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Alnwick Castle, Northumberland by Glass Angel

The castle has been the seat of the Percy family since Norman times. By 1138 the original motte and bailey castle, with wooden buildings, was replaced with stone buildings and walls. In 1309 the keep and defences were made even stronger by Henry de Percy. The castle then stayed unchanged for 400 years. By the 18th century it had fallen into ruins. The keep however was then turned into a gothic style mansion by Robert Adam. In the 19th century the Duke of Northumberland carried out more restoration of the castle.

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ALNWICK CASTLE, THE CASTLE, STABLE COURT AND COVERED RIDING SCHOOL INCLUDING WEST WALL OF RIDING SCHOOL

Heritage Category: Listed Building

Grade: I

List Entry Number: 1371308

National Grid Reference: NU 18685 13574

Details

This list entry was subject to a Minor Amendment on 05/10/2011

NU 1813 NE 2/1 NU 1813 SE 1/1 20.2.52. 5330

Alnwick Castle The Castle, Stable Court and Covered Riding School including West Wall of Riding School

GV I

Alnwick Castle has work of every period on the line of the original motte and bailey plan. By 1138 a strong stone built border castle with a shell keep in place of the motte, formed the nucleus of the present castle with 2 baileys enclosing about 7 acres. The curtain walls and their square towers rest on early foundations and the inner gatehouse has round-headed arches with heavy chevron decoration. The Castle was greatly fortified after its purchase by Henry de Percy 1309 - the Barbican and Gatehouse, the semi-circular towers of the shell keep, the octagonal towers of the inner gateway and the strong towers of the curtain wall date from the early to mid C14. Ruinous by the C18, the 1st Duke had it rehabilitated and extended by James Prince and Robert Adam, the latter being mainly concerned with the interior decoration, very little of which remains except for fireplaces in the Housekeeper's and the Steward's Rooms and for inside the present Estates Office range. Capability Brown landscaped the grounds, filling in the former moat (formed by Bow Burn). The 4th Duke employed Anthony Salvin 1854-65 at the cost of £1/4 million to remove Adam's fanciful Gothic decoration, to restore a serious Gothic air to the exterior and to redesign the state rooms in an imposing grand Italian manner. The Castle is approached from Bailliff gate through the crenellated Barbican and Gatehouse (early C14): lion rampant (replica) over archway, projecting square side towers with corbelled upper parts, fortified passage over dry moat to vaulted gateway flanked by polygonal towers. Stone figures on crenellations here, on Aveners Tower, on Record Tower and on Inner Gateway were carved circa 1750-70 by Johnson of Stamfordham and probably reflect an earlier similar arrangement. In the Outer Bailey to the, north are the West Garrett (partly Norman), the Abbott's Tower (circa 1350) with a rib vaulted basement, and the Falconer's Tower (1856). To the south are the Aveners Tower [C18], the Clock Tower leading into the Stable Yard, the C18 office block, the Auditor's Tower (early Clk) and the Middle Gateway (circa 1309-15) leading to the Middle Bailey. The most prominent feature of the Castle on the west side is the very large Prudhoe Tower by Salvin and the polygonal apse of the chapel near to it. In the Middle Bailey, to the south are the Warders Tower (1856) with the lion gateway leading by a bridge to the grand stairs into the walled garden, the East Garrett and the Record Tower (C14, rebuilt 1885). In the curtain wall to the north are 2 blocked windows probably from an early C17 building now destroyed and the 'Bloody Gap', a piece of later walling possibly replacing a lost truer; next a small C14 watch tower (Hotspur's Seat); next the Constable's Tower, early C14 and unaltered with a gabled staircase turret; close by is the Postern Tower, early C14, also unaltered.'To the north-west of the Postern Tower is a large terrace made in the C18, rebuilt 1864-65, with some old cannon on it. The Keep is entered from the Octagon Towers (circa 1350) which have 13 heraldic shields below the parapet, besides the agotrop3ic figures, and a vaulted passage expanded from the Norman gateway (fragments of chevron on former outer arch are visible inside). The present arrangement of the inner ward is largely Salvin's work with a covered entrance with a projecting storey and lamp-bracket at the rear of the Prudhoe Tower and a corbelled corridor at 1st floor level on the east. Mediaeval draw well on the east wall, next to the original doorway to the keep, now a recess The keep, like the curtain walls, is largely mediaeval except for some C18 work on the interior on the west and for the Prudhoe Tower and the Chapel. The interior contrasts with the rugged mediaeval exterior with its sumptuous Renaissance decoration, largely by Italians - Montiroli, Nucci, Strazza, Mantavani and inspired from Italian sources. The chapel with its family gallery at the east end has 4 short rib vaulted bays and a shallow 3-light apse; side walls have mosaics, covered now with tapestry. The grand staircase With its groin vaulted ceiling leads to the Guard Chamber from which an ante-room leads west into the Library (in the Prudhoe Tower) and east into the Music Room (fireplace with Dacian captives by Nucci). Further on are the Red Drawing Room (caryatid fireplace by Nucci) and the Dining Room (ceiling design copied from St Lorenzo f.l.m. in Rome and fireplace with bacchante by Strazza and faun by Nucci). South of the Middle Gateway are Salvin's impressive Kitchen quarters where the oven was designed to burn a ton of coal per day. West of the Stable Courtyard, with C19 Guest Hall at the south end, is the C19 covered riding school, with stable to north of it, and with its west wall forming the east side of Narrowgate. The corner with Bailliffgate has an obtuse angled tower of 2 storeys, with a depressed ogee headed doorway from the street, and merlons.

Listing NGR: NU1863413479

historicengland.org.uk/listing/the-list/list-entry/137130...

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ALNWICK CASTLE

Heritage Category: Park and Garden

Grade: I

List Entry Number: 1001041

National Grid Reference: NU1739315366, NU2254414560

Details

Extensive landscape parks and pleasure grounds developed from a series of medieval deer parks, around Alnwick Castle, the seat of the Percy family since the C14.

Between 1750 and 1786, a picturesque landscape park was developed for Hugh, first Duke of Northumberland, involving work by James Paine, Robert Adam, and the supervision of work by Lancelot Brown (1716-83) and his foremen Cornelius Griffin, Robson, and Biesley in the 1760-80s, working alongside James and Thomas Call, the Duke's gardeners. During the C19 each successive Duke contributed and elaborated on the expansive, planned estate landscape, within which the landscape park was extended. This was accompanied by extensive C19 garden works, including a walled, formal flower garden designed in the early C19 by John Hay (1758-1836), and remodelled mid C19 by William Andrews Nesfield (1793-1881).

NOTE This entry is a summary. Because of the complexity of this site, the standard Register entry format would convey neither an adequate description nor a satisfactory account of the development of the landscape. The user is advised to consult the references given below for more detailed accounts. Many Listed Buildings exist within the site, not all of which have been here referred to. Descriptions of these are to be found in the List of Buildings of Special Architectural or Historic Interest produced by the Department of Culture, Media and Sport.

HISTORIC DEVELOPMENT

In the C13, Hulne Park, West Park, and Cawledge were imparked within the Forest of Alnwick. Hulne Park lay to the north-west of Alnwick Castle and Cawledge to the south and south-east. By the late Middle Ages, Hulne Park extended to 4000 acres (c 1620ha) enclosed by some 13 miles (c 21km) of wall. It was stocked with some 1000 fallow deer and a tower at Hulne Priory served as a hunting lodge. The parks formed the basis of Alnwick Park, landscaped by Sir Hugh Smithson (1714-86) who in 1750 became Earl of Northumberland, inheriting his father-in-law's northern estates. Prior to this, from 1748 he and his wife, Elizabeth Seymour (1716-76), had lived at Stanwick, Yorkshire (qv) and at Syon Park, London (qv), where they had already established a reputation for gardening, attested by Philip Miller's dedication, in 1751, of his Gardener's Dictionary to the Earl.

Together they embarked on an ambitious scheme to restore the Castle, develop the grounds and estate, and restore the Percy family traditions and identity at Alnwick. Those employed at Alnwick were also involved elsewhere on the Northumberland estates: James Paine, architect at Syon House, Daniel Garrett, architect at Northumberland House, the Strand (1750-3), Robert Adam, architect at Syon (1762-9), Lancelot Brown, landscape architect at Syon Park (1754-72).

In 1751, Thomas Call (1717-82), who had been the Earl's gardener at Stanwick, prepared a scheme for the parklands and pleasure grounds, including a plan for Brizlee Hill (the south part of Hulne Park). Call and his relation James, working at Alnwick by 1756, were responsible for the development of Hulne Park over twenty years. The date and extent of Lancelot Brown's involvement at Alnwick is uncertain, although his foremen Griffin, Robson, and Biesley worked at Alnwick with teams of men between 1771and 1781 and records shown that they also worked alongside Call and his men (in 1773 for example, Call had a team of sixty men and Biesley one of seventy-eight).

Hulne Park was developed as a picturesque pleasure ground with extensive rides, follies, and the enhancement of natural features. A characteristic of the Duke's scheme was his recognition of antiquarian sites within the landscape, which were embellished. Thus in 1755, Hulne Priory was purchased to become the focal point of Hulne Park. A garden was made within the cloister walls and, from c 1763, the priory became the gamekeeper's residence, with a menagerie of gold and silver pheasants. Statues of friars cut by the mason Matthew Mills were set in the landscape. In 1774, a medieval commemorative cross to Malcolm Canmore (listed grade II), situated at the northern entrance to the North Demesne, was restored.

Following the Duchess' death in 1776, the Duke decorated all her favourite locations with buildings, some being ideas she had noted in her memoranda. Work also included other notes and ideas the Duchess had had, including the ruin at Ratcheugh Crag and some ninety-eight drives and incidents.

Plans for the parklands at the North Demesne, Denwick, and Ratcheugh Crags were developed in the late 1760s, although in the case of the North Demesne some parkland planting had been undertaken by 1760, and the major work undertaken in the early 1770s is that attributed to Brown, mainly on stylistic grounds.

During the C19, under the second Duke (1742-1817) the parks were extended, this including the purchase of Alnwick Abbey and part of its estate. The complex of drives was also extended and this was accompanied by extensive plantations, including the large Bunker Hill plantation central to the north area of Hulne Park, named to commemorate the Duke's action in 1775 in the War of American Independence. Most significantly, between 1806 and 1811, building centred on construction of a perimeter wall, defining the boundary of Hulne Park, and lodges and gateways at entrances to the parks. The carriage drives were extended, necessitating the construction of bridges over the River Aln. These schemes were implemented by estate workers, local masons, and David Stephenson, the Duke's architect.

As the Castle had no formal flower gardens, John Hay was commissioned between 1808 and 1812 to design pleasure gardens to the south-east of the Castle, linking it with a new walled garden at Barneyside, furnished with a range of hothouses, glasshouses, and pine pits. These were extended in the 1860s when Anthony Salvin, employed in the restoration of the Castle, built a gateway between the inner bailey and the pleasure gardens. Nesfield designed a scheme for the walled gardens to be developed as an ornamental flower and fruit garden, with a large central pool, conservatory, and a series of broad terraces and parterres. The Alnwick scheme can be compared to Nesfield's in the precincts of Arundel Castle, West Sussex (qv), in 1845.

Alnwick Castle, parks and estate remain (2000) in private ownership, the latest significant developments being the replanting and restoration of the North Demesne (1990s) and plans to completely remodel the walled garden.

SUMMARY DESCRIPTION

Alnwick Castle parks cover a tract of countryside encircling Alnwick town on its west, north, north-east, and south sides. The land is a mixture of contrasting landscape types, with high heather moorland and the rough crags of the Northumbrian Sandstone Hills sweeping down to the improved pasture lands along the wooded Aln valley. The parks exploit the boundaries of these distinctive landforms where the rugged moorland gives way to the pastoral, rolling landscape of the Aln, on its route to the sea. In the west parklands the river is confined between hills, and in places has incised deep, narrow valleys while in the east the landscape is more open.

The registered area of 1300ha is bounded on its north-east side by the Hulne Park wall, west of the Bewick to Alnwick Road (B6346). The west side of the area here registered follows field boundaries to the west of Shipley Burn, starting at Shipley Bridge, and then turns south-west at a point c 1km south of the bridge. It then runs for south-west for c 2.3km, to the west of Hulne Park, before crossing the River Aln and running parallel to Moorlaw Dean for c 1.2km, on the west side of the burn. The southern area is defined by Hulne Park wall running around the south point of Brizlee Wood then in a line due east, south of Cloudy Crags drive, to cross the Stocking Burn and reach Forest Lodge. The boundary then defines the north-western extent of Alnwick town and, crossing the Canongate Bridge, the southernmost extent of the Dairy Grounds.

To the east of the Castle the registered area takes in the entire North Demesne bounded on its north by Long Plantation, a perimeter belt which lies on the south side of Smiley Lane and then extends eastwards to meet the junction of the B1340 and A1 trunk road. The A1 has effectively cut through the North Demesne from north to south and, although physically divorcing the two areas, they are still visually conjoined. Defined on its north side within the hamlet of Denwick by tree belts, the park extends eastwards for 1km before cutting across southwards to meet the River Aln at Lough House. This latter stretch is bounded by a perimeter belt. The south boundary of the North Demesne follows the river in part, before meeting the Alnwick to Denwick road (B1340). To the south, the Castle gardens are delimited from the town by property boundaries along Bondgate. An outlying area of designed landscape at Ratcheugh is also included.

A complex series of drives is laid throughout the parks, particularly in Hulne Park. A series of thirty standing stones stand at the beginning of the drives or where they converge. These are inscribed with the names of the drives and act as signposts.

Alnwick Castle (1134 onwards, c 1750-68 by James Paine and Robert Adam, 1854-6 by Anthony Salvin, listed grade I) lies on the high ground on the south side of the Aln valley, commanding views to the north, east, and west. To the south is Alnwick town but the landscape is designed so that the town is not in view of the Castle. The principal views from the Castle lie over the North Demesne.

The North Demesne originally included Denwick Park (they have now been divided by the A1 road), and together these 265ha form the core parkland designed by Brown. Perimeter tree belts define the park, and clumps and scatters of specimen trees ornament the ground plan. The Aln has been dammed to give the appearance of an extensive, natural serpentine lake, with bridges as focal points: the Lion Bridge (John Adam 1773, listed grade I) and Denwick Bridge (1766, probably also by Adam, listed grade I). A programme of replanting and restoration of the North Demesne is under way (late 1990s).

The medieval deer park of Hulne extended to the north of the Shipley Road (outside the area here registered). Hulne Park is now 1020ha and is in agricultural and forestry use. The principal entrance from Alnwick town is Forest Lodge, the only extant part of Alnwick Abbey. Hulne Park is completely enclosed by an early C19 perimeter wall, c 3m high with shaped stone coping and buttresses every 20m. Nearly 5km of wall lies alongside roads, 5km across fields, and 5km defines perimeter woodland and moorland from the enclosed park.

The park design consists of a series of oval-shaped enclosures, defined by tree belts vital for shelter. The highest point is in the west area of the park, from where there are long-distance views east to the sea. The River Aln winds its way through the park via a series of contrasting steep valleys and flatter lands. The valleys are emphasised by planting on the upper slopes, while the lower areas are encircled with designed plantations to emphasise the river's meanders and ox-bow lakes.

Picturesque incidents survive at Nine Year Aud Hole, where the statue of a hermit (late C18, listed grade II) stands at the entrance to a natural cave along Cave Drive, and at Long Stone, a monolith standing high on the west side of Brizlee Hill, with panoramic views over Hulne Park to the north-west. The picturesque highlight is Hulne Priory (original medieval buildings, C18 alterations and enhancements, all listed grade I), which includes a summerhouse designed by Robert Adam (1778-80, listed grade I) and statues of praying friars erected in the Chapter House (late C18). The Priory's picturesque qualities are well appreciated from Brizlee Tower (Robert Adam, listed grade I), built in 1781 to commemorate the creation of the Alnwick parks by the first Duke and Duchess, a Latin inscription stating:

Circumspice! Ego omnia ista sum dimensus; Mei sunt ordines, Mea descriptio Multae etiam istarum arborum Mea manu sunt satae. [Look about you. I have measured all these things; they are my orders; it is my planning; many of these trees have been planted by my own hand.]

Brizlee is sited on a high point which can be seen in views north-west from the Castle, mirroring views north-east to the 'Observatory' on Ratcheugh Crag, a sham ruined castle sited as an eyecatcher on high ground and built by John Bell of Durham in 1784 (plans to further elaborate it were designed by Robert Adam).

Another principal feature of Hulne Park is a series of regular, walled enclosures (the walls set in ditches with banks cast up inside the compounds) which line Farm Drive, the central road through the park, north-westwards from Moor Lodge. This functioned as the third Duke's menagerie, and is still pasture.

The 15ha Dairy Ground links Hulne Park and the North Demesne. It principally consists of the Aln valley north-west of the Castle, stretching between Canongate Bridge and Lion Bridge, laid out as pleasure gardens. Barbara's Bank and the Dark Walk are plantations laid out with walks on the steep slopes with a Curling Pond to the north of the Aln.

The walled garden of 3ha lies to the south-east of the Castle, reached by the remains of C19 pleasure gardens laid out on the slopes above Barneyside. After the Second World War use of the glasshouses ceased, and until recently (late 1990s) the Estate Forestry Department used it. The earthwork terraces and remnants of specimen planting of Nesfield's scheme survive.

REFERENCES

Note: There is a wealth of material about this site. The key references are cited below.

The Garden, 5 (1874), pp 100-1, 188; 20 (1881), pp 155-6 Gardeners' Chronicle, ii (1880), pp 523-4, 587; ii (1902), pp 273-4 J Horticulture and Cottage Gardener 15, (1887), pp 296-8 P Finch, History of Burley on the Hill (1901), p 330 Country Life, 65 (22 June 1929), pp 890-8; 66 (6 July 1929), pp 16-22; 174 (4 August 1983), p 275 D Stroud, Capability Brown (1975), pp 103-4 Garden History 9, (1981), pp 174-7 Capability Brown and the Northern Landscape, (Tyne & Wear County Council Museums 1983), pp 19, 22-3, 27, 42 Restoration Management Plan, Alnwick Castle, (Land Use Consultants 1996) C Shrimpton, Alnwick Castle, guidebook, (1999)

Description written: August 2000 Resgister Inspector: KC Edited: June 2003

historicengland.org.uk/listing/the-list/list-entry/100104...

See also: Timeline of Sibiu

The first official record referring to the Sibiu area comes from 1191, when Pope Celestine III confirmed the existence of the free prepositure of the German settlers in Transylvania, the prepositure having its headquarters in Sibiu, named Cibinium at that time.[5]

In the 14th century, it was already an important trade centre. In 1376, the craftsmen were divided in 19 guilds. Sibiu became the most important ethnic German city among the seven cities that gave Transylvania its German name Siebenbürgen (literally seven citadels).[6][7] It was home to the Universitas Saxorum (Community of the Saxons), a network of pedagogues, ministers, intellectuals, city officials, and councilmen of the German community forging an ordered legal corpus and political system in Transylvania since the 1400s.[8][9] During the 18th and 19th centuries, the city became the second- and later the first-most important centre of Transylvanian Romanian ethnics. The first Romanian-owned bank had its headquarters here (The Albina Bank), as did the ASTRA (Transylvanian Association for Romanian Literature and Romanian's People Culture). After the Romanian Orthodox Church was granted status in the Habsburg Empire from the 1860s onwards, Sibiu became the Metropolitan seat, and the city is still regarded as the third-most important centre of the Romanian Orthodox Church. Between the Hungarian Revolution of 1848 and 1867 (the year of the Ausgleich), Sibiu was the meeting-place of the Transylvanian Diet, which had taken its most representative form after the Empire agreed to extend voting rights in the region.

After World War I, when Austria-Hungary was dissolved, Sibiu became part of Romania; the majority of its population was still ethnic German (until 1941) and counted a large Romanian community, as well as a smaller Hungarian one. Starting from the 1950s and until after 1990, most of the city's ethnic Germans emigrated to Germany and Austria. Among the roughly 2,000 who have remained is Klaus Johannis, the current President of Romania.

Geography[edit]

Topographic map of the Sibiu region

Panoramic view of Sibiu historic center, looking East.

Sibiu is situated near the geographical center of Romania at

WikiMiniAtlas

45.792784°N 24.152069°E. Set in the Cibin Depression, the city is about 20 km from the Făgăraș Mountains, 12 km from the Cibin Mountains, and about 15 km from the Lotru Mountains, which border the depression in its southwestern section. The northern and eastern limits of Sibiu are formed by the Târnavelor Plateau, which descends to the Cibin Valley through Gușteriței Hill.

The Cibin river as well as some smaller streams runs through Sibiu. The geographical position of Sibiu makes it one of the most important transportation hubs in Romania with important roads and railway lines passing through it.

City districts[edit]

The following districts are part of Sibiu. Some were villages annexed by the city but most were built as the city developed and increased its surface.

•Historic Center - Divided into the Upper Town and Lower Town

•Centru (Centre)

•Lupeni

•Trei Stejari

•Vasile Aaron

•Hipodrom I, II, III, IV

•Valea Aurie (Golden Valley)

•Tilișca

•Ștrand

•Turnișor (Little Tower; German: Neppendorf)

•Piața Cluj

•Țiglari

•Terezian

•Reșița

•Lazaret

•Gușterița (German: Hammersdorf)

•Broscărie

•Viile Sibiului

•Tineretului

•Veteranilor de Război

The Southern part, including the ASTRA National Museum Complex and the Zoo, also falls within the city limits.

