Dates: 1914-1918

Maker: Keystone View Company

Place: USA

Donor: Gift of Karen Jacobsen Lenthall

Photographer Credit: Scottish Rite Masonic Museum & Library

 

2014.074.23

 

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Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

  

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

My Moleskine City notebook, with some appropriated library date stamp cards. Some of the dates go back to the early 80's.

 

www.moleskine.com/eng/_interni/catalogo/Cat_int/catalogo_...

a new season ..

Carthage, Tunisia 2010.

Wells Cathedral is an Anglican cathedral in Wells, Somerset, England, dedicated to St Andrew the Apostle. It is the seat of the Bishop of Bath and Wells, whose cathedra it holds as mother church of the Diocese of Bath and Wells. Built as a Roman Catholic cathedral from around 1175 to replace an earlier church on the site since 705, it became an Anglican cathedral when King Henry VIII split from Rome. It is moderately sized for an English cathedral. Its broad west front and large central tower are dominant features. It has been called "unquestionably one of the most beautiful" and "most poetic" of English cathedrals.

 

Its Gothic architecture is mostly inspired from Early English style of the late 12th to early 13th centuries, lacking the Romanesque work that survives in many other cathedrals. Building began about 1175 at the east end with the choir. Historian John Harvey sees it as Europe's first truly Gothic structure, breaking the last constraints of Romanesque. The stonework of its pointed arcades and fluted piers bears pronounced mouldings and carved capitals in a foliate, "stiff-leaf" style. Its Early English front with 300 sculpted figures is seen as a "supreme triumph of the combined plastic arts in England". The east end retains much ancient stained glass. Unlike many cathedrals of monastic foundation, Wells has many surviving secular buildings linked to its chapter of secular canons, including the Bishop's Palace and the 15th-century residential Vicars' Close It is a Grade I listed building.

 

The earliest remains of a building on the site are of a late-Roman mausoleum, identified during excavations in 1980. An abbey church was built in Wells in 705 by Aldhelm, first bishop of the newly established Diocese of Sherborne during the reign of King Ine of Wessex. It was dedicated to St Andrew and stood at the site of the cathedral's cloisters, where some excavated remains can be seen. The font in the cathedral's south transept is from this church and is the oldest part of the present building. In 766 Cynewulf, King of Wessex, signed a charter endowing the church with eleven hides of land. In 909 the seat of the diocese was moved from Sherborne to Wells.

 

The first bishop of Wells was Athelm (909), who crowned King Æthelstan. Athelm and his nephew Dunstan both became Archbishops of Canterbury. During this period a choir of boys was established to sing the liturgy. Wells Cathedral School, which was established to educate these choirboys, dates its foundation to this point. There is, however, some controversy over this. Following the Norman Conquest, John de Villula moved the seat of the bishop from Wells to Bath in 1090. The church at Wells, no longer a cathedral, had a college of secular clergy.

 

The cathedral is thought to have been conceived and commenced in about 1175 by Reginald Fitz Jocelin, who died in 1191. Although it is clear from its size that from the outset, the church was planned to be the cathedral of the diocese, the seat of the bishop moved between Wells and the abbeys of Glastonbury and Bath, before settling at Wells. In 1197 Reginald's successor, Savaric FitzGeldewin, with the approval of Pope Celestine III, officially moved his seat to Glastonbury Abbey. The title of Bishop of Bath and Glastonbury was used until the Glastonbury claim was abandoned in 1219.

 

Savaric's successor, Jocelin of Wells, again moved the bishop's seat to Bath Abbey, with the title Bishop of Bath. Jocelin was a brother of Hugh (II) of Lincoln and was present at the signing of the Magna Carta. Jocelin continued the building campaign begun by Reginald and was responsible for the Bishop's Palace, the choristers' school, a grammar school, a hospital for travellers and a chapel. He also had a manor house built at Wookey, near Wells. Jocelin saw the church dedicated in 1239 but, despite much lobbying of the Pope by Jocelin's representatives in Rome, did not live to see cathedral status granted. The delay may have been a result of inaction by Pandulf Verraccio, a Roman ecclesiastical politician, papal legate to England and Bishop of Norwich, who was asked by the Pope to investigate the situation but did not respond. Jocelin died at Wells on 19 November 1242 and was buried in the choir of the cathedral; the memorial brass on his tomb is one of the earliest brasses in England. Following his death the monks of Bath unsuccessfully attempted to regain authority over Wells.

 

In 1245 the ongoing dispute over the title of the bishop was resolved by a ruling of Pope Innocent IV, who established the title as the "Bishop of Bath and Wells", which it has remained until this day, with Wells as the principal seat of the bishop. Since the 11th century the church has had a chapter of secular clergy, like the cathedrals of Chichester, Hereford, Lincoln and York. The chapter was endowed with 22 prebends (lands from which finance was drawn) and a provost to manage them. On acquiring cathedral status, in common with other such cathedrals, it had four chief clergy, the dean, precentor, chancellor and sacristan, who were responsible for the spiritual and material care of the cathedral.

 

The building programme, begun by Reginald Fitz Jocelin, Bishop in the 12th century, continued under Jocelin of Wells, who was a canon from 1200, then bishop from 1206. Adam Locke was master mason from about 1192 until 1230. It was designed in the new style with pointed arches, later known as Gothic, which was introduced at about the same time at Canterbury Cathedral. Work was halted between 1209 and 1213 when King John was excommunicated and Jocelin was in exile, but the main parts of the church were complete by the time of the dedication by Jocelin in 1239.

 

By the time the cathedral, including the chapter house, was finished in 1306, it was already too small for the developing liturgy, and unable to accommodate increasingly grand processions of clergy. John Droxford initiated another phase of building under master mason Thomas of Whitney, during which the central tower was heightened and an eight-sided Lady chapel was added at the east end by 1326. Ralph of Shrewsbury followed, continuing the eastward extension of the choir and retrochoir beyond. He oversaw the building of Vicars' Close and the Vicars' Hall, to give the men who were employed to sing in the choir a secure place to live and dine, away from the town and its temptations. He had an uneasy relationship with the citizens of Wells, partly because of his imposition of taxes, and he surrounded his palace with crenellated walls, a moat and a drawbridge.

 

John Harewell raised money for the completion of the west front by William Wynford, who was appointed as master mason in 1365. One of the foremost master masons of his time, Wynford worked for the king at Windsor, Winchester Cathedral and New College, Oxford. At Wells, he designed the western towers of which north-west was not built until the following century. In the 14th century, the central piers of the crossing were found to be sinking under the weight of the crossing tower which had been damaged by an earthquake in the previous century. Strainer arches, sometimes described as scissor arches, were inserted by master mason William Joy to brace and stabilise the piers as a unit.

 

By the reign of Henry VII the cathedral was complete, appearing much as it does today (though the fittings have changed). From 1508 to 1546, the eminent Italian humanist scholar Polydore Vergil was active as the chapter's representative in London. He donated a set of hangings for the choir of the cathedral. While Wells survived the Dissolution of the Monasteries better than the cathedrals of monastic foundation, the abolition of chantries in 1547 resulted in a reduction in its income. Medieval brasses were sold, and a pulpit was placed in the nave for the first time. Between 1551 and 1568, in two periods as dean, William Turner established a herb garden, which was recreated between 2003 and 2010.

 

Elizabeth I gave the chapter and the Vicars Choral a new charter in 1591, creating a new governing body, consisting of a dean and eight residentiary canons with control over the church estates and authority over its affairs, but no longer entitled to elect the dean (that entitlement thenceforward belonged ultimately to the Crown). The stability brought by the new charter ended with the onset of the Civil War and the execution of Charles I. Local fighting damaged the cathedral's stonework, furniture and windows. The dean, Walter Raleigh, a nephew of the explorer Walter Raleigh, was placed under house arrest after the fall of Bridgwater to the Parliamentarians in 1645, first in the rectory at Chedzoy and then in the deanery at Wells. His jailor, the shoe maker and city constable, David Barrett, caught him writing a letter to his wife. When he refused to surrender it, Barrett ran him through with a sword and he died six weeks later, on 10 October 1646. He was buried in an unmarked grave in the choir before the dean's stall. During the Commonwealth of England under Oliver Cromwell no dean was appointed and the cathedral fell into disrepair. The bishop went into retirement and some of the clerics were reduced to performing menial tasks.

 

In 1661, after Charles II was restored to the throne, Robert Creighton, the king's chaplain in exile, was appointed dean and was bishop for two years before his death in 1672. His brass lectern, given in thanksgiving, can be seen in the cathedral. He donated the nave's great west window at a cost of £140. Following Creighton's appointment as bishop, the post of dean went to Ralph Bathurst, who had been chaplain to the king, president of Trinity College, Oxford and fellow of the Royal Society. During Bathurst's long tenure the cathedral was restored, but in the Monmouth Rebellion of 1685, Puritan soldiers damaged the west front, tore lead from the roof to make bullets, broke the windows, smashed the organ and furnishings, and for a time stabled their horses in the nave.

 

Restoration began again under Thomas Ken who was appointed by the Crown in 1685 and served until 1691. He was one of seven bishops imprisoned for refusing to sign King James II's "Declaration of Indulgence", which would have enabled Catholics to resume positions of political power, but popular support led to their acquittal. Ken refused to take the oath of allegiance to William III and Mary II because James II had not abdicated and with others, known as the Nonjurors, was put out of office. His successor, Richard Kidder, was killed in the Great Storm of 1703 when two chimney stacks on the palace fell on him and his wife, while they were asleep in bed.

 

By the middle of the 19th century, a major restoration programme was needed. Under Dean Goodenough, the monuments were moved to the cloisters and the remaining medieval paint and whitewash removed in an operation known as "the great scrape". Anthony Salvin took charge of the extensive restoration of the choir. Wooden galleries installed in the 16th century were removed and the stalls were given stone canopies and placed further back within the line of the arcade. The medieval stone pulpitum screen was extended in the centre to support a new organ.

 

In 1933 the Friends of Wells Cathedral were formed to support the cathedral's chapter in the maintenance of the fabric, life and work of the cathedral. The late 20th century saw an extensive restoration programme, particularly of the west front. The stained glass is currently under restoration, with a programme underway to conserve the large 14th-century Jesse Tree window at the eastern terminal of the choir.

 

In January 2014, as part of the Bath film festival, the cathedral hosted a special screening of Martin Scorsese's The Last Temptation of Christ. This provoked some controversy, but the church defended its decision to allow the screening.

 

In 2021, a contemporary sculpture by Anthony Gormley was unveiled on a temporary plinth outside the cathedral.

 

Since the 13th century, Wells Cathedral has been the seat of the Bishop of Bath and Wells. Its governing body, the chapter, is made up of five clerical canons (the dean, the precentor, the canon chancellor, the canon treasurer, and the archdeacon of Wells) and four lay members: the administrator (chief executive), Keeper of the Fabric, Overseer of the Estate and the chairman of the cathedral shop and catering boards. The current bishop of Bath and Wells is Peter Hancock, who was installed in a service in the cathedral on 7 June 2014. John Davies has been Dean of Wells since 2016.

 

Employed staff include the organist and master of choristers, head Verger archivist, librarian and the staff of the shop, café and restaurant. The chapter is advised by specialists such as architects, archaeologists and financial analysts.

