afterwards, unmarried, having devised this manor and seat to his father Sir George Oxenden, who settled it on his eldest and only surviving son, now Sir Henry Oxenden, bart. who is the present owner of it. He resides at Brome, which he has, as well as the grounds about it, much altered and improved for these many years successively.

SHELVING is a manor, situated in the borough of its own name, at the eastern boundary of this parish, which was so called from a family who were in antient times the possessors of it. John de Shelving resided here in king Edward I.'s reign, and married Helen, daughter and heir of John de Bourne, by whom he had Waretius de Shelving, whose son, J. de Shelving, of Shelvingborne, married Benedicta de Hougham, and died possessed of this manor anno 4 Edward III. After which it descended to their daughter Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, in whose descendants, in like manner as Shelvington, alias Hautsborne, above-described, it continued down to Sir William Haut, of Hautsborne, in king Henry VIII's reign, whose eldest daughter and coheir Elizabeth carried it in marriage to Tho. Colepeper, esq. of Bedgbury, who in the beginning of king Edward VI.'s reign passed it away to Walter Mantle, whose window carried it by a second marriage to Christopher Carlell, gent. who bore for his arms, Or, a cross flory, gules; one of whose descendants sold it to Stephen Hobday, in whose name it continued till Hester, daughter of Hills Hobday, carried it in marriage to J. Lade, esq. of Boughton, and he having obtained an act for the purpose, alienated it to E. Bridges, esq. of Wootton-court, who passed away part of it to Sir George Oxenden, bart. whose son Sir Henry Oxenden, bart. of Brome, now owns it; but Mr. Bridges died possessed of the remaining part in 1780, and his eldest son the Rev. Edward Timewell Brydges, is the present possessor of it.

MAY DEACON, as it has been for many years past both called and written, is a seat in the southern part of this parish, adjoining to Denton-street, in which parish part of it is situated. Its original and true name was Madekin, being so called from a family who were owners of it, and continued so, as appears by the deeds of it, till king Henry VI's reign, in the beginning of which it passed from that name to Sydnor, in which it continued till king Henry VIII.'s reign, when Paul Sydnor, who upon his obtaining from the king a grant of Brenchley manor, removed thither, and alienated this seat to James Brooker, who resided here, and his sole daughter and heir carried it in marriage, in queen Elizabeth's reign, to Sir Henry Oxenden, of Dene, in Wingham, whose grandson Sir Henry Oxenden, bart. sold it in 1664, to Edward Adye, esq. the second son of John Adye, esq. of Doddington, one of whose daughters and coheirs, Rosamond, entitled her husband George Elcock, esq. afterwards of Madekin, to it, and his daughter and heir Elizabeth carried it in marriage to Capt. Charles Fotherby, whose eldest daughter and coheir Mary, entitled her two successive husbands, Henry Mompesson, esq. and Sir Edward Dering, bart. to the possession of it, and Charles Dering, esq. of Barham-court, eldest son of the latter, by her, is at this time the owner of it. The seat is now inhabited by Henry Oxenden, esq.

There are no parochial charities. The poor constantly maintained are about forty, casually fifteen.

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanryof Bridge.

The church, which is dedicated to St. John Baptist, is a handsome building, consisting of a body and side isle, a cross or sept, and a high chancel, having a slim tall spire at the west end, in which are four bells. In the chancel are memorials for George Elcock, esq. of Madeacon, obt. 1703, and for his wife and children; for Charles Bean, A. M. rector, obt. 1731. A monument for William Barne, gent. son of the Rev. Miles Barne. His grandfather was Sir William Barne, of Woolwich, obt. 1706; arms, Azure, three leopards faces, argent. Several memorials for the Nethersoles, of this parish. In the south sept is a magnificent pyramid of marble for the family of Dixwell, who lie buried in a vault underneath, and inscriptions for them. In the north sept is a monument for the Fotherbys. On the pavement, on a gravestone, are the figures of an armed knight (his feet on a greyhound) and his wife; arms, A cross, quartering six lozenges, three and three. In the east window these arms, Gules, three crowns, or—Gules, three lions passant in pale, or. This chapel was dedicated to St. Giles, and some of the family of Diggs were buried in it; and there are memorials for several of the Legrands. There are three tombs of the Lades in the church-yard, the inscriptions obliterated, but the dates remaining are 1603, 1625, and 1660. There were formerly in the windows of this church these arms, Ermine, a chief, quarterly, or, and gules, and underneath, Jacobus Peccam. Another coat, Bruine and Rocheleyquartered; and another, Gules, a fess between three lions heads, erased, argent, and underneath,Orate p ais Roberti Baptford & Johe ux; which family resided at Barham, the last of whom, Sir John Baptford, lest an only daughter and heir, married to John Earde, of Denton.

¶The church of Barham has always been accounted as a chapel to the church of Bishopsborne, and as such is included in the valuation of it in the king's books. In 1588 here were communicants one hundred and eighty; in 1640 there were two hundred and fifty.

www.british-history.ac.uk/survey-kent/vol9/pp350-358

Card-1 by From Bricks To Bothans

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Official Announcement: 10221 Super Star Destroyer Executor

Wien, 1, Bezirk (the art of very historical listed buildings of Vienna), el Burgtheater (Teatro imperial de la corte) - Löwelstraße/Universitätsring/Josef-Meinrad-Platz by alfred lex

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The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.

Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater at the end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.

The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.

1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.

Directorate Claus Peymann 1986-1999

Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.

In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.

Directorate Klaus Bachler 1999-2009

Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."

The Burgtheater on the Mozart Year 2006

Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .