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Last September ALC and UPV/EHU launched a collaboration network in innovation between the Basque Country and Wales. Some Welsh institutions and companies visited Bilbao in order to identify potential collaboration projects.
"This feather stirs. She lives. If it be so, It is a chance which does redeem all sorrows That ever I have felt.". King Lear 5.3.14
The rose window was inserted in the north facade of the transept in the 1870s as part of Lord Grimthorpe's interventions, but remained devoid of stained glass until 1989 when the present rich abstract composition by Alan Younger was installed.
St Albans claims to be the earliest site of Christian pilgrimage in England, being named after our first martyr, who was executed at some point in the 3rd century AD (when the city was still known by its Roman name, Verulanium) having sheltered a persecuted Christian priest, St Amphibalus, and been impressed by his faith, offering himself for arrest in his place. Both men were buried here and Alban's tomb was venerated and marked in some form long before the present cathedral was built.
The cathedral is nonetheless one of the most ancient of our major churches, though its cathedral status dates only to 1877 when the new diocese of St Albans was formed. The church was originally founded as St Alban's Abbey, and built close to the presumed site of Alban's martyrdom. Founded in 793 by King Offa, the abbey was rebuilt several times with the earliest parts of the present cathedral dating back to the late 11th century. Much use was made of recycled material from the abandoned Roman city of Verulanium, and the handsome Romanesque tower appears to be entirely constructed of reused Roman bricks. The Abbey was built on an impressive scale, and must have once been a very wealthy institution owing to pilgrimages to the shrine of St Alban behind the high altar. However its fortunes had begun to decline even before the Reformation swept medieval monastic life away.
The abbey church miraculously survived the Dissolution in its entirety and was sold to the town for use as their parish church. The monastic buildings however were completely erased aside from the splendid Abbey Gatehouse near the west end, and only the weathered remains of arcading on the south side of the nave remains of the former cloisters. Upkeep thereafter seems to have been a serious challenge and the huge church spent much of the following centuries in poor repair, thus much work was done by a succession of architects in the Victorian period prior to the abbey church being raised to the status of cathedral. The most obvious interventions are those made by Edmund Beckett / Lord Grimthorpe, an amateur architect who paid for much of the work in the 1870s in return for a free hand in redesigning parts of the building. His are the strange turrets on ends of the transepts, along with their facade windows below and the west front, which is clearly a Victorian confection, though the medieval facade it replaced had been left in a rather bare, unfinished state.
The cathedral we see today is thus a rather surprising mixture of styles and materials, everything from Roman brick, flint and rubble to fine white limestone., which gives it a rather patchy appearance. Its great length however is remarkable, being the second longest medieval church in the country (only Winchester is longer, but St Albans has a longer nave). The oldest parts are the towers and transepts from the end of the 11th century, along with much of the north side of the nave, all fine examples of early Romanesque architecture. Most of the rest was rebuilt in the Gothic style in various phases throughout the 14th century, including the greater part of the nave and all of the choir and Lady Chapel (though the east end was heavily renewed externally in the Victorian restoration).
Entering the cathedral one cannot fail to be impressed by the enormous length of the nave,, mostly of late 13th and early 14th century date aside from the strikingly austere north arcade in the more easterly section, where the raw unadorned early Norman architecture contrasts dramatically with the more ornate Gothic arcade opposite. The Norman columns have the added appeal of retaining substantial remains of medieval mural decoration, with a succession of Crucifixion scenes that may have originally served as reredos to long vanished side altars. The medieval pulpitum screen remains and separates the eastern bays for use as the choir beyond it. This area also retains its flat late medieval wooden ceiling complete with painted panels of angels holding shields.
The transepts and crossing beneath the tower form an especially memorable interior space, again the architecture is of the more raw, auster Norman variety, but the tower arches are enlivened with painted decoration simulating brickwork and much Roman and Saxon material is incorporated in the transepts. Beyond is the fully Gothic eastern limb with the presbytery covered by a handsome medieval wooden vault, again replete it medieval painted decoration, and the striking altar reredos, a towering late medieval screen populated with elaborate niches and statuary (the latter being Victorian replacements for originals long lost). Behind this is the re-assembled shrine of St Alban (along with that of St Amphibalus in the south choir aisle nearby). The Lady Chapel beyond is a handsome example of 14th century Decorated Gothic, though much restored following centuries of use as a schoolroom separated from the rest of the church.
There is much of interest to see in the cathedral, though most of the furnishings are Victorian (the originals having long vanished) and there are few monuments of note aside from the two late medieval chantry chapels of Abbot Ramryge and Humphrey Duke of Gloucester, the latter overlooking the shrine of St Alban and balanced by a 15th century wooden watching loft on the opposite side (a rare survival). There is a mixture of glass, the most notable pieces being the most recent additions in the south aisle and north transept rose window. The best features are the unusually extensive remnants of medieval mural painting in various parts of the church, a quite remarkable survival, making a thorough exploration of this cathedral all the more rewarding.
This was my third visit, and longest one, though my attempt at a fuller photographic record was severely compromised by accidents with my camera, which at one point fell from my tripod onto the stone floor in one of the chantry chapels. I was lucky it survived at all given the dreadful crash it made, but it was seriously affected and my photos were very hit and miss from that point onwards. My day however ended on a happier note, returning in the evening to attend a lovely performance of Mozart's Requiem, and the acoustics in there are indeed impressive.
For more about the cathedral see below.
Presentation view from Intervention Project, Marc LaPointe, "And It Was for Something", Intermediate/Advanced Sculpture, Fall 2012
Members of MCAAP Fire and Emergency Services received rapid intervention team (RIT) training at the fire station from the Oklahoma State University Fire Service Training team, March 27-28.
A Conferência internacional “Advancing comprehensive early childhood intervention – What parents, professionals, science, and national systems can tell us“, promovida pela International Soceity on Early Intervention (ISEI) em parceria com a European Association on Early Childhood Intervention (Eurlyaid), decorreu no Iscte, de 2, a 5 de setembro de 2025.
Fotografia de Fernando Pineza
สิ้นปี 2560 ย้อนดูผลงานการปิดกั้นและแทรกแซงการจัดกิจกรรมสาธารณะ ของรัฐบาล #คสช กันเสียหน่อย www.facebook.com/iLawClub/photos/a.10150540436460551.6464...
Performative Intervention, research
Seestadt Aspern, 17. Juni 2016
Kamera: Markus Wintersberger
Konzept: Andrea Nagl
DANCEmotion - andreanagl.wordpress.com/unterricht-2/dancemotion
Team: Theresa Aschauer, Nis Fee Brender, Ines Tischler, Carla Schuler, Andrea Nagl
Nagl ~ Wintersberger 2016
AUS DER SERIE BAUHAUS 4.0.
Immersive VR Performance, Intervention und Kunst am Berg
Hohe Tauern, Schober Gruppe, Winkler Alm, Wangenitzsee, Eissee, Adolf Nossberger Hütte, - Juli 2016
Nagl ~ Wintersberger 2016
Артур Буллард из американского Красного креста в центре с британскими моряками, гавань Архангельска, июнь 1918 г.