 

More than a thousand services are held every year. There are daily services of Matins, Holy Communion and Choral Evensong, as well as major celebrations of Christian festivals such as Christmas, Easter, Pentecost and saints' days. The cathedral is also used for the baptisms, weddings and funerals of those with close connections to it. In July 2009 the cathedral undertook the funeral of Harry Patch, the last British Army veteran of World War I, who died at the age of 111.

 

Three Sunday services are led by the resident choir in school terms and choral services are sung on weekdays. The cathedral hosts visiting choirs and does outreach work with local schools as part of its Chorister Outreach Project. It is also a venue for musical events such as an annual concert by the Somerset Chamber Choir.

 

Each year about 150,000 people attend services and another 300,000 visit as tourists. Entry is free, but visitors are encouraged to make a donation towards the annual running costs of around £1.5 million in 2015.

 

Construction of the cathedral began in about 1175, to the design of an unknown master-mason. Wells is the first cathedral in England to be built, from its foundation, in Gothic style. According to art historian John Harvey, it is the first truly Gothic cathedral in the world, its architects having entirely dispensed with all features that bound the contemporary east end of Canterbury Cathedral and the earlier buildings of France, such as the east end of the Abbey of Saint Denis, to the Romanesque. Unlike these churches, Wells has clustered piers rather than columns and has a gallery of identical pointed arches rather than the typically Romanesque form of paired openings. The style, with its simple lancet arches without tracery and convoluted mouldings, is known as Early English Gothic.

 

From about 1192 to 1230, Adam Lock, the earliest master-mason at Wells for whom a name is known, continued the transept and nave in the same manner as his predecessor. Lock was also the builder of the north porch, to his own design.

 

The Early English west front was commenced around 1230 by Thomas Norreys, with building and sculpture continuing for thirty years. Its south-west tower was begun 100 years later and constructed between 1365 and 1395, and the north-west tower between 1425 and 1435, both in the Perpendicular Gothic style to the design of William Wynford, who also filled many of the cathedral's early English lancet windows with delicate tracery.

 

The undercroft and chapter house were built by unknown architects between 1275 and 1310, the undercroft in the Early English and the chapter house in the Geometric style of Decorated Gothic architecture. In about 1310 work commenced on the Lady Chapel, to the design of Thomas Witney, who also built the central tower from 1315 to 1322 in the Decorated Gothic style. The tower was later braced internally with arches by William Joy. Concurrent with this work, in 1329–45 Joy made alterations and extensions to the choir, joining it to the Lady Chapel with the retrochoir, the latter in the Flowing Decorated style.

 

Later changes include the Perpendicular vault of the tower and construction of Sugar's Chapel, 1475–1490 by William Smyth. Also, Gothic Revival renovations were made to the choir and pulpitum by Benjamin Ferrey and Anthony Salvin, 1842–1857.

 

Wells has a total length of 415 feet (126 m). Like Canterbury, Lincoln and Salisbury cathedrals, it has the distinctly English arrangement of two transepts, with the body of the church divided into distinct parts: nave, choir, and retro-choir, beyond which extends the Lady Chapel. The façade is wide, with its towers extending beyond the transepts on either side. There is a large projecting porch on the north side of the nave forming an entry into the cathedral. To the north-east is the large octagonal chapter house, entered from the north choir aisle by a passage and staircase. To the south of the nave is a large cloister, unusual in that the northern range, that adjacent the cathedral, was never built.

 

In section, the cathedral has the usual arrangement of a large church: a central nave with an aisle on each side, separated by two arcades. The elevation is in three stages, arcade, triforium gallery and clerestory. The nave is 67 feet (20 m) in height, very low compared to the Gothic cathedrals of France. It has a markedly horizontal emphasis, caused by the triforium having a unique form, a series of identical narrow openings, lacking the usual definition of the bays. The triforium is separated from the arcade by a single horizontal string course that runs unbroken the length of the nave. There are no vertical lines linking the three stages, as the shafts supporting the vault rise above the triforium.

 

The exterior of Wells Cathedral presents a relatively tidy and harmonious appearance since the greater part of the building was executed in a single style, Early English Gothic. This is uncommon among English cathedrals where the exterior usually exhibits a plethora of styles. At Wells, later changes in the Perpendicular style were universally applied, such as filling the Early English lancet windows with simple tracery, the construction of a parapet that encircles the roof, and the addition of pinnacles framing each gable, similar to those around the chapter house and on the west front. At the eastern end there is a proliferation of tracery with repeated motifs in the Reticulated style, a stage between Geometric and Flowing Decorated tracery.

 

The west front is 100 feet (30 m) high and 147 feet (45 m) wide, and built of Inferior Oolite of the Middle Jurassic period, which came from the Doulting Stone Quarry, about 8 miles (13 km) to the east. According to the architectural historian Alec Clifton-Taylor, it is "one of the great sights of England".

 

West fronts in general take three distinct forms: those that follow the elevation of the nave and aisles, those that have paired towers at the end of each aisle, framing the nave, and those that screen the form of the building. The west front at Wells has the paired-tower form, unusual in that the towers do not indicate the location of the aisles, but extend well beyond them, screening the dimensions and profile of the building.

 

The west front rises in three distinct stages, each clearly defined by a horizontal course. This horizontal emphasis is counteracted by six strongly projecting buttresses defining the cross-sectional divisions of nave, aisles and towers, and are highly decorated, each having canopied niches containing the largest statues on the façade.

 

At the lowest level of the façade is a plain base, contrasting with and stabilising the ornate arcades that rise above it. The base is penetrated by three doors, which are in stark contrast to the often imposing portals of French Gothic cathedrals. The outer two are of domestic proportion and the central door is ornamented only by a central post, quatrefoil and the fine mouldings of the arch.

 

Above the basement rise two storeys, ornamented with quatrefoils and niches originally holding about four hundred statues, with three hundred surviving until the mid-20th century. Since then, some have been restored or replaced, including the ruined figure of Christ in the gable.

 

The third stages of the flanking towers were both built in the Perpendicular style of the late 14th century, to the design of William Wynford; that on the north-west was not begun until about 1425. The design maintains the general proportions, and continues the strong projection of the buttresses.

 

The finished product has been criticised for its lack of pinnacles, and it is probable that the towers were intended to carry spires which were never built. Despite its lack of spires or pinnacles, the architectural historian Banister Fletcher describes it as "the highest development in English Gothic of this type of façade."

 

The sculptures on the west front at Wells include standing figures, seated figures, half-length angels and narratives in high relief. Many of the figures are life-sized or larger. Together they constitute the finest display of medieval carving in England. The figures and many of the architectural details were painted in bright colours, and the colouring scheme has been deduced from flakes of paint still adhering to some surfaces. The sculptures occupy nine architectural zones stretching horizontally across the entire west front and around the sides and the eastern returns of the towers which extend beyond the aisles. The strongly projecting buttresses have tiers of niches which contain many of the largest figures. Other large figures, including that of Christ, occupy the gable. A single figure stands in one of two later niches high on the northern tower.

 

In 1851 the archaeologist Charles Robert Cockerell published his analysis of the iconography, numbering the nine sculptural divisions from the lowest to the highest. He defined the theme as "a calendar for unlearned men" illustrating the doctrines and history of the Christian faith, its introduction to Britain and its protection by princes and bishops. He likens the arrangement and iconography to the Te Deum.

 

According to Cockerell, the side of the façade that is to the south of the central door is the more sacred and the scheme is divided accordingly. The lowest range of niches each contained a standing figure, of which all but four figures on the west front, two on each side, have been destroyed. More have survived on the northern and eastern sides of the north tower. Cockerell speculates that those to the south of the portal represented prophets and patriarchs of the Old Testament while those to the north represented early missionaries to Britain, of which Augustine of Canterbury, St Birinus, and Benedict Biscop are identifiable by their attributes. In the second zone, above each pair of standing figures, is a quatrefoil containing a half-length angel in relief, some of which have survived. Between the gables of the niches are quatrefoils that contain a series of narratives from the Bible, with the Old Testament stories to the south, above the prophets and patriarchs, and those from the New Testament to the north. A horizontal course runs around the west front dividing the architectural storeys at this point.

 

Above the course, zones four and five, as identified by Cockerell, contain figures which represent the Christian Church in Britain, with the spiritual lords such as bishops, abbots, abbesses and saintly founders of monasteries on the south, while kings, queens and princes occupy the north. Many of the figures survive and many have been identified in the light of their various attributes. There is a hierarchy of size, with the more significant figures larger and enthroned in their niches rather than standing. Immediately beneath the upper course are a series of small niches containing dynamic sculptures of the dead coming forth from their tombs on the Day of Judgement. Although naked, some of the dead are defined as royalty by their crowns and others as bishops by their mitres. Some emerge from their graves with joy and hope, and others with despair.

 

The niches in the lowest zone of the gable contain nine angels, of which Cockerell identifies Michael, Gabriel, Raphael and Uriel. In the next zone are the taller figures of the twelve apostles, some, such as John, Andrew and Bartholomew, clearly identifiable by the attributes that they carry. The uppermost niches of the gable contained the figure of Christ the Judge at the centre, with the Virgin Mary on his right and John the Baptist on his left. The figures all suffered from iconoclasm. A new statue of Jesus was carved for the central niche, but the two side niches now contain cherubim. Christ and the Virgin Mary are also represented by now headless figures in a Coronation of the Virgin in a niche above the central portal. A damaged figure of the Virgin and Christ Child occupies a quatrefoil in the spandrel of the door.

 

The central tower appears to date from the early 13th century. It was substantially reconstructed in the early 14th century during the remodelling of the east end, necessitating the internal bracing of the piers a decade or so later. In the 14th century the tower was given a timber and lead spire which burnt down in 1439. The exterior was then reworked in the Perpendicular style and given the present parapet and pinnacles. Alec Clifton-Taylor describes it as "outstanding even in Somerset, a county famed for the splendour of its church towers".

 

The north porch is described by art historian Nikolaus Pevsner as "sumptuously decorated", and intended as the main entrance. Externally it is simple and rectangular with plain side walls. The entrance is a steeply arched portal framed by rich mouldings of eight shafts with stiff-leaf capitals each encircled by an annular moulding at middle height. Those on the left are figurative, containing images representing the martyrdom of St Edmund the Martyr. The walls are lined with deep niches framed by narrow shafts with capitals and annulets like those of the portal. The path to the north porch is lined by four sculptures in Purbeck stone, each by Mary Spencer Watson, representing the symbols of the Evangelists.

 

The cloisters were built in the late 13th century and largely rebuilt from 1430 to 1508 and have wide openings divided by mullions and transoms, and tracery in the Perpendicular Gothic style. The vault has lierne ribs that form octagons at the centre of each compartment, the joints of each rib having decorative bosses. The eastern range is of two storeys, of which the upper is the library built in the 15th century.

 

Because Wells Cathedral was secular rather than monastic, cloisters were not a practical necessity. They were omitted from several other secular cathedrals but were built here and at Chichester. Explanations for their construction at these two secular cathedrals range from the processional to the aesthetic. As at Chichester, there is no northern range to the cloisters. In monastic cloisters it was the north range, benefiting most from winter sunlight, that was often used as a scriptorium.