Politics[edit]

Sibiu city council composition in 2004:

Democratic Forum of Germans in Romania

Social Democratic Party

National Liberal Party

Democratic Party

Although ethnic Germans make up less than 2% of Sibiu's population, Klaus Johannis, the former president of the Democratic Forum of Germans in Romania (FDGR/DFDR) and current president of Romania, served as mayor of Sibiu from 2000 to 2014. Johannis was overwhelmingly reelected in 2004 (with 88.7% of votes) and 2008 (with 83.3% of the votes cast) and his party gained an absolute majority in the city council in that year. After the 2014 presidential elections, the interim position for mayor of the city was filled by deputy mayor Astrid Fodor who in the 2016 local elections won the seat with a majority of votes.[18]

Despite winning the local elections with a majority of votes and a high approval rating, the current administration is beginning to be viewed as slow moving and lacking transparency. Another issue that is affecting the current administraiton's approval ratings is the lack of investments and innovations

Economy[edit]

Sibiu is an important economic hub for Romania, with a high rate of foreign investments. It is also an important hub for the manufacturing of automotive components and houses factories belonging to ThyssenKrupp Bilstein-Compa, Takata Corporation, Continental Automotive Systems, and NTN-SNR ball bearings. Other local industries are machine components, textiles, agro-industry, and electrical components (Siemens).

The city also contains Romania's second-largest stock exchange, the Sibiu Stock Exchange which is set to merge with the Bucharest Stock Exchange in 2018.[19]

The main industrial activities of Sibiu take place in two industrial zones located on the outskirts of the city:

•East industrial zone (East Economic Center), alongside the railway to Brașov and Râmnicu Vâlcea

•West industrial zone (West Economic Center),[20] near the exit to Sebeș, close to the Airport

A commercial zone located in the Șelimbăr commune plays an important role in the economy of Sibiu. It houses a mall and other large retailers.

Another factor that plays an important role in the economy of the city is tourism, which has been increasing at a steady rate since 2007.

Transport[edit]

Sibiu International Airport Location

Sibiu is well served in terms of transport and infrastructure. In 2010 a city bypass was opened, significantly reducing the road traffic inside the city.

Tursib[21] is the city's internal transportation system operator.

Air[edit]

Sibiu Airport, Blue Air flight.

Sibiu has one of the most modern international airports in Romania, with direct connections to Germany, Austria, United Kingdom, Italy and Spain while connections to other European countries being scheduled to start in summer 2018 Belgium, Denmark, Switzerland.

Road[edit]

Sibiu is an important node in the European road network, being on two different European routes (E68 and E81). At a national level, Sibiu is located on three different main national roads, DN1, DN7 and DN14.

The Romanian Motorway A1 will link the city with Pitești and the Romanian western border, near Arad. From the remaining 332 km of motorway towards the border with Hungary Nadlac, a total of 276 km is completed and the last 56 km are currently under construction, while the timeline for the segment towards Pitești is targeted for completion for the year 2025 (construction will start no sooner than 2019). Sibiu' s ring road as part of A1 motorway was completed on December 1, 2010.

Sibiu is also an important hub for the international bus links with the biggest passenger transporter in Romania, Atlassib, based here. Transport companies are also providing coach connections from Sibiu to a large number of locations in Romania.

Public bus transportation in Sibiu

Rail[edit]

Main article: Sibiu railway station

Sibiu is situated on the CFR-Romanian Railways Main Line 200 (Brasov - Făgăraș - Sibiu - Simeria - Arad - Romanian Western Border) and on Line 206 (Sibiu - Mediaș).

The city is served by five rail stations: the Main Station (Gara Mare), the Little Station (Gara Micǎ), Turnișor, Sibiu Triaj, Halta Ateliere Zonă . It has an important diesel-powered locomotives depot and a freight terminal.

Numerous Inter City trains (nicknamed Blue Arrows) connect Sibiu to other major cities in Romania: Cluj-Napoca, Brașov, Craiova, Timișoara and Bucharest.

Cycling[edit]

Over the last six years, Sibiu has enjoyed a revival of cycling. The bicycle way in the city span for 43 kilometers.

Bicycle rentals have offered a boost for the local economy with several small rental centers and a bigger rental center that is administered by the I'Velo Bike Sharing group.

Culture[edit]

Sibiu is one of Romania's most culturally lively cities. It has 3 theatres and a philharmonic orchestra along with other smaller private theatrical venues and a theatre studio housed by the Performing Arts and Acting section of Lucian Blaga University, where students hold monthly representations.

The Radu Stanca National Theatre[22] is one of the leading Romanian theatres. With origins dating back to 1787, it attracts some of the best-known Romanian directors, such as Gábor Tompa and Silviu Purcărete. It has both a Romanian-language and a German-language section, and presents an average of five shows a week.

The Gong Theatre is specialised in puppetry, mime and non-conventional shows for children and teenagers. It also presents shows in both Romanian and German.

The State Philharmonic of Sibiu[23] presents weekly classical music concerts, and educational concerts for children and teenagers. The concerts take place in the newly restored Thalia Hall, a concert and theatre hall dating from 1787, situated along the old city fortifications. Weekly organ concerts are organised at the Evangelical Cathedral during summers, and thematic concerts are presented by the Faculty of Theology choir at the Orthodox Cathedral.

The Sibiu International Theatre Festival is an annual festival of performing arts. Since 2016, it is the largest performance arts festival in the world.[24]

Brukenthal National Museum, Sibiu.

Museums and parks[edit]

Sibiu's museums are organised around two entities: the Brukenthal National Museum and the ASTRA National Museum Complex. The Brukenthal Museum consists of an Art Gallery and an Old Books Library located inside the Brukenthal Palace, a History Museum located in the old town hall building, a Pharmacy Museum located in one of the first apothecary shops in Europe, dating from the 16th century, a Natural History Museum and a Museum of Arms and Hunting Trophies.

The ASTRA National Museum Complex focuses on ethnography, and consists of a Traditional Folk Civilisation Museum, a 96-hectare open-air museum located in Dumbrava Forest south of Sibiu, a Universal Ethnography Museum, a Museum of Transylvanian Civilisation and a Museum of Saxon Ethnography and Folk Art. Also planned is a Museum of the Culture and Civilisation of the Romany People.

Bicycle riders in Sub Arini park, in Sibiu.

The Dumbrava Sibiului Natural Park stretches over 960 hectares and it is situated 4 km away from the center of the city in the southwest direction along the road towards Răşinari. Also, here you can find the Zoological Garden and Ethnography Museum.

There is a Steam Locomotives Museum close to the railway station, sheltering around 40 locomotives, two of which are functional.

The first park in the city was The Promenade, later called "The Disabled Promenade." established in 1791, today part of Parcul Cetății (Citadel Park). Current arrangement of the park, including the space between the walls, dates from 1928.

The Sub Arini Park, established in 1856 is one of the biggest and best-maintained parks in Romania. There are other green spaces in the city center, the best known being Astra Park, established in 1879.

Tineretului Park

Other parks:

Tineretului Park, Reconstrucției Park, Corneliu Coposu Park, Petöfi Sándor Park, Piața Cluj Park, Ștrand Park, Cristianului Park, Țițeica Park, Vasile Aaron Park, Lira Park.

The distribution of green space is good compared to other Romanian cities.

Events[edit]

Citadel Park, with the 16 century City wall

Several festivals are organised yearly in Sibiu, the most prestigious of them being the Sibiu International Theatre Festival, organized each spring at the end of May. Medieval Festival organized every year in August, reviving the medieval spirit of Transylvania. The Artmania Festival is held every Summer since 2006 and as of 2008 the Rockin' Transilvania Festival is also held in Sibiu. The oldest Jazz Festival in Romania is organized here, as well as the "Carl Filtsch" festival for young classical piano players, the "Astra Film" documentary film festival, the Transylvania calling Festival a Multi Cultural 6 day Open Air Music festival! 26–31 July 2007, a medieval arts festival and many more smaller cultural events.[25] Feeric Fashion Week is also hosted here.

European Cultural Capital[edit]

The designation as a European Cultural Capital for 2007, owed greatly to the excellent collaboration with Luxembourg, but also to what many regard as a miraculous social rebirth taking place in the city during the last years. The Cultural Capital status was expected to bring about an abrupt increase in quantity and quality of cultural events in 2007.

Tourism[edit]

In 2007, Sibiu was the European Capital of Culture (together with Luxembourg). This was the most important cultural event that has ever happened in the city, and a great number of tourists came, both domestic and foreign.

The city of Sibiu and its surroundings are one of the most visited areas in Romania. It holds one of the best preserved historical sites in the country, many of its medieval fortifications having been kept in excellent state. Its old center has begun the process for becoming a UNESCO World Heritage Site in 2004. Sibiu and its surrounding area have many significant museums, with 12 institutions housing art collections, paintings, and exhibits in decorative arts, archeology, anthropology, history, industrial archeology and history of technology and natural sciences.

The city also lies close to the Făgăraș Mountains - a very popular trekking destination, close to the Păltiniș and Arena Platos ski resorts - popular winter holiday destinations, and it is at the heart of the former Saxon communities in Transylvania renowned for its fortified churches.

Fortified Lutheran church of Gușterița neighbourhood, 13th century

Since 2007, a traditional Christmas market is held for the first time in Sibiu, Romania. The first of its kind in Romania, it is inspired by Viennese Christmas markets, being a project developed by the Social Attaché of the Austrian Embassy in Romania, dr.h.c. Barbara Schöfnagel It was held in the "Lesser Square" (Piața Mică) with 38 small stalls, a small stage and an area dedicated to children, having several mechanical attractions installed there. Since 2008 the market is held in the "Grand Square" and grew to a number of about 70 stalls, a bigger stage was set up, where Christmas carols concerts are held. An ice skating rink and a children's workshop are also attractions which have been added in the following years.[26] It was the first Christmas Market in Romania,[27] but soon other Christmas markets emerged across the country. In 2013, the Sibiu Christmas markets was included in the "15 Of the Most Beautiful Christmas Markets in Europe"[28]

Main sights[edit]

Sibiu Lutheran Cathedral

Market in the Large Square, 1790, painting by Franz Neuhauser the Younger

Christmas Fair in the Large Square

Coopers Tower

The House with Caryatids on Mitropoliei Street, constructed in 1786

Pasajul Scărilor (Passage of the Stairs) in the Lower Town

Much of the city's aspect is due to its position, easily defensible, but allowing horizontal development. The old city of Sibiu lies on the right bank of the Cibin River, on a hill situated at about 200 m from the river. It consists of two distinct entities: the Upper Town and the Lower Town. Traditionally, the Upper Town was the wealthier part and commercial outlet, while the Lower Town served as the manufacturing area.