 

In 1969, when a large chunk of stone fell from a statue near the main door, it became apparent that there was an urgent need for restoration of the west front. Detailed studies of the stonework and of conservation practices were undertaken under the cathedral architect, Alban D. R. Caroe and a restoration committee formed. The methods selected were those devised by Eve and Robert Baker. W. A. (Bert) Wheeler, clerk of works to the cathedral 1935–1978, had previously experimented with washing and surface treatment of architectural carvings on the building and his techniques were among those tried on the statues.

 

The conservation was carried out between 1974 and 1986, wherever possible using non-invasive procedures such as washing with water and a solution of lime, filling gaps and damaged surfaces with soft mortar to prevent the ingress of water and stabilising statues that were fracturing through corrosion of metal dowels. The surfaces were finished by painting with a thin coat of mortar and silane to resist further erosion and attack by pollutants. The restoration of the façade revealed much paint adhering to the statues and their niches, indicating that it had once been brightly coloured.

 

The particular character of this Early English interior is dependent on the proportions of the simple lancet arches. It is also dependent on the refinement of the architectural details, in particular the mouldings.

 

The arcade, which takes the same form in the nave, choir and transepts, is distinguished by the richness of both mouldings and carvings. Each pier of the arcade has a surface enrichment of 24 slender shafts in eight groups of three, rising beyond the capitals to form the deeply undulating mouldings of the arches. The capitals themselves are remarkable for the vitality of the stylised foliage, in a style known as "stiff-leaf". The liveliness contrasts with the formality of the moulded shafts and the smooth unbroken areas of ashlar masonry in the spandrels. Each capital is different, and some contain small figures illustrating narratives.

 

The vault of the nave rises steeply in a simple quadripartite form, in harmony with the nave arcade. The eastern end of the choir was extended and the whole upper part elaborated in the second quarter of the 14th century by William Joy. The vault has a multiplicity of ribs in a net-like form, which is very different from that of the nave, and is perhaps a recreation in stone of a local type of compartmented wooden roof of which examples remain from the 15th century, including those at St Cuthbert's Church, Wells. The vaults of the aisles of the choir also have a unique pattern.

 

Until the early 14th century, the interior of the cathedral was in a unified style, but it was to undergo two significant changes, to the tower and to the eastern end. Between 1315 and 1322 the central tower was heightened and topped by a spire, which caused the piers that supported it to show signs of stress. In 1338 the mason William Joy employed an unorthodox solution by inserting low arches topped by inverted arches of similar dimensions, forming scissors-like structures. These arches brace the piers of the crossing on three sides, while the easternmost side is braced by a choir screen. The bracing arches are known as "St Andrew's Cross arches", in a reference to the patron saint of the cathedral. They have been described by Wim Swaan – rightly or wrongly – as "brutally massive" and intrusive in an otherwise restrained interior.

 

Wells Cathedral has a square east end to the choir, as is usual, and like several other cathedrals including Salisbury and Lichfield, has a lower Lady Chapel projecting at the eastern end, begun by Thomas Witney in about 1310, possibly before the chapter house was completed. The Lady Chapel seems to have begun as a free-standing structure in the form of an elongated octagon, but the plan changed and it was linked to the eastern end by extension of the choir and construction of a second transept or retrochoir east of the choir, probably by William Joy.

 

The Lady Chapel has a vault of complex and somewhat irregular pattern, as the chapel is not symmetrical about both axes. The main ribs are intersected by additional non-supporting, lierne ribs, which in this case form a star-shaped pattern at the apex of the vault. It is one of the earliest lierne vaults in England. There are five large windows, of which four are filled with fragments of medieval glass. The tracery of the windows is in the style known as Reticulated Gothic, having a pattern of a single repeated shape, in this case a trefoil, giving a "reticulate" or net-like appearance.

 

The retrochoir extends across the east end of the choir and into the east transepts. At its centre the vault is supported by a remarkable structure of angled piers. Two of these are placed as to complete the octagonal shape of the Lady Chapel, a solution described by Francis Bond as "an intuition of Genius". The piers have attached shafts of marble, and, with the vaults that they support, create a vista of great complexity from every angle. The windows of the retrochoir are in the Reticulated style like those of the Lady Chapel, but are fully Flowing Decorated in that the tracery mouldings form ogival curves.

 

The chapter house was begun in the late 13th century and built in two stages, completed about 1310. It is a two-storeyed structure with the main chamber raised on an undercroft. It is entered from a staircase which divides and turns, one branch leading through the upper storey of Chain Gate to Vicars' Close. The Decorated interior is described by Alec Clifton-Taylor as "architecturally the most beautiful in England". It is octagonal, with its ribbed vault supported on a central column. The column is surrounded by shafts of Purbeck Marble, rising to a single continuous rippling foliate capital of stylised oak leaves and acorns, quite different in character from the Early English stiff-leaf foliage. Above the moulding spring 32 ribs of strong profile, giving an effect generally likened to "a great palm tree". The windows are large with Geometric Decorated tracery that is beginning to show an elongation of form, and ogees in the lesser lights that are characteristic of Flowing Decorated tracery. The tracery lights still contain ancient glass. Beneath the windows are 51 stalls, the canopies of which are enlivened by carvings including many heads carved in a light-hearted manner.

 

Wells Cathedral contains one of the most substantial collections of medieval stained glass in England, despite damage by Parliamentary troops in 1642 and 1643. The oldest surviving glass dates from the late 13th century and is in two windows on the west side of the chapter-house staircase. Two windows in the south choir aisle are from 1310 to 1320.

 

The Lady Chapel has five windows, of which four date from 1325 to 1330 and include images of a local saint, Dunstan. The east window was restored to a semblance of its original appearance by Thomas Willement in 1845. The other windows have complete canopies, but the pictorial sections are fragmented.

 

The east window of the choir is a broad, seven-light window dating from 1340 to 1345. It depicts the Tree of Jesse (the genealogy of Christ) and demonstrates the use of silver staining, a new technique that allowed the artist to paint details on the glass in yellow, as well as black. The combination of yellow and green glass and the application of the bright yellow stain gives the window its popular name, the "Golden Window". It is flanked by two windows each side in the clerestory, with large figures of saints, also dated to 1340–45. In 2010 a major conservation programme was undertaken on the Jesse Tree window.

 

The panels in the chapel of St Katherine are attributed to Arnold of Nijmegen and date from about 1520. They were acquired from the destroyed church of Saint-Jean, Rouen, with the last panel having been purchased in 1953.

 

The large triple lancet to the nave west end was glazed at the expense of Dean Creighton at a cost of £140 in 1664. It was repaired in 1813, and the central light was largely replaced to a design by Archibald Keightley Nicholson between 1925 and 1931. The main north and south transept end windows by James Powell and Sons were erected in the early 20th century.

 

The greater part of the stone carving of Wells Cathedral comprises foliate capitals in the stiff-leaf style. They are found ornamenting the piers of the nave, choir and transepts. Stiff-leaf foliage is highly abstract. Though possibly influenced by carvings of acanthus leaves or vine leaves, it cannot be easily identified with any particular plant. Here the carving of the foliage is varied and vigorous, the springing leaves and deep undercuts casting shadows that contrast with the surface of the piers. In the transepts and towards the crossing in the nave the capitals have many small figurative carvings among the leaves. These include a man with toothache and a series of four scenes depicting the "Wages of Sin" in a narrative of fruit stealers who creep into an orchard and are then beaten by the farmer. Another well-known carving is in the north transept aisle: a foliate corbel, on which climbs a lizard, sometimes identified as a salamander, a symbol of eternal life.

 

Carvings in the Decorated Gothic style may be found in the eastern end of the buildings, where there are many carved bosses. In the chapter house, the carvings of the 51 stalls include numerous small heads of great variety, many of them smiling or laughing. A well-known figure is the corbel of the dragon-slaying monk in the chapter house stair. The large continuous capital that encircles the central pillar of the chapter house is markedly different in style to the stiff-leaf of the Early English period. In contrast to the bold projections and undercutting of the earlier work, it has a rippling form and is clearly identifiable as grapevine.

 

The 15th-century cloisters have many small bosses ornamenting the vault. Two in the west cloister, near the gift shop and café, have been called sheela na gigs, i. e. female figures displaying their genitals and variously judged to depict the sin of lust or stem from ancient fertility cults.

 

Wells Cathedral has one of the finest sets of misericords in Britain. Its clergy has a long tradition of singing or reciting from the Book of Psalms each day, along with the customary daily reading of the Holy Office. In medieval times the clergy assembled in the church eight times daily for the canonical hours. As the greater part of the services was recited while standing, many monastic or collegiate churches fitted stalls whose seats tipped up to provide a ledge for the monk or cleric to lean against. These were "misericords" because their installation was an act of mercy. Misericords typically have a carved figurative bracket beneath the ledge framed by two floral motifs known, in heraldic manner, as "supporters".

 

The misericords date from 1330 to 1340. They may have been carved under the direction of Master Carpenter John Strode, although his name is not recorded before 1341. He was assisted by Bartholomew Quarter, who is documented from 1343. They originally numbered 90, of which 65 have survived. Sixty-one are installed in the choir, three are displayed in the cathedral, and one is held by the Victoria and Albert Museum. New stalls were ordered when the eastern end of the choir was extended in the early 14th century. The canons complained that they had borne the cost of the rebuilding and ordered the prebendary clerics to pay for their own stalls. When the newly refurbished choir opened in 1339 many misericords were left unfinished, including one-fifth of the surviving 65. Many of the clerics had not paid, having been called to contribute a total sum of £200. The misericords survived better than the other sections of the stalls, which during the Protestant Reformation had their canopies chopped off and galleries inserted above them. One misericord, showing a boy pulling a thorn from his foot, dates from the 17th century. In 1848 came a complete rearrangement of the choir furniture, and 61 of the misericords were reused in the restructured stalls.

 

The subject matter of the carvings of the central brackets as misericords varies, but many themes recur in different churches. Typically the themes are less unified or directly related to the Bible and Christian theology than small sculptures seen elsewhere within churches, such as bosses. This applies at Wells, where none of the misericord carvings is directly based on a Bible story. The subjects, chosen either by the woodcarver, or perhaps by the one paying for the stall, have no overriding theme. The sole unifying elements are the roundels on each side of the pictorial subject, which all show elaborately carved foliage, in most cases formal and stylised in the later Decorated manner, but with several examples of naturalistic foliage, including roses and bindweed. Many of the subjects carry traditional interpretations. The image of the "Pelican in her Piety" (believed to feed her young on her own blood) is a recognised symbol for Christ's love for the Church. A cat playing with a mouse may represent the Devil snaring a human soul. Other subjects illustrate popular fables or sayings such as "When the fox preaches, look to your geese". Many depict animals, some of which may symbolise a human vice or virtue, or an aspect of faith.

 

Twenty-seven of the carvings depict animals: rabbits, dogs, a puppy biting a cat, a ewe feeding a lamb, monkeys, lions, bats, and the Early Christian motif of two doves drinking from a ewer. Eighteen have mythological subjects, including mermaids, dragons and wyverns. Five are clearly narrative, such as the Fox and the Geese, and the story of Alexander the Great being raised to Heaven by griffins. There are three heads: a bishop in a mitre, an angel, and a woman wearing a veil over hair arranged in coils over each ear. Eleven carvings show human figures, among which are several of remarkable design, conceived by the artist specifically for their purpose of supporting a shelf. One figure lies beneath the seat, supporting the shelf with a cheek, a hand and a foot. Another sits in a contorted manner supporting the weight on his elbow, while a further figure squats with his knees wide apart and a strained look on his face.

 

Some of the cathedral's fittings and monuments are hundreds of years old. The brass lectern in the Lady Chapel dates from 1661 and has a moulded stand and foliate crest. In the north transept chapel is a 17th-century oak screen with columns, formerly used in cow stalls, with artisan Ionic capitals and cornice, set forward over the chest tomb of John Godelee. There is a bound oak chest from the 14th century, which was used to store the chapter seal and key documents. The bishop's throne dates from 1340, and has a panelled, canted front and stone doorway, and a deep nodding cusped ogee canopy above it, with three-stepped statue niches and pinnacles. The throne was restored by Anthony Salvin around 1850. Opposite the throne is a 19th-century octagonal pulpit on a coved base with panelled sides, and steps up from the north aisle. The round font in the south transept is from the former Saxon cathedral and has an arcade of round-headed arches, on a round plinth. The font cover was made in 1635 and is decorated with the heads of putti. The Chapel of St Martin is a memorial to every Somerset man who fell in World War I.

 

The monuments and tombs include Gisa, bishop; † 1088; William of Bitton, bishop; † 1274; William of March, bishop; † 1302; John Droxford; † 1329; John Godelee; † 1333; John Middleton, died †1350; Ralph of Shrewsbury, died †; John Harewell, bishop; † 1386; William Bykonyll; † c. 1448; John Bernard; † 1459; Thomas Beckington; † died 1464; John Gunthorpe; † 1498; John Still; † 1607; Robert Creighton; † 1672; Richard Kidder, bishop; † 1703; George Hooper, bishop; † 1727 and Arthur Harvey, bishop; † 1894.

 

In the north transept is Wells Cathedral clock, an astronomical clock from about 1325 believed to be by Peter Lightfoot, a monk of Glastonbury. Its mechanism, dated between 1386 and 1392, was replaced in the 19th century and the original moved to the Science Museum in London, where it still operates. It is the second oldest surviving clock in England after the Salisbury Cathedral clock.

 

The clock has its original medieval face. Apart from the time on a 24-hour dial, it shows the motion of the Sun and Moon, the phases of the Moon, and the time since the last new Moon. The astronomical dial presents a geocentric or pre-Copernican view, with the Sun and Moon revolving round a central fixed Earth, like that of the clock at Ottery St Mary. The quarters are chimed by a quarter jack: a small automaton known as Jack Blandifers, who hits two bells with hammers and two with his heels. At the striking of the clock, jousting knights appear above the clock face.

 

On the outer wall of the transept, opposite Vicars' Hall, is a second clock face of the same clock, placed there just over seventy years after the interior clock and driven by the same mechanism. The second clock face has two quarter jacks (which strike on the quarter-hour) in the form of knights in armour.

 

In 2010 the official clock-winder retired and was replaced by an electric mechanism.

 

The first record of an organ at this church dates from 1310. A smaller organ, probably for the Lady Chapel, was installed in 1415. In 1620 an organ built by Thomas Dallam was installed at a cost of £398 1s 5d.

 

The 1620 organ was destroyed by parliamentary soldiers in 1643. An organ built in 1662 was enlarged in 1786 and again in 1855. In 1909–1910 an organ was built by Harrison & Harrison of Durham, with the best parts of the old organ retained. It has been serviced by the same company ever since.

 

Since November 1996 the cathedral has also had a portable chamber organ, by the Scottish makers, Lammermuir. It is used regularly to accompany performances of Tudor and baroque music.

 

The first recorded organist of Wells was Walter Bagele (or Vageler) in 1416. The post of organist or assistant organist has been held by more than 60 people since. Peter Stanley Lyons was Master of Choristers at Wells Cathedral, and Director of Music at Wells Cathedral School in 1954–1960. The choral conductor James William Webb-Jones, father of Lyons's wife Bridget (whom he married in the cathedral), was Headmaster of Wells Cathedral School in 1955–1960. Malcolm Archer was the appointed Organist and Master of the Choristers from 1996 to 2004. Matthew Owens was the appointed organist from 2005 to 2019.

 

There has been a choir of boy choristers at Wells since 909. Currently there are 18 boy choristers and a similar number of girl choristers, aged from eight to fourteen. The Vicars Choral was formed in the 12th century and the sung liturgy provided by a traditional cathedral choir of men and boys until the formation of an additional choir of girls in 1994. The boys and girls sing alternately with the Vicars Choral and are educated at Wells Cathedral School.

 

The Vicars Choral currently number twelve men, of whom three are choral scholars. Since 1348 the College of Vicars had its own accommodation in a quadrangle converted in the early 15th century to form Vicar's Close. The Vicars Choral generally perform with the choristers, except on Wednesdays, when they sing alone, allowing them to present a different repertoire, in particular plainsong.

 

In December 2010 Wells Cathedral Choir was rated by Gramophone magazine as "the highest ranking choir with children in the world". It continues to provide music for the liturgy at Sunday and weekday services. The choir has made many recordings and toured frequently, including performances in Beijing and Hong Kong in 2012. Its repertoire ranges from the choral music of the Renaissance to recently commissioned works.

 

The Wells Cathedral Chamber Choir is a mixed adult choir of 25 members, formed in 1986 to sing at the midnight service on Christmas Eve, and invited to sing at several other special services. It now sings for about 30 services a year, when the Cathedral Choir is in recess or on tour, and spends one week a year singing as the "choir in residence" at another cathedral. Although primarily liturgical, the choir's repertoire includes other forms of music, as well as performances at engagements such as weddings and funerals.

 

The cathedral is home to Wells Cathedral Oratorio Society (WCOS), founded in 1896. With around 160 voices, the society gives three concerts a year under the direction of Matthew Owens, Organist and Master of the Choristers at the cathedral. Concerts are normally in early November, December (an annual performance of Handel's Messiah) and late March. It performs with a number of specialist orchestras including: Music for Awhile, Chameleon Arts and La Folia.

 

The bells at Wells Cathedral are the heaviest ring of ten bells in the world, the tenor bell (the 10th and largest), known as Harewell, weighing 56.25 long hundredweight (2,858 kg). They are hung for full-circle ringing in the English style of change ringing. These bells are now hung in the south-west tower, although some were originally hung in the central tower.

 

The library above the eastern cloister was built between 1430 and 1508. Its collection is in three parts: early documents housed in the Muniment Room; the collection predating 1800 housed in the Chained Library; and the post-1800 collection housed in the Reading Room. The chapter's earlier collection was destroyed during the Reformation, so that the present library consists chiefly of early printed books, rather than medieval manuscripts. The earlier books in the Chained Library number 2,800 volumes and give an indication of the variety of interests of the members of the cathedral chapter from the Reformation until 1800. The focus of the collection is predominantly theology, but there are volumes on science, medicine, exploration, and languages. Books of particular interest include Pliny's Natural History printed in 1472, an Atlas of the World by Abraham Ortelius, printed in 1606, and a set of the works by Aristotle that once belonged to Erasmus. The library is open to the public at appointed times in the summer and presents a small exhibition of documents and books.

 

Three early registers of the Dean and Chapter edited by W. H. B. Bird for the Historical Manuscripts Commissioners – Liber Albus I (White Book; R I), Liber Albus II (R III) and Liber Ruber (Red Book; R II, section i) – were published in 1907. They contain with some repetition, a cartulary of possessions of the cathedral, with grants of land back to the 8th century, well before hereditary surnames developed in England, and acts of the Dean and Chapter and surveys of their estates, mostly in Somerset.

 

Adjacent to the cathedral is a large lawned area, Cathedral Green, with three ancient gateways: Brown's Gatehouse, Penniless Porch and Chain Gate. On the green is the 12th-century Old Deanery, largely rebuilt in the late 15th century by Dean Gunthorpe and remodelled by Dean Bathurst in the late 17th century. No longer the dean's residence, it is used as diocesan offices.

 

To the south of the cathedral is the moated Bishop's Palace, begun about 1210 by Jocelin of Wells but dating mostly from the 1230s. In the 15th century Thomas Beckington added a north wing, now the bishop's residence. It was restored and extended by Benjamin Ferrey between 1846 and 1854.

 

To the north of the cathedral and connected to it by the Chain Gate is Vicars' Close, a street planned in the 14th century and claimed to be the oldest purely residential street in Europe, with all but one of its original buildings intact. Buildings in the close include the Vicars Hall and gateway at the south end, and the Vicars Chapel and Library at the north end.

 

The Liberty of St Andrew was the historic liberty and parish that encompassed the cathedral and surrounding lands closely associated with it.

 

The English painter J. M. W. Turner visited Wells in 1795, making sketches of the precinct and a water colour of the west front, now in the Tate gallery. Other artists whose paintings of the cathedral are in national collections are Albert Goodwin, John Syer and Ken Howard.

 

The cathedral served to inspire Ken Follett's 1989 novel The Pillars of the Earth and with a modified central tower, featured as the fictional Kingsbridge Cathedral at the end of the 2010 television adaptation of that novel. The interior of the cathedral was used for a 2007 Doctor Who episode, "The Lazarus Experiment", while the exterior shots were filmed at Southwark Cathedral.

 

An account of the damage to the cathedral during the Monmouth Rebellion is included in Arthur Conan Doyle's 1889 historical novel Micah Clarke.

 

The cathedral provided scenes for the 2019–2020 television series The Spanish Princess.

Dattes sans dates

Portugal, Algarve, Silves, octobre 2017

 

Dates whitout dates

Portugal, Algarve, Silves, October 2017

New series roll-out

 

Issue dates:

$100 and $50—Now in circulation

$20—November 2012

$10, $5—By end of 2013

 

The reproduction of bank note images is protected by the Criminal Code and the Copyright Act.

Stuffed dates ($10): smoked bacon, manchego cheese, red wine shallots, pimento aioli, toasted bread, and rioja glaze...

 

Costa Blanca, the 4th Twin Cities restaurant by Hector Ruiz, is a tasty tapas spot in NE Minneapolis/Columbia Heights.

 

Costa Blanca (closed). Minneapolis, Minnesota.

Dates (Phoenix dactylifera)

Berkeley Farmers' Market

Berkeley, CA

Inedible dates hanging from a palm tree on State Street in Santa Barbara, California.

 

This a fresh (but quick and dirty) conversion of the same raw file that produced my Dates Bookmark image. I would have used the same conversion if I could have figured out how to get Adobe Lightroom Beta 3 to let me temporarily cancel the crop and restore it, or liet me clone the image in the database. Perhaps Beta 4 which is waiting for time to install will handle alternative crops and conversions better...

 

Now... the time for dates

as seen in DIY Ariana Grande Dangerous Woman Tour Merch

youtu.be/KgXKZ3Cme60

 

with raw almonds, dates and cocoa nibs

I made this photo for a recipe blog post on how to make a tofu dessert: hallosunny.blogspot.nl/2014/10/snel-klaar-tofu-toetje-zon...

 

If you use it, please link to the original blog post.