The Lower Town

(German: Unterstadt, Romanian: Orașul de jos) comprises the area between the river and the hill, and it developed around the earliest fortifications. The streets are long and quite wide for medieval city standards, with small city squares at places. The architecture is rather rustic: typically two-storey houses with tall roofs and gates opening passages to inner courts.

Most of the exterior fortifications were lost to industrial development and modern urban planning in the mid-late 19th century; only four towers still exist. A building associated with newer urbanism of the period is the Independența Highschool.

This area has the oldest church in the city, dating back to 1292.

The Upper Town (German: Oberstadt, Romanian: Orașul de sus) is organised around three city squares and a set of streets along the line of the hill. As the main area for burgher activities, the area contains most points of interest in the city.

Grand Square

(German: Großer Ring, Romanian: Piața Mare ) is, as its name suggests, the largest square of the city, and has been the center of the city since the 15th century. At 142 meters long and 93 meters wide, it is one of the largest ones in Transylvania.

Brukenthal Palace, one of the most important Baroque monuments in Romania, lies on the north-western corner of the square. It was erected between 1777 and 1787 as the main residence for the Governor of Transylvania Samuel von Brukenthal. It houses the main part of the National Brukenthal Museum, opened in 1817, making it one of the oldest museums in the world. Next to the palace is the Blue House or Moringer House, an 18th-century Baroque house bearing the old coat of arms of Sibiu on its façade.

Interior of the Sibiu Orthodox Cathedral

On the north side is the Jesuit Church, along with its dependencies, the former residence of the Jesuits in Sibiu. Also on the north side, at the beginning of the 20th century an Art Nouveau building was constructed on the west part, now it houses the mayor's office.

Liars Bridge in Lesser Square, erected in 1859

Next to the Jesuit Church on the north side is the Council Tower, one of the city's symbols. This former fortification tower from the 13th century has been successively rebuilt over the years. The building nearby used to be the City Council's meeting place; beneath it lies an access way between the Grand Square and the Lesser Square.

On the south and east sides are two- or three-storey houses, having tall attics with small windows known as the city's eyes. Most of these houses are dated 15th to 19th centuries, and most of them are Renaissance or Baroque in style.

Lesser Square (Small Square, German: Kleiner Ring) as its name implies, is a smaller square situated in the northern part of the Upper Town. After the 2007 rehabilitation there has been an increase in the number of small businesses such as pubs and restaurants in this area.

The square is connected to the other two squares and to other streets by small, narrow passages. The main access from the Lower City is through Ocnei Street, which divides the square in two. The street passes under the Liar's Bridge - the first bridge in Romania to have been cast in iron (1859).[29]

To the right of the bridge is another symbol of the city, The House of the Arts, a 14th-century arched building formerly belonging to the Butchers' Guild. On the left side of the bridge is the Luxemburg House, a Baroque four-storey building.

Huet Square

is the third of the three main squares of Sibiu. Its most notable feature is the Evangelical Lutheran Cathedral in its center. It is the place where the earliest fortifications have been built in the late 12th century or early 13th century. The buildings around this square are mainly Gothic. On the west side lies the Brukenthal Highschool, in place of a former 14th-century school.

The Thick Tower

The Fortifications

of Sibiu made the city one of the most important fortified cities in Central Europe. Multiple rings were built around the city, most of them out of clay bricks. The south-eastern fortifications are the best kept, and all three parallel lines are still visible. The first is an exterior earth mound, the second is a 10-meter-tall red brick wall, and the third line comprises towers linked by another 10-meter-tall wall. All structures are connected via a labyrinth of tunnels and passageways, designed to ensure transport between the city and lines of defense.

In the 16th century more modern elements were added to the fortifications, mainly leaf-shaped bastions. Two of these survived to this day, as the Haller Bastion (all the way down Coposu Boulevard) and "Soldisch Bastion".

The Passage of the Stairs, leads down to the lower section of Sibiu. It descends along some fortifications under the support arches. It is the most picturesque of the several passages linking the two sides of the old city.

Health

Health[edit]

Sibiu County Hospital

Sibiu is one of the important medical centers of Romania, housing many important medical facilities:

•County Hospital

•Academic Emergency Hospital;

•Hospital of Pediatrics;

•Military Emergency Hospital;

•CFR Hospital (Romanian Railways Hospital);

•"Dr. Gheorghe Preda" Psychiatry Hospital

•other smaller private clinics

The city also houses one of the largest private hospitals in the country, Polisano.

Education[edit]

Samuel von Brukenthal High School

Sibiu is an important centre of higher education, with over 23,000 students in four public and private higher institutions.[30][31][32][33]

The Lucian Blaga University of Sibiu was founded in 1990, with five faculties: Engineering and Sciences; Language Sciences; History and Law; Medicine; Food and Textile Processing Technology. Nowadays, there are 10 faculties and departments.

Sibiu also houses the Nicolae Bălcescu Land Forces Academy and the Military Foreign Language Center as well as two private universities, Romanian-German University and Alma Mater University.

In Sibiu there are 20 educational institutions on the secondary level, the most important of which are:

•Gheorghe Lazăr National College - sciences and informatics, first opened in 1692 as a Jesuit College

•

Gheorghe Lazăr National College

Samuel von Brukenthal National College - German language high school

•Octavian Goga National College - social sciences, sciences, informatics and linguistics

•Onisifor Ghibu Theoretical Highschool - informatics, sciences, sports, theater and linguistics

•Andrei Șaguna National College - training for school teacher and linguistics

•Constantin Noica Theoretical Highschool - sciences and linguistics

•Daniel Popovici Barcianu Highschool - agricultural sciences

•George Baritiu National College - economic sciences

•Nicolae Iorga Elementary school

•Regina Maria Elementary school

St. Pölten, Lower Austria (the art of historic buildings of Sankt Pölten), Sinagoga, Synagogue, Synagoga, Synagoge (Doktor-Karl-Renner-Promenade) by Josef Lex (El buen soldado Švejk)

(further information and pictures are available by clicking on the link at the end of section and of page!)

Synagogue St. Pölten

Exterior of the former St. Pölten Synagogue

The St. Pölten Synagogue was up to the November pogroms in 1938 the main synagogue of the Jewish Community of St. Pölten. The In the years 1912 to 1913 by the architects Theodor Schreier and Viktor Postelberg built Art Nouveau synagogue is located in the Dr. Karl Renner Promenade in St. Pölten and is now the headquarters of the Institute for Jewish History in Austria.

History

The old synagogue, which was demolished in favor of the new one

The first prayer rooms of in 1863 founded Jewish Community of St. Pölten were located in the premises of the former Kattunmanufaktur (cotton manufactory), the later Gasser factory at school ring. A building of this factory was adapted between 1885 and 1890 as a synagogue. This adaptation was associated with considerable effort, which is why the members of the Jewish community already since 1888 endeavoured to get a new building, until 1903 but this was rejected by the township. At this time, a redesign of the promenade was planned, which was only possible by demolition of the in the street course standing synagogue. After lengthy preparations, a preparatory committee was elected in April 1907, which in addition to building site and plans the necessary financing should provide.

1911, a building committee was chosen and agreed with the community a real estate exchange. At the architectural competition, which was tendered in the same year, participated among others Jacob Modern, Jacob Gartner, Ignaz Reiser and Theodor Schreier. The latter was together with his partner Viktor Postelberg by the Committee commissioned another project for a temple with room for 220 men and 150 women to submitt, which was then realized. The conditions for the planning work developed Rudolf Frass. The necessary funds were raised through collections and appeals for donations throughout the country, so that could be started with the construction in June 1912. The gilding works were carried out by Ferdinand Andri. After little more than a year of construction and 141 390 crowns total investment, the synagoge on 17 August 1913 was solemnly consecrated.

Destruction

On the night of 9th to the 10th November 1938 invaded several SS and SA members the rooms of the synagogue, smashed windows and set fire. The that night caused damage was limited, as the fire could be extinguished relatively quickly. On the following morning 300 to 400 people gathered, some in civilian clothes, in front of the building. They moved with the singing of political songs in the sacred spaces and destroyed them completely. The windows were broken, Torah scrolls, Torah shrine, benches and images burned. Even water pipes and door posts were torn from the walls. The books of the extensive library were largely thrown on the road and burned. Some people climbed the dome and tore the Star of David of the roof .

Almost all of the movable property of the Jewish community was destroyed or stolen . A limited set of books were placed in the city archives, the City Museum there's still a donation box and a painting of Emperor Franz Josef, which hung in the entrance area. A single prayer book is since 1998 owned again by the Jewish Community.

In the following years the side rooms of the building of the SA were used as an office, the interior was used among other things as furniture warehouse. 1942, the synagogue became the property of the city of St. Pölten, which used it as a detention center for Russian forced laborers. In last fightings and bombings in 1945 the building was further damaged.

1945

The Red Army used the former synagogue as a grain storage until it was in 1947 returned to the city. The application of restitution was recognized in 1952 by the city council, which then returned the synagogue to the Jewish Community Vienna. In the following years, the former house of God continued to decay as after the Holocaust no Jewish community in St. Pölten could establish. The domed roof showed severe damage, individual components were threatening to collapse completely and through the boarded windows came rain and snow into the by dovecotes populated house.

In 1975, the Jewish Community Vienna (IKG - Israelitische Kultusgemeinde Wien) offered the city of St. Pölten to purchase the synagogue, which did not accept the offer due to lack of uses. Then the Jewish Community Vienna wanted to initiate the demolition, but this was prevented by the fact that the Federal Monuments Office the building put under monument protection. Then it was renovated from 1980 to 1984. Here, for example, many wall paintings were recovered, on the other hand, some structural changes were made (especially removal of water basins for the ritual washing of the hands), since it was clear from the beginning that the building would not be used as a synagogue, but as an event center.

Since 1988 in the premises of the former synagogue the Institute for Jewish History of Austria is located, further regular events are realized. The original function the synagoge never could fulfill again, as too few Jews returned after the Holocaust to St. Pölten.

On the occasion of the 100th anniversary of the synagogue the City Museum in St. Pölten 2013/14 the building dedicates its own special exhibition. In doing so there is also shown a recently found photo of the interior before the destruction. It is also pointed out that the synagogue due to lack of funding already again is abandoned to a certain decay.

The St. Pölten rabbi

Interior of the synagogue with part of the dome ceiling, in the center of the former shrine

Name Period of office

Moritz Tintner 1863-1869

Adolf Kurrein 1873-1876

Samuel Marcus 1876-1878

Adolf Hahn 1878-1882

Jacob Reiss 1882-1889

Bernhard Zimmels 1889-1891

Leopold Weinsberg 1891-1897

Adolf Schächter 1897-1934

Arnold Frankfurt 1934-1936

Manfred Papo 1936-1938

Building description

Outside

The dominant element of the synagogue is the octagonal, completed by a large dome main building, to which the eastern and western side wings are attached. Connected to the synagogue is the former school building in Lederergasse 12.