The outstanding feature of this solid Victorian church, built by John Oldrid Scott in 1871, is the series of windows by the firm of Morris and Co. The east window of the north aisle represents some early saints including Alban and Aidan, while that in the west end shows six angels. Nearby is an early representation of Kentish saints, whose popularity was increasing in the middle of the nineteenth century, including Augustine, Ethelbert and Bertha. The east window is by the same firm, but dates from after the death of Burne-Jones and is not so finely executed. The oak reredos was added by Charles Oldrid Scott in 1925, who also worked on the altar rails and low chancel screen. In the churchyard there is a good monument made of Coade artificial stone in 1807.

 

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

 

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SPELDHURST

IS the last parish remaining undescribed in this lath. It lies the next adjoining parish south eastward from Penshurst, and was sometimes written, in antient records, Speleberste, but in the Tex t u Rossensis, Speldburst.

 

THE PARISH of Speldhurst is about three miles across each way; the north-west part, in which the church stands, and Hallborough, is within the hundred of Somerden, as is the hamlet of Groombridge, three miles from the church, at the southern boundary of it, where a branch of the river Medway separates this county from Sussex, throughout all which the soil remains a stiff clay; the remaining part of this parish is in the hundred of Warchlingstone, which stretches across a narrow district, by Mitchell's and Tophill farms, and towards the parish of Ashurst, which it includes, thus entirely separates that part of the hundred of Somerden in which the hamlet of Groombridge lies, and surrounds three sides of it, from the other in which the church stands. The soil in the eastern part of this parish changes to an uninterrupted scene of losty hills, with deep vallies intersecting, the soils are a stiff loam and a barren sand, which covers a continued bed of rock stone, several of which appear above it, of large size and dimensions, greatly abounding with iron ore, which renders the springs of it more or less chalybeate; at the south east boundary of the parish is the noted resort of Tunbridge-wells, (of which a further account will be given hereafter) situated thirty-five miles from London, and five from Tunbridge town; here the high road branches off to the right, by Rust-hall, and the hamlets of Bishopsdown and Rust-hall common, on by Groombridge, across the branch of the Medway into Sussex.

 

The large and populous hamlet or village of TUNBRIDGE-WELLS is situated at the south-east boundary of this parish; part of it only is in Speldhurst, another part in the parish of Tunbridge, and the remainder in that of Fant, in the county of Suffex. It consists of four smaller districts, named from the hills on which they stand, Mount Ephraim, Mount Pleasant, and Mount Sion; the other is called The Wells, from their being within it, which altogether form a considerable town; but the last is the centre of business and pleasure, for there, besides the Wells themselves, are the market, public parades, assembly rooms, taverns, shops, &c. Near the Wells is the chapel, which stands remarkably in the three parishes above mentioned—the pulpit in Speldhurst, the altar in Tunbridge, and the vestry in Fant, and the stream, which parted the two counties of Kent and Suffex, formerly ran underneath it, but is now turned to a further distance from it. The right of patronage is claimed by the rector of Speldhurst, though he has never yet possessed the chapel or presented to it; the value of it is about two hundred pounds per annum, which sum is raised by voluntary subscription; divine service is performed in it every day in summer, and three times a week in winter. Adjoining to it is a charity school, for upwards of fifty poor boys and girls, which is supported by a contribution, collected at the chapel doors, two or three times a year.

 

The trade of Tunbridge-wells is similar to that of Spa, in Germany, and consists chiefly in a variety of toys, made of wood, commonly called Tunbridge ware, which employs a great number of hands. The wood principally used for this purpose is beech and sycamore, with yew and holly inlaid, and beautifully polished. To the market of this place is brought, in great plenty, from the South downs, in Sussex, the little bird, called the wheatear, which, from its delicacy, is usually called the English ortolan. It is not bigger in size than a lark; it is almost a lump of fat, and of a very delicious taste; it is in season only in the midst of summer, when the heat of the weather, and the fatness of it, prevents its being sent to London, which otherwise would, in all likelihood, monopolize every one of them. On the other or Suffex side of the Medway, above a mile from the Wells, are the rocks, which consist of a great number of rude eminences, adjoining to each other, several of which are seventy feet in height; in several places there are cliffs and chasms which lead quite through the midst of them, by narrow gloomy passages, which strike the beholder with astonishment.

 

THESE MEDICINAL WATERS, commonly called TUNBRIDGE-WELLS, lie so near to the county of Suffex that part of them are within it, for which reason they were for some time called Fant-wells, as being within that parish. (fn. 1) Their efficacy is reported to have been accidentally found out by Dudley lord North, in the beginning of the reign of king James I. Whilst he resided at Eridge-house for his health, lord Abergavenny's seat, in this neighbourhood, and that he was entirely cured of the lingering consumptive disorder he laboured under by the use of them.

 

The springs, which were then discovered, seem to have been seven in number, two of the principal of which were some time afterwards, by lord Abergavenny's care, inclosed, and were afterwards much resorted to by many of the middling and lower sort, whose ill health had real occasion for the use of them. In which state they continued till queen Henrietta Maria, wife of king Charles I. having been sent hither by her physicians, in the year 1630, for the reestablishment of her health, soon brought these waters into fashion, and occasioned a great resort to them from that time. In compliment to her doctor, Lewis Rowzee, in his treatise on them, calls these springs the Queen's-wells; but this name lasted but a small time, and they were soon afterwards universally known by that of Tunbridge-wells, which names they acquired from the company usually residing at Tunbridge town, when they came into these parts for the benefit of drinking the waters.

 

¶The town of Tunbridge being five miles distant from the wells, occasioned some few houses to be built in the hamlets of Southborough and Rusthall, for the accommodation of the company resorting hither, and this place now becoming fashionable, was visited by numbers for the sake of pleasure and dissipation, as well as for the cure of their infirmities; and soon after the Restoration every kind of building, for public amusements, was erected at the two hamlets above mentioned, lodgings and other buildings were built at and near the wells, the springs themselves were secured, and other conveniencies added to them. In 1664, the queen came here by the advice of her physicians, in hopes of reinstating her health, which was greatly impaired by a dangerous fever, and her success, in being perfectly cured by these waters, greatly raised the reputation of them, and the company increasing yearly, it induced the inhabitants to make every accommodation for them adjoining to the Wells, so that both Rusthall and Southborough became ruinous and deserted by all but their native inhabitants. The duke of York, with his duchess, and the two princesses their daughters, visited Tunbridge-wells in the year 1670, which brought much more company than usual to them, and raised their reputation still higher; and the annual increase continuing, it induced the lord of the manor to think of improving this humour of visiting the wells to his own profit as well as the better accommodation of the company. To effect which, he entered into an agreement with his tenants, and hired of them the herbage of the waste of the manor for the term of fifty years, at the yearly rent of ten shillings to each tenant, and then erected shops and houses on and near the walks and springs, in every convenient spot for that purpose; by which means Tunbridge wells became a populous and flourishing village, well inhabited, for whose convenience, and the company resorting thither, a chapel was likewise built, in 1684, by subscription, on some ground given by the lady viscountess Purbeck, which was, about twelve years afterwards, enlarged by an additional subscription, amounting together to near twenty-three hundred pounds.

  

About the year 1726, the building lease, which had been granted by the lord of the manor of Rusthall, in which this hamlet is situated, expiring, the tenants of the manor claimed a share in the buildings, as a compensation for the loss of the herbage, which was covered by his houses. This occasioned a long and very expensive law suit between them, which was at last determined in favour of the tenants, who were adjudged to have a right to a third part of the buildings then erected on the estate, in lieu of their right to the herbage; upon which all the shops and houses, which had been built on the manor waste, were divided into three lots, of which the tenants were to draw one, and the other two were to remain to the lord of the manor; the lot which the tenants drew was the middle one, which included the assembly room on the public walk, which has since turned out much the most advantageous of the three. After which long articles of agreement, in 1739, were entered into between Maurice Conyers, esq. then lord of the manor of Rusthall, and the above mentioned tenants of it, in which, among many other matters, he agreed to permit the public walks and wells, and divers other premises there, to be made use of for the public benefit of the nobility and gentry resorting thereto, and several regulations were made in them concerning the walks, wells, and wastes of the manor, and for the restraining buildings on the waste, between the lord and his tenants, according to a plan therein specified; all which were confirmed and established by an act of parliament, passed in 1740. Since which several of the royal family have honoured these wells with their presence, and numbers of the nobility and persons of rank and fashion yearly resortto them, so that this place is now in a most flourishing state, having great numbers of good houses built for lodgings, and every other necessary accommodation for the company. Its customs are settled; the employment of the dippers regulated; (fn. 2) its pleasures regulated; its markets well and plentifully supplied, at a reasonable rate, with sowl, fish, meat, every other kind of food, and every convenience added that can contribute to give health and pleasure.

 

The whole neighbourhood of Tunbridge-wells abounds with springs of mineral water, but as the properties of all are nearly the same, only those two, which at the first discovery of them were adjudged the best, are held in any particular estimation. These two wells are enclosed with a handsome triangular stone wall; over the springs are placed two convenient basons of Portland stone, with perforations at the bottom; one of them being given by queen Anne, and the other by the lord of the manor; through which they receive the water, which at the spring is extremely clear and bright. Its taste is steely, but not disagreeable; it has hardly any smell, though sometimes, in a dense air, its ferruginous exhalations are very distinguishable. In point of heat it is invariably temperate, the spring lying so deep in the earth, that neither the heat of summer, nor the cold of winter, affects it. When this water is first taken up in a large glass, its particles continue at rest till it is warmed to nearly the heat of the atmosphere, then a few airy globules begin to separate themselves, and adhere to the sides of the glass, and in a few hours a light copper coloured scum begins to float on the surface, after which an ochreous sediment settles at the bottom. Long continued rains sometimes give the water a milky appearance, but do not otherwise sensibly affect it. From the experiments of different physicians, it appears that the component parts of this water are, steely particles, marine salts, an oily matter, an ochreous substance, simple water, and a volatile vitriolic spirit, too subtile for any chemical analysis. In weight it is, in seven ounces and a quarter, four grains lighter than the German Spa (to which it is preferable on that account) and ten grains lighter than common water; with syrup of violets this water gives a deep green, as vitriols do. (fn. 3) It requires five drops of oleum sulphuris, or elixir of vitriol, to a quart of water, to preserve its virtues to a distance from the spring.

 

This water is said to be an impregnation of rain in some of the neighbouring eminences, which abound in iron mineral, where it is further enriched with the marine salts and all the valuable ingredients, which constitute it a light and pure chalybeate, which instantly searches the most remote recesses of the human frame, warms and invigorates the relaxed constitution, restores the weakened fibres to their due tone and elasticity, removes those obstructions to which the minuter vessels of the body are liable, and is consequently adapted to most cold chronical disorders, lowness of spirits, weak digestions, and nervous complaints. Dr. Lodowick Rowzee, of Ashford, in this county, wrote a Treatise of the Nature and Virtues of these Waters, printed in 12mo. 1671; and Dr. Patrick Madan wrote a Philosophical and Medical Essay on them, in 1687, in quarto.

 

THE MANOR OF SPELDHURST, in the reign of king Edward III. was in the possession of Sir John de Pulteneye, lord of the neighbouring manor of Penshurst, a man of great account at that time, as has been already noticed before, who, in the 19th year of that reign, on his perfecting the foundation he had begun of a college in the parish of St. Lawrence, Canon-street, London, afterwards called the College of St. Laurence Poultney, settled the manor with the church of Speldshurst on it.

 

¶It remained part of the possessions of the college till its suppression in the reign of king Edward VI. when it was granted among other premises, by the description of the manor of Speldhurst and Harwarton (then demised to Sir William Waller, at the rent of 16s. 8d. per annum) of the clear yearly value of 13l. 14s. 1d. together with the patronage of the church appendant to the manor, parcel of the late college of St. Laurence, Poultney, London, to Henry Polsted. (fn. 4) How the manor of Speldhurst passed afterwards I have not found, only that after several intermediate owners, it came into the name of Goodhugh, and in the latter end of the reign of king George I. was possessed by Richard Goodhugh, esq. from which name it passed by a female heir, Sarah, in marriage to Mr. Rich. Round, whose son, Mr. Richard Round, of Stonepit, in Seale, died possessed of it, and the trustees of his insant children are now in the possession of it.

  

SPELDHURST is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and deanry of Malling.

 

The church, which was dedicated to St. Mary, was a neat building, having a spire steeple at the west end of it, in which hung four bells.

 

On Thursday, October 22, 1791, a dreadful storm of thunder and lightning happened in these parts, which set fire to this church, a ball of fire being observed to enter the center of the shingled part of the spire, and instantly a thick smoke, followed by slames issued from it, and there being no help at hand, every thing contributed to its destruction. The high wind, the rain and hail having ceased, drove the flames from the steeple on the church, and in about four hours this beautiful structure was totally reduced to a heap of ruins, The bells were melted by the intense heat, the monuments in it, and every thing else which could become a prey to the fiery element were reduced to ashes; the stone walls only were left, but in so ruinous a condition as not to be fit for future use, and what is extraordinary, the font, though left entire, was turned upside down; the tombs and head stones near the church were considerably damaged. A brief was obtained towards the re-building of it, but the work, though the size of it has been greatly reduced, the new church, consisting but of one isle and a very small chancel, has gone on but slowly, and at this time is not near finished, and neither steeple nor bells are yet agreed upon, the brief not producing so much as was expected.

 

In the old church, before it was burnt down, there were the following monuments and inscriptions:— In the chancel, on the south wall, an antient and beautiful monument,. with the arms of Waller, with the augmentation and several quarterings, for Sir Walter Waller; a brass plate for John Waller, esq. obt. 1517. In the nave, were several brass plates for the same family, one of them for William Waller, esq. of Groombridge, obt. 1555. The porch was very curious, over which was an antique shield, cut in stone, being the arms of France, with a file of three flambeaux, for Charles, duke of Orleans, mentioned before. He built this porch, and was a good benefactor to the repairs of the church itself. (fn. 19)

 

By a fine levied in the 39th year of king Henry III. before Gilbert de Preston, and others justices itinerant, Walter de la Dene, the possessor of this advowson, granted it to the Walter Fitzwalter in tail general, to hold of him and his heirs for ever, at the yearly rent of one penny, and performing all other services due from thence to the capital lords of the fee.

 

¶Roger de Padlesworth was patron of the church of Speldhurst in the 48th year of the same reign, and he then released his right to certain rent and service due for lands granted to the chapel of Gromenebregge, situated within his manor of Speldhurst. In the reign of king Edward III. the manor and church of Speldhurst were part of the possessions of Sir John de Pulteneye, who, in the 19th year of that reign, on his perfecting the foundation and endowment of his college in the parish of St. Lawrence, in Canon-street, London, afterwards called the College of St. Lawrence Poultney, settled both manor and advowson on it. (fn. 20) Three years after which, anno 1347, Hamo, bishop of Rochester, at the instance and petition of Sir John de Pulteneye, by his instrument appropriated this church to that college for ever, reserving out of it nevertheless a fit portion to the perpetual vicar serving in it, to be presented to the bishop and his successors, by the master or guardian and the chaplains of the college, by which he might be supported decently, and be enabled to discharge the episcopal dues and other burthens incumbent on him; and he decreed, that they should take possession of this church immediately on the death or cession of Sir Thomas, then rector of it (whom he by no means intended to prejudice by this appropriation) without any further licence or authority obtained for that purpose, saving, nevertheless, and reserving to himself and his successors canonical obedience from the master or guardian and chaplains or their successors, on account of their holding this church as aforesaid, and the visitation of it, and other rights due to the church and the bishop of Rochester, and to the archdeacon of the place, either of custom or of right, and all other rights and customs in every thing whatsoever; and saving and reserving in the church a perpetual vicarage, which he then decreed should take effect at the death or resignation of the rector of it. And he willed, that a sit and competent portion should be assigned out of the fruits, rents and produce of it to such vicar to serve in it, who should first be presented by the master, &c. to be instituted and admitted by the bishop, or his successor, into it, before his admission, according as circumstances required, to the use of him and his successors for ever. And he willed and decreed, that the portion above-mentioned should for ever consist of the tithes of filva cedua, pannage, apples, and fruits of other trees, hay, herbage, flax, hemp, wool, milk, butter and cheese, lambs, calves, pigs, swans, pidgeons, fowlings, huntings, mills, fisheries, merchandizing, and in all other small tithes and dues of the church, oblations and obventions whatsoever belonging to the altarage, together with competent buildings situate on the soil of the church, to be assigned for the habitation of the vicar, and in which the visitors of the ordinary might be commodiously received. And he willed and decreed, that the vicar for the time being, (after the books and vestments belonging by custom to the rector to provide, should have been sufficiently provided by the master, &c.) should cause the books to be bound, and the vestments to be washed, repaired and amended, as often as need should be; and should find and provide, at his own expence, bread, wine, and processional tapers, and other lights necessary in the chancel, and the accustomed attendants in the church; and should keep and maintain in a proper state, at his own costs, the buildings allotted to his vicarage, after they should have been once sufficiently repaired, and assigned as an habitation for him and his successors, and should wholly pay all episcopal dues, and archidiaconal procurations, and should undergo and acknowledge all other extraordinary burthens, which should be incumbent or laid on him, according to the taxation of his portion, which, so far as related to them, he estimated and taxed at sixty shillings sterling; but that the master, &c. should undergo and acknowledge, at his and their own costs for ever, all other ordinaries and extraordinaries, according to the taxation of their portion, which he estimated at six marcs and an half. Lastly, that his cathedral church of Rochester might not be in any manner hurt, or prejudiced by this appropriation, he, in recompence of such loss, as it might happen to receive from it, either in the not receiving the profits of it whilst it should become vacant, or otherwise, reserved a certain annual pension of seven shillings sterling from this church to him and his successors, to be yearly paid at the feast of the Purification of the blessed Virgin Mary, by the master, &c. as soon as they should have obtained effectual and full possession of it, &c. (fn. 21)

 

www.british-history.ac.uk/survey-kent/vol3/pp275-300

buah kurma untuk bukak puasa

Hadrian's Tower is a residential tower block in Newcastle upon Tyne. Located at 27 Rutherford Street, construction started in 2018 and was completed in September 2020.

 

History

Hadrian's Tower was designed by Faulkner Browns, built by Tolent Construction, glazed by EVB Facades (UK) Ltd and handed over to the developer, The High Street Group, in September 2020 and opened in December 2020.

 

Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.

 

Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.

 

The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.

 

Roman settlement

The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.

 

The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.

 

Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.

 

Anglo-Saxon development

The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.

 

Norman period

After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.

 

In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.

 

Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.

 

Middle Ages

Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.

 

The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.

 

Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.

 

In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.

 

In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.

 

Religious houses

During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.

 

The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.

 

The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.

 

The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.

 

The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.

 

The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.

 

All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.

 

An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.

 

Tudor period

The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.

 

During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).

 

With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.

 

Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.

 

The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.

 

In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.

 

Stuart period

In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.

 

In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.

 

In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.

 

In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.

 

In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.

 

A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.

 

Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.

 

In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.

 

In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.

 

Eighteenth century

In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.

 

In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.

 

In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.

 

Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.

 

The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.

 

In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.

 

A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.

 

Victorian period

Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.

 

In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.

 

In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.

 

In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.

 

In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.

 

Industrialisation

In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.

 

Innovation in Newcastle and surrounding areas included the following:

 

George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.

George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.

 

Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.

 

Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.

 

William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.

 

The following major industries developed in Newcastle or its surrounding area:

 

Glassmaking

A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.

 

Locomotive manufacture

In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.

 

Shipbuilding

In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.

 

Armaments

In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.

 

Steam turbines

Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.

 

Pottery

In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.

 

Expansion of the city

Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.

 

Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.

 

Twentieth century

In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.

 

During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.

 

In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.

 

Newcastle City Council moved to the new Newcastle Civic Centre in 1968.

 

As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.

 

In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.

 

As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.

 

The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.

 

Recent developments

Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.

Fort Mason dates to 1864 and the protection of San Francisco Bay during the Civil War. It was most used as a Port of Embarkation for the US Army. It was excessed in the 1970s and was taken over by the National Park Service. The Lower Reservation is known as Fort Mason Center for Arts & Culture (FMCAC) while the Upper Reservation is used for National Park Service uses. It is on the National Register of Historic Places #85002433 and is also National Historic Landmark.

DATES from the 13th Century

I made this as one of a set for the Week of December 11 - 17, 2011 for the blog Create Mixed Media (Northlight Books).

 

This one is done in mokume gane polymer clay veneer.

 

For more on my process, visit my blog: storiestheytell.blogspot.com

The Pyramid of Unas dates back to the end of the 5th Dynasty (24th century BC) and whilst its external appearance has been reduced to a large ruined mound its internal chambers remain intact and are decorated with hieroglyphic texts, the first used in any tomb, giving spells and incantations to assist the journey of the deceased's soul in the afterlife.

en.wikipedia.org/wiki/Pyramid_of_Unas

 

Saqqara, the necropolis of Memphis, is one of the most fascinating sites in Egypt, as well as one of its earliest. The major monument here is Djoser's step pyramid, the earliest stone-built architectural monument which dominates the site.

 

Other pharaohs built pyramids here though most have not survived in such good conditions and some were never even finished. Two of the pyramids (those of Unas and Teti) contain chambers decorated with hieroglyph texts (the so called 'Pyramid Texts') that are amongst the earliest manifestations of ancient Egyptian writing.

 

The most significant survival from an artistic point of view however are the many early mastaba tombs (built from mud-brick and adorned with fine limestone reliefs within). Most visitors will not have time to do them justice and may have to just choose a couple to focus on if making a first visit. The art is of a very high quality and quite remote stylistically from the more esoteric scenes within the much later tombs of Thebes.

 

Saqqara can be a bewildering site to explore at first, but a little prior research will reveal the locations and best places to visit.

en.wikipedia.org/wiki/Saqqara

Dates have been a staple food of the Middle East for thousands of years. They are believed to have originated around the Persian Gulf, and have been cultivated since ancient times from Mesopotamia to prehistoric Egypt, possibly. Nowadays Saudi Arabia is the third dates producer in the world. Besides the palm tree is one of the two symbols of the Kingdom of Saudi Arabia.