Main tract

The main tract houses the former sanctuary. The facade is divided into a low ground floor, high upper floor and the dome. At the facade facing the street can be found in the two storeys each three windows, that are executed on the ground floor as low segmental arch windows with above running continuously cordon cornice. The windows on the upper floor, however, are high, rectangular windows, the space between them is divided by pilasters. The original stained glass windows were destroyed from 1938, today, clear glass can be found in the windows. Directly under the dome there is a large segment gable with representations of the Tablets of the Law, set in floral vines. Beneath it is written in Hebrew the text of Psalm 118, verse 19.

" פתחו לי שערי צדק אבא בם אודה יה "

"Open to me the gates of righteousness: I will enter and give thanks to God".

- Inscription under the law boards.

On the short, lateral oblique walls of the main building on the ground floor there are side entrances, in the transition to the dome there are embedded large oval windows.

Side wings

To the eastern side wing, which in comparison to the western tract is designed very narrowly, connects the former school building and was once home to the shrine. At the by segment gable and barrel roof completed tract can be found on the northern front in the upper floor a tall, rectangular window of the same type as that of the main wing. At the eastern side a round window is embedded, in the ground floor begins a connecting room to the school building.

The western side wing is identical to the east in the basic form, but it is significantly wider. In addition, in front of it there are entrance buildings. Both at the road side and on the opposite side between the main wing and the western annex are wide projecting semi-circular staircases, next to it can be found till half the height of the first upper floor each a buttress with two low windows. Road side, this buttress is preceded by a walk-in porch, which on three sides is open round-arched. The with triangular gable completed building ends in a concave enclosure, where a commemorative plaque is attached today. The west facade repeats the design of the main building, it can be found on the ground floor low segmental arch windows with above running continuously, jagged cordon cornice. On the first floor the windows are, however, significantly lower than in the main wing.

Former school building

The former school building has its main facade towards Lederergasse and there has the number 12. The road-side main facade of the two-storey building is divided into four axes. The window on the ground floor are round-arched disigned, the ones on the upper floor rectangularly. Between side wing of the synagogue and the main wing of the school building there is a tower-like, curved stairwell risalit up to the attic.

Gallery

Wall lamp

Wall ornament

de.wikipedia.org/wiki/Synagoge_St._P%C3%B6lten

(further information is available by clicking on the link at the end of page!)

History of the City St. Pölten

In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.

Tip

On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.

Prehistory

The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!

A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.

Roman period, migrations

The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.

The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.

The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.

Middle Ages

With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.

In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:

A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".

He must not be forced to rid himself of the accusation by a judgment of God.

A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.

From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.

The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.

Modern Times

In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.

That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.

To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.

A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.

Baroque

After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.

In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.

Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.

Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.

1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.

The 19th century

Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.

Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.

The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.

In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.

The 20th century

At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.

What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.

The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.

After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.

This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.

Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).

European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".

On the way into the 21st century

Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).

www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...

Dubai, August 2011 by Mispahn

4 4

View from Burj Khalifa

DSC_5894 by Fabio Cunha

Tempio di Castore e Polluce by Renato Torii

Ollie isn't sure about all this white stuff. #firstsnowday by Katie Morrow

via Instagram ift.tt/1I1OtJA

Bishop's Cleeve, St. Michael by matthew slade

The west door.

Unfortunately for me, I could not get inside of Bishop's Cleeve church on this particular Saturday, as there was a wedding taking place. I had to make do with the exterior of this church, which luckily has some interesting features.

Bishop's Cleeve is a medium sized town just to the north of Cheltenham. I had made my way there from Tewkesbury, across flat countryside, with the Cotswold hills rising to the east. It was around midday by the time I arrived, and the weather was fine, despite storms being forcast.

I drove in through new housing estates of the usual mock georgian variety that have sprung up all over the country in the last 20 years. I could have been anywhere. It was not until I reached the centre of town that some local character appeared, with older houses built from local stone.

St. Michael's itself is quite large, and sits in a spacious and well maintained churchyard. The chancel is 14thc. decorated, and has a lovely east window which I photographed enthusiastically, only to find out later that it is 19thc. Still the tracery is very beautiful I think. The central tower was rebuilt in the 18thc. after the original one collapsed. But it is the norman features of this church, which make the exterior really special. I first looked at the south doorway, which is inside a nice little porch with norman arcading. The upper arch of this doorway is decorated with two snakes, each curled around, with their downward facing heads eating birds. There is also two orders of chevrons and one that is embattled, and good carved capitals. The west front is also norman, and has another door with chevrons and snakes, not quite as fine as the south one though.

I left St. Michael's a little disappointed that I hadn't seen the interior. Apparently there is an interesting room above the porch which is worth seeing. I might have to come back at some point.

Former CBC Bank, Cootamundra NSW, built 1887 - see below by Paul Leader - Paulie's Time Off Photography

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The Commercial Banking Company of Sydney Limited was a bank based in Sydney, Australia. It was established in 1834, and in 1982 merged with the National Bank of Australasia to form National Australia Bank.

This building is heritage listed with the Register of the National Estate. Description, and details, can be found here:

www.environment.gov.au/cgi-bin/ahdb/search.pl?mode=place_...

Tilted Facade by Sarah LeFeber

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The Minster Church of St Nicholas, Great Yarmouth, Norfolk by Jelltex

I thought I knew Yarmouth, but I heard in a discussion about what was the largest parish church in England, that Great Yarmouth Minster was one that laid claim to that accolade.

Minster? In Yarmouth?

But seems there is much to the town I did not know, and clearly it needs to be further explored. But whilst in the area, riding on trains, I took and hour out to walk from the station to the Minster to have a look, if it was open.

Maybe they are more welcoming to visitors now, but two boards outside announcing the fact, so I went in and was stunned at the size of it, too much to take in really, but it was full of light and I was given a very warm welcome. This made a very lasting impression.

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The Norman-era Minster Church of St Nicholas in Great Yarmouth remains, due to its floor-surface area, England's largest parish church.[1] It was founded in 1101 by Herbert de Losinga, the first Bishop of Norwich,[2] and consecrated in 1119. Since its construction, it has been Great Yarmouth's parish church. It is cruciform, with a central tower, which may preserve a part of the original structure. Gradual alterations effectively changed the form of the building. Its nave is 26 feet (7.9 m) wide, and the church's total length is 236 feet (72 m).

In December 2011, the Bishop of Norwich officially designated it a Minster Church. It is not only used for religious services but is a hub for various other regional and civic events, including concerts by choirs, orchestras and other musical ensembles, art exhibitions and, during festivals and fayres, the church opens permitting stalls and traders inside.

The building, very possibly the town's oldest, is also its most visible, historic landmark. It sits in the central area of Great Yarmouth, close to the house of Anna Sewell.[2] The Transitional clerestoried nave, with columns alternately octagonal and circular, was rebuilt in the reign of King John. A portion of the chancel is of the same date. About fifty years later the aisles were widened, so that the nave is now, rather unusually, the narrowest part of the building. Immediately adjacent are two main graveyard areas: the Old Yard lies directly east behind the church, while the very substantial New Yard stretches for about half a mile to the north.

A grand west front with towers and pinnacles was constructed between 1330 and 1338, but a plague interrupted building extension plans. In the 16th century the ornamental brasses were cast into weights and the gravestones cut into grindstones. Within the church there were at one time 18 chapels, some maintained by guilds, others by private families, such as the Paxtons. At the Reformation the chapels were demolished and the building's valuable liturgical vessels sold off, the proceeds spent to widen the channel of the harbour.

During the Commonwealth period, the Independents appropriated the chancel, the Presbyterians the north aisle, while Churchmen were allowed the remainder of the building. The interior brick walls, erected at this time to separate the different portions of the building, remained until 1847. In 1864 the tower was restored, and the east end of the chancel rebuilt; between 1869 and 1870 the south aisle was rebuilt; and in 1884 the south transept, the west end of the nave and the north aisle underwent restoration.

During the Second World War, the building was bombed and nearly destroyed by fire. It was rebuilt by the architect Stephen Dykes Bower and re-consecrated in 1961. During reconstruction, the church temporarily used St Peter's Church on St Peter's Road. When St Nicholas re-opened, attendance at St Peter's declined until the 1960s, when a growing Greek community had use of it, and in 1981 it became St Spiridon's Greek Orthodox Church.

On 2 October 2011, the Lord Bishop of Norwich Graham James raised St. Nicholas to the status of a Minster Church, so marked on 9 December 2011 during the town's Civic Carol Service. Its formal title is now the Minster Church of St. Nicholas, Great Yarmouth.

On 13 October 2014 a memorial stone was unveiled to commemorate the deaths of thirteen people in 1981 Bristow Helicopters Westland Wessex crash.

en.wikipedia.org/wiki/Great_Yarmouth_Minster

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I do like Great Yarmouth. More than anywhere else in East Anglia, with the possible exception of Kings Lynn, you feel that this is a place which has broken the surly bonds of proximity to London, which is, after all, fewer than 150 miles away, and instead yearns out for the sea, and Europe. Yarmouth takes its name from the mouth of the River Yare: tightly crammed onto a narrow tongue of land, surrounded on three sides by water, it retains its endearingly shabby character and a sense of its own singular history, despite the best efforts of the Luftwaffe and the Borough planners, who over the last half-century must rank as some of the most neglectful and bone-headed planners of any of England's medium-sized towns.

Great Yarmouth has a seedy brashness, a jollity which overwrites the hard times it has suffered, and it has suffered indeed: the town lost a greater percentage of its houses to German bombing during the Second World War than any other town in England. The disappearance of the fishing industry led to an unemployment rate of mining town proportions, and the rugged working class character of the town, without any significant areas of middle class villas or suburban metroland, has often been a poor advocate for itself.

Can there be a more hauntingly lovely town centre street in East Anglia than South Quay? On one side are the confident 19th and early 20th century buildings, the town hall, the banks, the merchants' houses, the town pubs, while on the other side is the quay of the steely, silent Yare, the great ships parked opposite the buildings. For Great Yarmouth is still a major port, and the warehouses on the Southtown side remind those who pass beneath the great red brick buildings on the far bank exactly where all this prosperity came from.

And a twenty minute walk will take you across the heart of the town to Yarmouth's wide, white, sandy beaches, for today this is above all else a seaside town, of course. And while the beaches are by no means as lovely as those of Lowestoft ten miles to the south, nothing can beat Yarmouth for the sheer number of its amusement arcades, its fairgrounds, its candy floss stands and its cheap tat shops. Kiss me quick and squeeze me slow: this feels like the seaside used to, like it ought to, before we got all sophisticated about such matters. It reminds me of my childhood. In summer, all Norwich seems to come here for a cheap and cheerful day out, and you cannot get a seat on the train for love nor money.

When I first knew Great Yarmouth as a child in the 1970s, the roads to the north of the town centre were lined with small hotels, and while these certainly still exist, the days when thousands of people came to Great Yarmouth for a two week holiday are now gone. The former hotels are now residential care homes, or divided up into flats and bedsits, which are still not called apartments, thank goodness. The vast coach park immediately to the north of the town centre is still discernible as the site of Yarmouth Beach station, which brought the holiday-makers here. In those days, Great Yarmouth had three railway stations, but now there is only one, with its single line playing host to an hourly shuttle into Norwich.

That the demand for cheap meals and takeaway food has not diminished is testified to by the large population of Greeks, mainly from Cyprus; they started arriving here during the days of the fascist dictatorship and the war in the 1970s. The vast former Anglican parish church of St Peter, redundant in the 1980s, has been happily reborn as the Greek Orthodox church of St Spiridon. Today, especially in the area to the south of the town centre, you are as likely to hear Greek spoken on the streets as English. And what English! This must be one of the last towns in England with a strong, identifiable accent of its own - people do not have Norfolk accents here, they have Great Yarmouth accents, which stand out in the streets of sophisticated Norwich as much as voices from Birmingham or Newcastle-upon-Tyne.

People who have never been here know Great Yarmouth from books, especially the opening few chapters of Charles Dickens's David Copperfield, for here it was that the Peggoty family lived in an upturned boat on the beach, and here it was that David was happy. Dickens was writing in the 1840s about a Great Yarmouth of a quarter of a century earlier, and you will find few traces of Dickens's Yarmouth today. Great Yarmouth underwent a massive building boom in the 1860s, and this and the modern era define its character above all else. But wandering around the Middlegate area you may be struck by how, among the dull and often crass buildings of the 1960s and 1970s, there is occasionally some extraordinary survival, a 16th century house wider at the top than the bottom, perhaps, or an early medieval tollhouse, or a grand 18th century frontage with a perfunctory building tacked on behind. This was the heart of the area destroyed by a succession of German bombing raids in 1941 and 1942. Because of Great Yarmouth's singular situation on a spit of land, its population lived crammed into narrow alleys called rows, many early medieval in origin, the bulk built in the 15th and 16th centuries. This unique medieval townscape of perhaps 140 rows survived up until those fateful nights. It was almost completely destroyed, with a consequent heavy loss of life. Hauntingly, several bombed buildings have been left exactly as they were after the destruction, in a railed off area behind the replacement Unitarian church.

It is easy to forget quite how prosperous Great Yarmouth was during the medieval period. As Bill Wilson reminds us in the revised Pevsner, at the time of the 1334 merchant's tax register, Yarmouth raised more in the subsidy than either Norwich or Lynn, which a hundred years before had been exceptionally prosperous places. Only York, Bristol and London were richer than Yarmouth on the eve of the Black Death; the town had provided three times more sailors for the attack on Calais than London, and in 1348 there were 220 boats on the Yare river mouth. But the following year the Black Death wiped out perhaps two-thirds of the townsfolk, and it would take Yarmouth hundreds of years to recover its former prosperity.

It was at this time that the town walls were completed, and it is still possible to trace the course of the walls today, especially to the south of the town. On three sides, the walls defended Yarmouth from the sea, on which it resolutely turned its back; on the river side, there was no wall. Within the walls, at its widest and most northerly point, the town had its market place, still a busy one, and further north than that, looking down the length of the market place, over the rows, the warehouse, along the river and out to the sea, they built a great church, dedicated to the patron saint of sailors, St Nicholas.

A hundred miles up the east coast is the great port city of Hull, which dwarfs the town of Great Yarmouth, but with which Great Yarmouth otherwise shares very much in common. There, the great late 15th Century church of Holy Trinity is claimed as the country's biggest, which may well be true in terms of its sheer bulk. But here in Yarmouth the medieval merchant wealth had done better than that, and here it was that, in terms of floor area, the burghers of Yarmouth built the largest church in England.

Whereas the Hull church towers over and dominates the medieval street plan, here in Great Yarmouth St Nicholas seems to sprawl, its width and length dwarfing the central tower. Holy Trinity is fully in proportion, a typical late medieval church writ large, but St Nicholas is not. This great building has an idiosyncrasy, and to visit it is to see a church in a new way. There are several reasons for this, not least that this building was largely complete a full 150 years before Holy Trinity. There is no clerestory, and hardly any of the language of Perpendicular which would inform and shape so many of England's great urban churches. The setting of the building below the level of the market place means that the overall impression is of the green of the vast copper roofs. To see it in the low sun of a cold winter's afternoon, with the stone and flintwork glowing and the frost beginning to gleam on the parapets, is to see one of East Anglia's most beautiful urban sights, I think.

Walking around the outside of the building is a not inconsiderable task, and you soon become acquainted with the rhythm of the flintwork, windows and stone dressing, which make it feel that it is all of a piece, which is an illusion, although there are reasons for it. The west front is vast, but hidden by trees and in any case visible only from a minor road.To the east of the chancel is a haunting 1840s gravestone which tells us that beneath this Stone rests two Babes that brought Happiness to their Parents although they are Dead. I wondered if Dickens had ever spotted it. And as you come back round to the south porch you'll find one of England's most unusual 19th century gravestones. It remembers George Beloe, a nine year old boy who was unfortunately drowned when the suspension bridge over the Bure, just outside of Yarmouth, collapsed in 1845. A large crowd had gathered on the bridge to watch a clown float down the river in a barrel pulled by geese, and the bridge collapsed when they surged from one side to the other as he went under. The full death toll was never known, because many of the victims must have been washed out to sea by the fast-flowing current. Seventy-nine bodies were recovered, most of them children. What makes George Beloe's headstone extraordinary is that it depicts, in stone relief, the collapse of the bridge. Now eroded by weather after more than a century and a half, you can still make out the two ends of the bridge, and the eye of God looking down as the deck collapses into the Bure.

Having made your circumnavigation, you can now step through the huge porch, which faces the market place, into the interior of this extraordinary building. You may know already what to expect, but if you do not then you will be struck by how outstandingly light and clean the interior is. As your eyes adjust to the great distances, you may then notice the curious pattern of the arcades which open and close vistas as you begin to wander, as if this was a maze of vast, low rooms. And then you would notice the jaunty, bleached Festival of Britain feel of the furnishings, the acreage of modern glass, most of it very good, and the uncluttered simplicity, and then it will strike you - there is nothing old here.

On the night of 24th June 1942, St Nicholas was completely destroyed by German bombing. All that was left standing were the outer walls and the tower, in danger of collapse. The stonework was utterly calcined by the fierce heat. In a town which had suffered so much over the previous twelve months, it was a greivous loss, and it would be almost twenty years before St Nicholas was open for business again. Essentially, it had to be rebuilt, using the surviving walls and tower. The chosen design was that of a relatively minor architect, but a man who would be responsible for the two great East Anglian church architectural controversies of the 20th Century, Stephen Dykes Bower.

It is inevitable that a comparison should be made with Coventry Cathedral, which also replaced a bombed predecessor. The two buildings are about the same size, the work was carried out over the same period of years in the late 1950s, and the two buildings opened just a year apart. But while Basil Spence's Coventry Cathedral is a fabulous, iconic structure in the spirit of the age and in the full flush of post-war enthusiasm, St Nicholas at first appears little more than an exercise in pedantic and ponderous medievalism. As Bill Wilson points out, the £315,000 awarded by the War Damage Commission here was but a quarter of the money allotted to Coventry, but he also recalls Pevsner's scathing attack on the design: What an opportunity was lost! What thrilling things might have been done inside! A modern interior, airy, noble, of fine materials could have arisen to affirm the vitality of C20 church architecture inside the C13 walls. How defeatist does the imitation-Gothic interior appear, once this has been realized!

And Pevsner was not alone. The main criticism seemed to be that, while the opportunity had not been taken to produce something brave and modernist, the rebuilding was also not true to the principles and details of the Gothic which had been there before. Instead, Dykes Bower made up his own Gothic, particularly in the arcades and tracery. It is a simple Gothic, stripped of detail and without the clutter beloved of the 19th Century revival. Coventry Cathedral's design was startling and newsworthy, and the great artists of the day were commissioned to provide its fixtures and fittings. It has come to represent a city which otherwise projects a rather vague image to the world. But Great Yarmouth is not Coventry, and there is a big difference between the urban church of a relatively small and insular town and the Cathedral of a great diocese. It is perhaps unfair that Coventry's Cathedral is still viewed today as a phoenix risen from the ashes in a way that Great Yarmouth's church can never be, despite the near-identical circumstances. But that's not all. Bill Wilson, writing in 1991, concludes that the problem with the concept is the lack of assertive detail and the fact that so large a space needs to be filled with plenty of furnishings. Unhappily, there are hardly any...

And yet, and yet. When I step into St Nicholas now, I find myself thrilled by the cool light, the almost monastic simplicity. Apart from the hideous organ, the open spaces are barely punctuated, and there is something timeless and eternal about the silence. Dykes Bower's arcades are hardly there, vanishing into the whiteness above and the simplicity of the bare wood roofs. Through the crossing the jewel-like chancel glows, almost beckoning. From the other direction the west window does exactly the same. What Pevsner could not have foreseen is that this building is entirely suited to modern Anglican spirituality which has extended in recent years beyond mere congregational worship. And he also could not have foreseen how we would come to view the simplicity of Dykes Bower's design, the white walls, the lack of detail, the stripped, bleached wood and the cool, hard floors as being exactly symptomatic of the 1960s, the decade which gave this new building its birth. For this, I like it very much, not least because it was reopened on 8th May 1961, the day I was born.

Perhaps best of all I like the range of glass around the east and west windows by Brian Thomas. They are all of a piece, installed for the reopening. There can be few modern schemes outside of the cathedrals on so vast a scale, and yet they are elaborate, detailed and intimate. This great, light building is the perfect setting for them. The east window depicts the Crucifixion, surrounded by scenes from the Passion. In the north aisles are the joyful mysteries of the Christ story, from the Annunciation to the Presentation, while in the south aisles is the salvation story from Adam and Eve to Christ's mission. At the west end are the sacraments.

There are effectively four aisles, two either side of the church, which extend up to beyond the crossing. The aisles each side become conjoined as they flank the nave itself, making the nave appear narrow and tall in comparison, despite what we know to be true of it. The triple lancet of the west window aids this illusion. Below it, the Norman font is from a redundant Wiltshire church, and looks most un-East Anglian. There are small artworks and minor survivals dotted about, but they do not intrude. The early 18th century pulpit came from St George, a few hundred metres to the south, now closed. The pews in the central part of the nave are also from St George, and although they are simple they strike a jarring note. Modern chairs would be better. Dykes Bower screened off the south chancel chapel to create a space for private prayer, and this doesn't work as well as it might, creating an obstruction within the otherwise openness of the east end. The garishly painted organ is also his.