 

© Eric Lafforgue

www.ericlafforgue.com

From Michael Ferner's post at Autosport:

"Perhaps the best place to post an Addendum to "Langhorne! No Man's Land", the excellent 2008 book by Spencer Riggs - excellent, but for the unfortunately sub-standard coverage of the early years, mainly the 1920s. Perhaps Riggs's sources or interest ran low for these events, but unlike the latter years which contain the pretty much usual, inevitable (and mostly inconsequential) small inaccuracies here and there, the first four or five chapters are almost riddled with factual errors and omissions which need to be addressed. Some of this was apparent to me right from the start, but only very recent research has provided a lot of additional insight, even including a number of additional race dates, so here goes:

 

To start with, Langhorne was not "officially known as the New Philadelphia Speedway" (p5), it was plain "Philadelphia Speedway" instead, to which the adjective "new" was sometimes added. Only a small and perhaps insignificant difference, but in the same way the term "Langhorne speedway" (refering only generally to a speedway at that location) transformed into "Langhorne Speedway" by the last event of 1927, which was also the last time that the term "Philadelphia Speedway" was used.

 

More important, if slightly more difficult to make accurate observations, is the business of average speeds, of both the "advertized" and "achieved" variety! At the time, and in fact for many decades thereafter, the 1-mile dirt track "world record" was an almost mythical subject; a most prominent feather in the "war bonnet" of drivers, car owners and manufacturers, track owners and promoters alike. In actual, practical matters, however, it wasn't much more than a chimaera, as dirt tracks in general are notoriously difficult to compare, what with their inconsistent surface, to say nothing of the various different shapes and (whisper it quietly) actual track lengths.

 

Be that as it may, when Langhorne opened in May of 1926, the "official" AAA mile-dirt-track record still stood at 42.28" (85 mph), established by Tommy Milton at Syracuse in 1923, not Ralph de Palma's 41.38" (87 mph, p7) established at Syracuse in September of 1926, three months after the Langhone opener, but even that wasn't the fastest time ever achieved, because the AAA accepted only electrically timed speeds as "official", and so Frank Lockhart's hand-timed lap of 39.2" (91 mph) at Bakersfield in October of 1925 went unrecognized as far as AAA "world records" go (not "due to a faulty timer", p6). And, to be sure, many independent clubs had their own "world records" of sometimes quite fanciful imagination, but let us not tread in the twilight zone here! Important in regards with Langhorne here is the fact that no electrical timing equipment was used at Langhorne before May 3, 1930, and so any achieved (or imagined!) times and speeds were quite inconsequential for the purpose of the "world record", which by that time was finally held by Lockhart at 38.94" (92 mph), achieved at Cleveland in September of 1927.

 

So, while it is true that the initial minimum speed to qualify for the inaugural Langhorne race was set at 85 mph, equal to the then current world record, and even raised to 90 mph before the trials actually began, that was just the usual ballyhoo that was deemed necessary to attract the attention of the potential race goers, and when the qualification trials were finally over, the fastest recorded time was just 42.4" (84 mph), and the "minimum speed" quickly forgotten. The whole minimum speed saga is, however, an indication of the ambitious nature of the NMRA, whose members had purchased quite a few very potent racing cars over the last few months, and this was a way of communicating this fact to the public - the AAA board tracks often published minimum qualifying speeds of way over 120 mph, and the NMRA was trying to match this "class" of racing, and in fact almost did as we will see.

 

Which brings us neatly to the story of Pete de Paolo's Duesenberg, the 1925 Indy winner (p7). Yes, it's true that it was purchased by the director of the Eastern Penitentiary, although most period sources have him by the name of Herbert (not Fred) Smith, but it was not the car that won the first Langhorne race!! This has been written so many times in secondary sources that I nearly took it for granted, even if it necessitated a somewhat convoluted story to explain how de Paolo used it again after that initial Langhorne race, but only now have I realized that the period sources mention the "de Paolo Duesenberg" for the first time in August - I had to go back and through all the available documents to be sure, but it's true! And it makes the history of that particular so much more straightforward, with de Paolo's last race in it on July 17. Instead, Freddie Winnai drove a 1920 Duesenberg Straight 8 of 183 CID owned by Fred Garnet, and listed in the programme (p10) as #8, which was the number of the Indy winner in 1927, while it raced as #9 in the few races it did in late '26!

 

A few words about the drivers: Tommy Dawson was not "a relatively unknown local driver" (p6), at least not more so than Russ Snowberger or Ray Keech - it is easy to fall prey to warped perception with the passage of so much time, and even more so with the knowledge about later achievements of some of those drivers. In fact, Dawson was one of the most consistent frontrunners within the NMRA for years, and had occasionally dipped a toe into AAA water, even with some success. Likewise, Bill Strickler had not been a retired driver/owner in 1926, like the text on p7 suggests; he had been around consistently for several years before and after the Langhorne opener, both as an owner and driver. If anyone really deserved the sobriquet "underdog" in 1926, it was Freddie Winnai, who was all of 21 years old and a racing sophomore, with no wins to speak of (if any) as yet. His career really started on June 12, 1926, together with Langhorne's, and it's quite fitting that he turns out to be the one driver with the most individual main event wins ever in the history of the track! More of that later on.

 

A few details from the description of the opening races are not entirely correct, too, mainly that Malcolm Fox won the third class B heat (not Lew Shingle, who was second), and that his crash in the B main meant that he couldn't start the 50-mile feature event - as it is, sources are not entirely clear, but there were probably no more than nine or ten starters, not the fifteen mentioned on p8. Another omission is that the second meeting on July 10 followed another rain-out on July 5, showing that the track had a bit of a weather problem in its inaugural season - in the end, none of the three holiday meetings (Memorial Day, Independence Day and Labor Day) happened on schedule! As for the delayed Independence Day meet, Ray Keech did win in a Miller that once belonged to Ira Vail, but Vail was no longer involved with it and most certainly not present, while the car was now owned by Ed Yagle who would go on to enjoy much success over the next three years with Keech and a number of different Millers. And the story about Russ Snowberger "christening" Puke Hollow is very nice and probably true, but it can't have happened during the July meeting because Russ was out during early practice with a massive engine failure. In fact, one report of the opening meet back in June mentioned Snowberger retiring from the main event "visibly ill" and unable to leave his racer without much help of several bystanders...

 

Now to the "Twilight Races" (p10/11): this was basically a sound idea, probably gleaned from the successful Night Races that Ascot Speedway had been running in California during 1924, and once in 1926 on the very same date of the last Langhorne race! Langhorne, however, did not have any lighting system, but with Daylight Saving Time on a long Summer evening it was feasible to stage a full meeting on a weekday, and the meetings do appear to have been a success even if the press almost ignored them. Published attendance figures are anything but reliable, yet they do show a 7,000 crowd for the last of the Twilight Races against a meagre 500 for the July 10 meet! By the way, all three Twilight Races were held, on consecutive Wednesday evenings from July 21 to August 4. The first main event was advertised for 25 laps, but run over only 10 due to approaching darkness, so the crowd had reason to be "taken aback" (p11), while there was little publicity about the other two meets, won by Jimmy Gleason (10 miles on July 28) and Russ Snowberger (over only 5 miles!), with Riley Cumberland and Steve Penjuke the respective class B winners over like distances. One little incident of interest from the second of those meetings is that Ray Keech reportedly lost count of the laps driven, and stopped at the pits one lap early, thus forfeiting second place money!

 

For the August 7 meeting, the press finally announced the arrival of a new car, running at the track "for the first time": the 1925 Indy winner, complete with its original 122 CID engine which makes sense, as de Paolo had wrecked the 91 CID unit at his last race with it, and that engine was a dud anyway besides there being no capacity limits in independent dirt track racing. Interestingly, though, the car was entered for Al Aspen, not Winnai, and the reports about race day make no mention of Aspen or the famous car. That in itself is not really unusual, but for the Labor Day races it was announced that Winnai was now taking over the de Paolo car, while Jack Desmond was to drive "the Duesenberg in which Winnai broke the track record at the last meet", or words to that effect - yet the Duesenberg ad pictured on p11 states that the record was made with the former Indy winner! An interesting conundrum, but anyway the ad shows the correct time of 38.8" (92 mph) for the record, not 38.2" as in the text on p12. By the way, there's much confusion about the car Lou Fink fatally crashed in - earlier that season, he usually drove a Frontenac that had reputedly "killed" two drivers before, while on that fateful day reports vary between Duesenberg, Peugeot and Hispano-Suiza!

 

The October 3 meet is, indeed, a bit of a mystery, but it was definitely an event to itself, not the original date for the 100-miler the next week which was already announced in late September. Part of the October 3 mystery is that it was a Sunday, the first and for a long time only event at Langhorne run on a Sunday. Apart from advertizing the race as a 15-miler and naming half a dozen entries, the only thing known is that Jimmy Gleason won, plus there was a photograph in the "pictures of the world" section of a newspaper during the following week, purporting to show four cars during the running of that race. Which leaves us with the final event of the 1926 season... and I don't mean the 100-miler! For late October, announcement was made for a "Louis Fink Family Benefit" race at Langhorne, which was at least twice rained out and advertized for the last time for November 7, but whether it actually took place I can't say!

 

Before we move on to 1927, one word to the statistics section on p536 which lists the main event winners under the NMRA heading for 1926, including three of the "B main" winners which is not only incomplete, but also an inaccurate way to describe the format of these races. Generally, there were class A and class B heats over 3 or 5 laps, and then 10-lap "semi-mains" for both classes before the real feature, usually called the "championship race". More accurately and complete, the list should look like this:

 

6/12: Winnai (50 laps), Winnai (A 10) and Rowland (B 10)

7/10: Keech (50), Gleason (A 10) and Horace Hunter (B 10)

7/21: Winnai (10), Winnai (A 10) and Everette (B 6)

7/28: Gleason (10), Gleason/Keech (A 5 dead heat) and Cumberland (B 10)

8/4: Snowberger (A 5) and Penjuke (B 5)

8/7: Winnai (25), Winnai (A 10) and Desmond (B 10)

9/11: Gleason (25), Gleason (A 10) and Dawson (B 10)

10/3: Gleason (15), etc?

10/9: Snowberger (100)

 

Edited by Michael Ferner, 14 September 2014 - 09:14."

 

" Admittedly, so far these these addenda have been mostly of a somewhat arcane nature, but the errors and omissions are getting progressively worse over the next three chapters. There were only three events in 1927, and all three as described in the book contain one major error each: the first one was not sanctioned by the NMRA (p16), but already a AAA event; in fact all the major NMRA players switched to AAA licences that year and did not need to drive on temporary permits (p17)! The second race was not a 50-miler, but ran over only half that distance, while the third race was neither on September 3 nor on Labor Day, which was September 5 that year - in fact, the original date of September 5 was changed to the following Saturday, September 10, to avoid a clash with the National Championship race at Altoona the same day, which had a support race for "semi-professionals" that attracted a few of the Langhorne regulars.

 

Things get totally out of hand in chapter 4, dealing with the 1928 season: I can find no trace of an NMRA race on May 12 (p20), instead the AAA opened Langhorne two weeks later with another Winnai win, this time over 10 miles. During this meeting, Winnai also lowered the AAA track record to 40.0" (90 mph) from the 41.8" (86 mph) achieved by Frank Farmer in May of 1927 - typically, the AAA ignored track records of independent clubs such as the NMRA. A planned series of five AAA races (exact dates not mentioned) at Langhorne did not, however, materialize, as the track conditions were found to be wanting, and so an independent club took over for the summer months, although it is not exactly clear which club that was! To wit, the last mention of the NMRA as a sanctioning body for any race that I have is from October 29 in 1927 at a meeting in Lehighton/PA, while the name of its "successor", the United Automobile Association (UAA) does not appear in print anywhere that I can see before October 6, 1928 at Pottstown/PA! Both clubs were always keen to see their name mentioned in press blurbs, so it's kind of strange that there is no reference to either club to be found for this period of close to a full year.