But this is a place to wander - despite the vast scale I found I had circumnavigated the interior three times without really noticing. It struck me then quite how much Dykes Bower must have intended this - he was designing a great town church interior, and looking across the water to Holland and Belgium as much as to anywhere else in England. He wanted a church that opened onto the market place, into which shoppers could come for a sit down and even a prayer, a building whose open spaces would be wandered through. Having told you all of this, I expect you are already making plans to come to Great Yarmouth and visit this church for yourself as soon as you possibly can. You may be aghast to learn, then, that this wonderful structure is hardly ever open to the public. At present, you can only visit on a Saturday morning: otherwise, it is merely the private, vastly-subsidised venue of a small group of Sunday worshippers. Nothing could be more short-sighted, and little could be more shameful.

For, while the mission of the Church of England is increasingly seen as to the whole people of God and not just to its registered members, and churches all over England are making themselves open to pilgrims and strangers wanting to feel a sense of the numinous and even perhaps to be open to a spirituality which may or may not be Christian but which is at least a yearning for God, the people of Great Yarmouth are locked out of their own church from day to day. They can at least visit the Catholic church of St Mary, which has a sign saying, curiously, that the church is open as often as possible, but that is a small Victorian building, and cannot compare with St Nicholas which is, after all, the heart and soul of Great Yarmouth's history, a touchstone down its long generations.

But if you can get inside, and if you stand beneath the crossing looking westwards, the view is typical: clean, clear, full of light and gravitas with a sense of prayerfulness and even of mystery. There is enough to convince. This building does not feel defeatist; if anything, it was a rather brave approach to the problem. But few people saw it like that at the time, and few people did in the years after. It must be said that Dykes Bower did not go out of his way to win friends in the modernist world - as his wikipedia entry says of him, he was a devoted and determined champion of the Gothic Revival style through its most unpopular years. And yet, he had the last laugh. When he finished here, he spent the next two decades overseeing the transformation of the church of St James at Bury St Edmunds into a fitting cathedral for the Diocese of St Edmundsbury and Ipswich. His is the chancel there, his the transepts, the side chapels and the north ambulatory, all in his own faux-gothic style. And when he died in 1994 he left a cool two million pounds to the Diocese for the construction of a huge Gothic central tower over the crossing of the cathedral. The Diocese spent another ten years or so raising the extra needed, which was fairly controversial in those years when the CofE was haemorraging cash left, right and centre. Despite the voices against it, the tower was built, entirely to Dykes Bower's fancy, and the gleaming white edifice now towers over Bury as if it had been there for half a millennium or more.

Simon Knott, October 2010

www.norfolkchurches.co.uk/gynicholas/gynicholas.htm

Tonka1 by mostateparks

GEDSC DIGITAL CAMERA

IMG_1014-2.jpg by Wendy van der Neut

architecture by Thomas Riecken

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architecture

Elipticals shadows by Rafa Calderón

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El edificio del Reichstag en Berlín, que fue construido como la sede del Reichstag en el Imperio Alemán, es la sede del Bundestag desde 1999 tras una gran reconstrucción, a cargo del arquitecto británico Norman Foster. Destaca la cúpula transparente de vidrio que contiene en su interior un mirador.

House by Stephen Trinder

Christchurch, New Zealand

Ptice by Dunja0712

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Birds

Early 2013 Pudong Skyline at Night by Jens Schott Knudsen

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Wien, 3. Bezirk (the art of very historical buildings of Vienna) - Wiener Konzerthaus (casa dei concerti, casa de los conciertos, la maison des concerts, House of concerts), Lothringerstraße (Ehrt eure deutschen Meister - dann bannt ihr gute Geister by alfred lex

Vienna Concert House (2006)

The Wiener Konzerthaus was opened in 1913. It is on the 3rd Viennese district road (Lothringerstraße) at the edge of the Inner City between Schwarzenberg Square and City Park .

Architectural History

Ludwig Baumann planned Olympion Art Show 1908, the main building Concert Hall, detail

1890 for a planned house music festivals should be considered as multi-purpose building to address a broader public than the just 200 meters away traditional Viennese Musikverein. The design by architect Ludwig Baumann for a Olympion contained several concert halls except an ice rink and a Bicycleclub. In addition, an open-air arena should offer 40,000 visitors. The skating rink and its adjacent buildings were realized in 1899 by Baumann plans, the Art Nouveau ensemble but fell in 1960 to a construction of the InterContinental Hotels Group to the victim. The Vienna Ice Skating Club is located on the then reduced by about a third place today. The popular freestyle wrestling at the Haymarket took place here.

Organised by Gustav Klimt and his friends art exhibition Vienna 1908 was held in a temporary exhibition building on the undeveloped site of the later concert hall. The Wiener Konzerthaus was finally built 1911-1913 by the Europe-wide Viennese theater architects Ferdinand Fellner and Hermann Helmer Younger (Office Fellner & Helmer ) in collaboration with Ludwig Baumann.

The theme of the concert hall was:

A facility for the care of fine music, a collection of artistic aspirations, a home for music and a house for Vienna.

On 19 October 1913 the Concert Hall in the presence of Emperor Franz Joseph I with a gala concert of the Vienna Concert Society was opened (now the Vienna Symphony Orchestra ). Richard Strauss composed this be Festive Prelude Op 61. Was combined with this modern work Beethoven's 9th Symphony - the juxtaposition of tradition and modernity should be so much in the first concert of the house.

The disintegration of Austria-Hungary brought tremendous social upheaval and financial crises - and thus flexibility and versatility was also necessary for lack of money. In addition to classical repertoire, there were in the 1920s and 1930s, important world premieres (including Arnold Schoenberg and Erich Wolfgang Korngold ), concerts with jazz and pop songs, speeches from science to spiritualism and poetry readings (including Karl Kraus ). Dance and ballroom events, some large conferences and world championships for boxing and fencing completed the program.

After the annexation of Austria to the German Reich in 1938, the program for impoverished "non- degenerate entertainment operation ", to many artists remained only the emigration.

After 1945, the concert hall also had the secondary task , " prop up " the bruised Austrian self-confidence in a musical way. In addition to the standard repertoire of classical and romantic and the Viennese Waltz , there were still premieres (eg Schoenberg's oratorio The Jacob's Ladder 1961) and international jazz and pop concerts. From May 1946 spaces for recording studios and administration at the German and in Vienna living music producer Gerhard Mendelson were rented, who is considered one of the most important pop producers in Austria in the postwar period.

After several modifications that changed the original Art Nouveau decoration slightly , the house was restored from 1972 to 1975 to the only slightly altered original plans. From 1998 to 2001 the house was renovated by architect Hans Puchhammer and expanded to include a new concert hall (New Hall) .

From 1989 to 2002 the Vienna Kathreintanz also took place in the concert hall .

Building

Saw the concert at the House of Lorraine Street (Lothringerstraße), the Schwarzenbergplatz

The floor plan approximately 70 x 40 meters large concert hall with the main entrance at the Lothringerstraße and other inputs in the Lisztstraße includes Haymarket (Heumarkt) since the opening three concert halls:

Large hall with 1865 seats

Mozart Hall with 704 seats

Schubert Hall with 366 seats

The new hall (with 400 seats) was not established until the general renovation of 1998 to 2002. The new hall was renamed at the start of the 2009/2010 season in Berio-Saal.

On the home front, the right and left of the entrance, is the inscription

Honor your German Masters, then you are storing good spirits.

Here is a quote from the final chorus for the opera Die Meistersinger von Nürnberg by Richard Wagner.

In all rooms the same time can take place, since they do not affect each other acoustically different concerts.

Inside stands in the foyer of the original model created in 1878 by Kaspar von Zumbusch Beethoven Monument, which is situated opposite the Concert Hall at the Beethoven place. At the staircase there is a relief homage to Emperor Franz Joseph (1913 ) by Edmund Hellmer . Furthermore, a bust of Franz Liszt by Max Klinger to mention in 1904.

The complex of the concert hall and the building is part of the K. K Academy of Music and Dramatic Art (now the University of Music and Dramatic Art). Adjoining rooms for academic teaching purposes this part of the building also contains the Academy theater with 521 seats, which is used as a secondary stage of the Burgtheater world premieres among other modern plays.

Great Hall and Organ

The Great Hall has a capacity of 1116 visitors (ground floor) and additional 361 balconies and boxes, and 388 in the gallery. The auditorium is 750 m2 and 170 m2 of the podium. In the 1960s the hall was optimized by Heinrich Keilholz.

The organ was built in 1913 in the Great Hall of the Rieger organ (Rieger-Orgel) (Jägerndorf, Silesia) built. The instrument is located on the end wall of the big room, but has no visible Prospectus. The organ is located behind a grid and is thus hidden from the visitors. The cone-chest-116 instrument has five registers on manual and pedal works and is the largest organ in Austria. The special features of the organ counts, firstly, that the four manual divisions are swellable. In addition, the organ comprises a (swellable ) remote work with separate pedal. Stylistically, the organ is "Alsatian Organ reform " aimed at the so-called ideal of where along the lines of major instruments of Aristide Cavaillé -Coll, the strong voices are divided into two manuals. The tracker action is electro-pneumatic. For the inauguration of the instrument Strauss had the " Festive Prelude " for organ and orchestra composed. In 1982 the instrument was restored.

I Hauptwerk C

Principal 16 '

16 drone '

Principal 8 '

Gedackt 8 '

Flute hollow 8 '

Harmonique Flûte 8 '

Fugara 8 '

Gemshorn 8 '

Dulciana 8 '

Nasatquinte 51/3 '

Octave 4 '

Reed flute 4 '

Viola 4 '

Superoctave 2 '

Noise Quinte II 22 /3 '

Cornet III-V 8 '

Mixture V 22 /3 '

III cymbals 2 '

Trumpet 16 '

Trumpet 8 '

Clarino 4 '

Manual II ( swellable ) C-

Viola 16 '

Quintatön 16 '

Principal 8 '

Bourdon 8 '

Flauto Traverso 8 '

Clara Bella 8 '

Viola da Gamba 8 '

Salicional 8 '

Unda Maris 8 '

Octave 4 '

Octaviante Flûte 4 '

Gemshorn 4 '

Quintatön 4 '

Waldflöte 2 '

Sesquialtera II 22 /3 '

Progress . harm. III - V 22 /3 '

Mixture IV 22/3 '

8 'Clarinet

Krummhorn 8 '

Glockenspiel

tremulant

III . Manual ( swellable ) C-

Lovely - Gedackt 16 '

Violin Principal 8 '

Reed flute 8 '

Still Covered 8 '

Vienna Flute 8 '

Quintatön 8 '

Echo Gamba 8 '

Aeoline 8 '

Vox coelestis 8 '

Octave 4 '

Octaviante Flûte 4 '

Delicate flute 4 '

Aeolsharfe 4 '

Gemsquinte 22/3 '

Flautino 2 '

Third, 13/5 '

Larigotquinte 11/3 '

Seventh 11/7 '

Piccolo 1 '

Harmonia aetherea IV 22/3 '

Basson 16 '

Harmonique Trompette 8 '

Oboe 8 '

Vox Humana 8 '

Harmonique Clairon 4 '

tremulant

IV solo work C

16 drone '

Clarinophon 8 '

Double - Gedackt 8 '

Concert Flute 8 '

Solo Gamba 8 '

Fifth tube 51/3 '

Octave 4 '

Solo Flute 4 '

Quinte 22/3 '

Superoctave 2 '

Wholesale Cornett III - V 22 /3 '

Tuba mirabilis 8 '

Ophicleide 8 '

Harmonique Clairon 4 '

V Fernwerk ( swellable ) C-

Delicately Gedackt 16 '

Horn 8 'Principal

Lovely - Gedackt 8 '

Reed flute 8 '

Viola d' amore 8 '

Vox Angelica 8 '

Gemshorn 4 '

Flute 4 '

Piccolo 2 '

Mixture IV 22/3 '

Shawm 8 '

Vox Humana 8 '

tremulant

C- pedal

Principalbaß 32 '

Principalbaß 16 '

Violon 16 '

Subbass 16 '

Echobaß 16 '

Salicetbaß 16 '

Quintbaß 102/3 '

Octavbass 8 '

Gedacktbaß 8 '

Bass flute 8 '

Cello 8 '

Dulcianbaß 8 '

Octave 4 '

Flauto 4 '

Campana III 102/3 '

Mixture IV 51/3 '

Bombard 32 '

Trombone 16 '

Bassoon 16 '

Trumpet 8 '

Basset 8 '

Clarino 4 '

C- pedal distance

Subbass 16 '

Octavbass 8 '

Pairing :

Normal coupling : II / I, III / I , IV / I , V / I, P / I , III / II , IV / II , V / II, I / II , IV / III , V / P, I / P, II / P III / P IV / P

Superoktavkoppeln : II / I, III / I , IV / I , V / I , III / I , IV / I , III / II , IV / II , IV , V, I / P , IV / P.

Suboktavkoppeln : III / II .

Game Help: Free combinations (5 banks by 1000 = 5000 general memories ), storage rack (roll on, Pair of roller coupling to IV of roller, Manual 16 ' down, Reeds off (as buttons ), the main pedal off, remote pedal off (as flip switches ), Einzelzungenabsteller ), Tutti (push button), principal pedal down, Fernwerk pedal from, sills V in expression pedal II coupled (toggle button), kicks, interact with flip switches (switching I-IV of P, normal couplers II-IV to I, roll off ) Registercrescendo (roller for the organist, coupled with a second roller for the registrant ) .

Program

The concert hall is the main venue of the Vienna Symphony , the Vienna Chamber Orchestra and the Vienna Sound Forum. Since 1913 the Vienna Academy of Music has its permanent home of the Konzerthaus. In separate events at the Wiener Konzerthaus other international orchestras, soloists and chamber ensembles in addition to the Vienna Philharmonic regular guest. In addition, there are also numerous other events organizer at the Konzerthaus. So for example the Bonbon Ball, but also concerts in jazz and world music.

The program of the Vienna Konzerthaus also includes some festivals , such as

the Early Music Festival in January resonances

the Vienna Spring Festival

the International Music Festival

Wien Modern in autumn

Between 2003 and 2006, gave the series with the latest music generator .

From 2008, a year early in the season with a festival held focus " on a particular region or cultural community " [2 ] . The first event in September 2008, the two-day festival Spot On : Yiddishkeit , in which a cross section is presented by the diversity of Jewish music creation.

de.wikipedia.org/wiki/Wiener_Konzerthaus

8/365 - 20140701 by [verfall]

haben die beiden rötlichen Balken eigentlich eine tiefere Bedeutung?

Winery, by Eileen Rollins

台南知事官邸 by JackTu007

Paimpol - Abbaye Maritime de Beauport by Ruggero Poggianella

www.fotopoggia.it

Please note that the fact that "this photo is public" doesn't mean it's public domain or a free “stock image”. Unauthorized use is strictly prohibited. If you wish to use any of my images for any reason/purpose please contact me for written permission. Tous droits reservés. Défense d'utilisation de cette image sans ma permission. Todos derechos reservados. No usar sin mi consentimiento.

Paimpol est une commune française située dans le département des Côtes-d'Armor en région Bretagne. L'actuelle commune de Paimpol résulte de la fusion, le 26 novembre 1960, des communes de Paimpol, Plounez et Kérity. Les habitants de Paimpol sont les Paimpolaises et Paimpolais. La commune est située dans la partie septentrionale de la Bretagne au fond de la baie de Paimpol. Construite autour de ses bassins, Paimpol est l'un des principaux ports de pêche et de plaisance donnant sur la Manche. Paimpol est un port côtier au nord du département des Côtes-d'Armor. La ville est traversée par un ruisseau, le Quinic, qui se jette dans la Manche au niveau du port de plaisance. Saint-Brieuc, la préfecture du département se situe à 40 km au sud-est, et Lannion, à 35 km à l'ouest.

Nom de Paimpol en breton: d’après Hervé Abalain (2000) Penpol en 1184, Penpul en 1198 ; Paimpol est la forme francisée de penn poull: l’extrémité de l’étendue d’eau. Mais Pempoull a cependant été retenu. L’histoire de Paimpol est liée à un étang, dont Paimpol était l’une des deux extrémités, du côté de Kérity, l’autre étant située à Plounez. La région de Paimpol montre que la Bretagne était autrefois une terre de volcans. À la pointe de Guilben, des roches sombres s'avancent dans la mer. Ce sont ici des pillow lavas (laves en coussins) qui témoignent d'un volcanisme sous-marin très ancien. Les spilites qui constituent la masse des pillows renferment des blocs de cornaline rouge. Un peu au nord, la butte de Kerroc'h offre une vue imprenable sur la baie. La tour qui la surmonte a été construite en partie en rhyolite rouge violacé: une lave récupérée un peu plus bas sur le rivage. En contrebas de la tour, en effet, on trouve les traces d'un autre volcanisme paimpolais. Ici, la roche renferme des fiammes formées à la suite d'une nuée ardente. De l'autre côté de Paimpol, au sud vers Sainte-Barbe, se trouvent les volcanites de Plouézec.

Union Monument, Colchester, Connecticut (Left Side) by Perfesser Bear

4 6

Honoring Those Who Died for Their Country in the War Between the States

On the Town Green, Main Street, Colchester. Erected 1875. I live in a town adjacent to Colchester, and while we have several Revolutionary War monuments, eighty-five years seemed to have dimmed their patriotism.

Side Inscription:

ROLL OF HONOR

CAPT. CHAS. DOYLE

W.H. DOUGLASS

H.C. ROGERS

JOHN HEMAR

C.E.JAMES

SHERMAN VALENTINE

C.S. ARNOLD

TIMOTHY O'CONNELL

RALPH ALLYN

CHA'S BANGSTON

HORATIO CRANDALL

THOM. KINNEY

C.F. SHERIDEN

D.L. ADAMS

F.M. CARVER

J.H. MINER

G.R. BUELL

A.B. NEAL

GEO. RILEY

O.A. GILLETTE

C.H. POTTER

R.F. HARVEY

BISSELL

PO'KEEPSIE

The artist was sculptor George Edwin Bissell, a Washington, Connecticut native and himself a Civil War veteran. He lived for a time in Poughkeepsie, New York, where his father was a marble broker (how convenient was that). His work graces monuments in Western Europe and Eastern United States, including several more in Connecticut.

Part of a set.

Kalyan Minaret by Stefano Cislaghi

Kalyan Minaret in Bukhara, Uzbekistan

IMG_7013 by agomezcor

Templo de Bayon

Building by Hideki iiiiiiiiiii

Arime, Kobe, Japan

Capitol Rotunda by Rob Lyons

Utah state capitol building rotunda.

Rokinon 12mm f/2.0

Breathtaking London Architecture by Nadya Corazza Photography

17 12

Architectural Curves by Aaron Yeoman

8 12

City Hall - London

Earlier on in 2010 I took this photo flic.kr/p/8FjCUd called The City within the Clouds. I then got my ND100 screw in filter so went back to the same location to try out a long exposure and this was the result, my first ever long exposure with the ND110. It was not the easiest of photos to take, as I dropped the filter twice!! Luckily it didn't brake :-) I've found the screw in filter too awkward to use so I've now upgraded to a LEE Big Stopper and got a Tamron 17-50 f2.8 lens :-) which I will get out to use sometime :-) Hope you all are having a good weekend.

Information

City Hall is the headquarters of the Greater London Authority (GLA) which comprises the Mayor of London and London Assembly. It is located in Southwark, on the south bank of the River Thames near Tower Bridge. It was designed by Norman Foster and opened in July 2002, two years after the Greater London Authority was created.

City Hall was constructed at a cost of £65 million on a site formerly occupied by wharves serving the Pool of London. The building does not belong to the GLA but is leased under a 25-year rent. Despite the name, City Hall is neither located in nor does it serve a city (as recognised by English constitutional law), often adding to the confusion of Greater London with the City of London, whose headquarters is in the Guildhall, north of the Thames. The predecessors of the Greater London Authority, namely the Greater London Council and the London County Council, had their headquarters at County Hall, upstream on the South Bank. Although County Hall's old council chamber is still intact, the building is unavailable for use by the GLA due to its conversion into, among other things, a luxury hotel, amusement arcade and aquarium.

The building has an unusual, bulbous shape, intended to reduce its surface area and thus improve energy efficiency. It has been compared variously to Darth Vader's helmet, a misshapen egg, a woodlouse and a motorcycle helmet. Former mayor Ken Livingstone referred to it as a "glass testicle" while the present mayor, Boris Johnson, has referred to it as "The Glass Gonad" and more politely as "The Onion". Its designers reportedly saw the building as a giant sphere hanging over the Thames, but opted for a more conventionally rooted building instead. It has no front or back in conventional terms but derives its shape from a modified sphere.

A 500-metre (1,640 ft) helical walkway, reminiscent of that in New York's Solomon R. Guggenheim Museum, ascends the full height of the building. At the top of the ten-story building is an exhibition and meeting space called "London's Living Room", with an open viewing deck which is occasionally open to the public. The walkway provides views of the interior of the building, and is intended to symbolise transparency; a similar device was used by Foster in his design for the rebuilt Reichstag (parliament) in Germany. In 2006 it was announced that solar photovoltaic cells would be fitted to the building by the London Climate Change Agency.

en.wikipedia.org/wiki/City_Hall_(London)

75 Renshaw Street Liverpool by Dave Wood

4 2

The 1900 Gores Directory describes 75 Renshaw Street as an office and warehouse for Richard Cornelius White, Wholesale Ironmongers.

Arabian Summer Bungalow by Renal Bhalakia