 

There is, however, the possibilty of an involvement by a third local club by the name of Eastern States Motor Racing Association (ESMRA) which was apparently founded in late 1926 as yet another NMRA offshoot. This came about because of a "territorial conflict" within the NMRA, which had held a big end-of-season 100-mile race at Pottstown annually since 1920, but with the opening of Langhorne the focus had shifted away from the small town some thirty miles west of Philadelphia, and the good people of Pottstown broke with the NMRA, scheduling the "7th Eastern States Championship" race for the same date as the Langhorne 100-miler in 1926! Not surprisingly, that backfired badly, as did a match race three weeks later between the Pottstown winner Horace Hunter and Freddie Winnai which the young star from the Langhorne track won easily. How things developed from here is anybody's guess, especially in the light of the mass walkout of NMRA stars to the AAA in 1927, but one of these three clubs was likely sanctioning those Langhorne meetings in the summer of 1928, of which there were at least six.

 

Before proceeding, one must make reference to the previously discussed matter of the MacKenzie cousins again in order to avoid further confusion. Quite how Riggs imagined that both cousins were known as "Doc" MacKenzie is simply beyond me, as it is one of the prime purposes of a nickname to differentiate between persons with like names. As already stated elsewhere, there is evidence that the 1928 fatality was named "Speedy" by his peers, but most papers simply refered to George MacKenzie for either man, to the point that it appears as if it was one person driving different cars! Nevertheless, since "Speedy" mostly drove an "F & J Special" while "Doc" mainly wheeled a Hudson, it is possible to keep them apart, but not without some doubt. Speedy, who was a couple years younger than Doc, appears to have been the leading figure of the two, probably starting a little earlier and landing the first results, e.g. two thirds in the first three independent main events at Langhorne that year, but by summer the two of them appear to have been pretty evenly matched.

 

Ben Shaw won the first of these races on June 10 over 25 laps, then Malcolm Fox took the flag the next week in a race stopped after only 16 laps because of excessive dust - this was the meeting with the accidents as described on p20. On July 1, the distance was reduced to 15 laps, and Fox was unavailable for some reason, so his car owner Bill Neapolitan stepped in and won in what was reportedly his very first race! Fox was back for wins over 25 miles on July 15, and then in another event postponed from August 12 to the following Sunday, August 19 which was the one in which Speedy MacKenzie crashed fatally (not August 26, p21). Apparently, that race was shortened also to 15, maybe even 10 laps. A fortnight later, September 2, and Doc MacKenzie won over 10 laps - again, it was the dust which turned out to be a major problem that summer. That was it for the independents, but not for Langhorne as the AAA came back for a series of fall season races!

 

September 30 was apparently rained out, but on October 7 it was old crowd favourite Freddie Winnai again over 25 miles, with Ray Keech second from Frank Farmer and Rick Decker, all of them Indianapolis bound the following year. More of the same three weeks later, when Chet Gardner came over from Colorado to completely dominate events, including a new track record at 38.4" (93 mph), finally beating Winnai's old mark, and then leading every lap in his heat and the main event which was cut short when Deacon Litz pulled in from third place complaining that he couldn't see in the falling dusk! Still, another event was scheduled for November 4 and postponed to the 11th, with Larry Beals from Massachusetts winning the main event over only ten laps, while a match race between Keech, Winnai and Gardner ended ignominiously: first, the latter pulled out upon hearing of the postponement, selling his car and returning home, and then Keech's engine failed on the penultimate lap of the final 10-lap heat, causing Winnai to crash into him, and flagman Doc Gerner to wait in vain for a car to finish the race - uh-oh!

 

Thus ended the busiest season with regards to number of race meets in the entire history of Langhorne Speedway, yet the definite book about the track fails to find even one correct date for those meetings, and glosses over the on-track happenings in a most pitiful way - the low point of an otherwise excellent book, sad to say! And unfortunately, it doesn't get much better in chapter 5, concerning the 1929 season: like with Labor Day in 1927, Riggs fails to perform a simple check of the calendar, and astonishes with a sentence like "while many records have the date for this event as May 12, a Tuesday, this race was actually held on Saturday, May 16" (p 23) - the proof reader must have called in sick, too!! The subject of the sentence is the inaugural event of 1929, which was indeed held on May 12 - a Sunday!!! - after both April 28 and May 5 had been rained out. And yet again, it was a AAA race, not NMRA, an organisation which almost certainly did no longer exist at that time.

 

The errors continue with the mentioning of Chet Gardner and his 38.4" lap which, as we have learned, had been achieved more than half a year earlier. In fact, Gardner wasn't even entered on May 12, and fast time of 43.0" (83 mph) was recorded by the local society scion, Harold B. Larzelere junior, whose eponymous father had once finished second to the great David Bruce-Brown at the Giant's Despair hill climb in 1909. Young "HBL" had driven an Auburn stock car in a support race for the last independent meet at Langhorne in September, found that he liked it, and gone on to compete at the Pottstown 100 only to crash out after giving a good account of himself. Joining AAA over the winter, he was already making a big impression, and would be a main event winner within two months! A number of accidents, however, soon dampened his spririts, and after taking three years to achieve his second win, he simply faded away during the mid thirties. Freddie Winnai, on the other hand, scored his seventh Langhorne main event win that day, a record that would never be surpassed. Only one Anthony Joseph Foyt junior, who wasn't even yet a glint in the eye of Anthony Joseph Foyt senior, would eventually equal this feet by adding a couple of stock car victories to his tally of five Big Car wins, and over a period of four and a half years as compared to Fast Freddie's three years!

 

After that one AAA race, the UAA took over for the rest of the year, and held at least three meetings - well, one could say three-and-a-half! The first programme on May 26 went ahead as planned, with Malcolm Fox driving Ben Shaw's Fronty to a win in the 25-mile main from such names as Frank Castell, Mike Golasky and Jimmy Kearns - really, class B stuff. Still, the UAA was making a lot of noises about challenging the best the AAA could offer for a match race, which does not seem to have had the desired effect: attendance figures dropped steadily, from 5,000 for the AAA opener, over 3,500 for the first UAA event to 1,500, and finally a mere 1,000 in July. A June 15 event was stopped by rain during or after time trials, and was repeated the following Saturday with Ben Shaw now driving his own car to another 25-mile victory. Golasky was second this time, with Tom Buler third and Harry Reeves fourth - another collection of no-names. Finally, after a pause of four weeks, another 25-miler was scheduled, but for unexplained reasons cut to ten laps, with Neapolitan taking his second win at a very slow 56 mph - presumably, because the track was in very poor shape! The most interesting thing about this win is that he likely drove the same car, namely Ben Shaw's Frontenac, which thus may have been a winner in three consecutive races, with three different drivers aboard!

 

And I can't let that photo caption on p24 slip by without a word: to anyone familiar with Miller engines it really jumps out at you that the loud bit in this car is not a Dodge, but a 183 CID Miller Straight 8! The car is actually the somewhat strange offset single-seater which Ira Vail had built in 1924 after accepting the fact that he could no longer drive on the board tracks because of a particular sickness which regularly befell him (doctors call it "self preservation instinct"!), and which he had used to good effect in dirt track races in the East until he bought the Lockhart/Miller in the summer of 1926. This Vail/Miller then passed on to Charlie Ganung of Katonah/NY who ran it himself and for a number of different drivers well into the thirties, it seems. The actual owner, however, seems to have been one George Taytor, a Dodge dealer from South Salem/NY, between Katonah and the Connecticutt stateline, and this is presumably where this picture was taken. But yes, this particular car raced at Langhorne, too.

 

One or two words should be allowed concerning chapter 6, and the 1930 Langhorne opener in particular: Riggs asserts that Bill Cummings fnally brought the world dirt track record to Langhorne in Karl Kizer's Century Tire Fronty-Ford at 38.03" (94 mph, p26) - unfortunately, only the car owner's and sponsor's names are correct! Kizer had purchased a 91 CID Miller Straight 8 for Cummings's AAA debut from Cliff Woodbury's Boyle Valve-sponsored team, and had his own company's name inscribed into the old triangular Boyle logo, even leaving the #9 painted on its tail, to which he simply added a "2" to make it #29, had it then sent to Langhorne for the bright young dirt track prospect from Indianapolis who astonished the crowd and his peers by breaking Fred Frame's electrically timed 39.68" (90 mph) track record of a few minutes before with a 38.97" (92 mph) lap that came within 0.03" of Lockhart's still standing "world record" from Cleveland in 1927, before going on to lead all 100 laps of the main event (not "swapping positions back and forth", p27) to win by more than half a lap - one proper long sentence to close this post! Thanks for listening.

 

Edited by Michael Ferner, 14 September 2014 - 21:31. "

  

Langhorne Speedway

 

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Langhorne Speedway

  

"The Big Left Turn"

"The Track That Ate the Heroes"

"Puke Hollow" (Turn #2)

 

Langhorne-race-sign.jpg

 

Location

Middletown Township, Bucks County, near Langhorne, Pennsylvania

 

Capacity

Approximately 60,000

 

Owner

National Motor Racing Association (1926-1929)

Ralph "Pappy" Hankinson

(1930-1941)

Earl "Lucky" Teter (1941-1942)

John Babcock (1946-1950)

Irv Fried and Al Gerber

(1951-1971)

 

Operator

Langhorne Speedway

 

Opened

1926

 

Closed

1971

 

Former names

New Philadelphia/Philadelphia Speedway (1926 - c. 1930)

 

Major events

AAA Championship Car Langhorne 100 (1930-1955)

USAC Championship Car Langhorne 100 (1956-1970)

NASCAR Grand National

(1949-1957)

Langhorne National Open (1951-1971)

 

Circle

  

Length

1.6 km (1.0 mi)

 

Banking

minimal

 

Langhorne Speedway was an automobile racetrack in Middletown Township, Bucks County, near the borough of Langhorne, Pennsylvania, a northern suburb of Philadelphia.

 

According to the book Langhorne! No Man's Land by L. Spencer Riggs: "With all other courses up to that time being fairground horse tracks, Langhorne was the first [one-]mile dirt track built specifically for cars" (p. 5). High-profile American racing clubs like the American Motorcyclist Association (AMA), American Automobile Association (AAA), and United States Auto Club (USAC) made Langhorne one of the stops on their national circuits. These events included AMA-sanctioned National Championship Motorcycle races between 1935 and 1956, AAA-sanctioned Championship Car races between 1930 and 1955, and USAC-sanctioned Championship Car races from 1956 to 1970. The USAC races featured (and were won by) notable racers such as A. J. Foyt, Mario Andretti, Al Unser, Bobby Unser, Gordon Johncock, Lloyd Ruby, and Eddie Sachs. Langhorne was also featured prominently in NASCAR's early years and hosted at least one NASCAR-sanctioned race every year from 1949 to 1957.

Track history[edit]

 

The speedway was built by a group of Philadelphia racing enthusiasts known as the National Motor Racing Association (NMRA) and the first race was held on June 12, 1926 (scheduled for May 31 but postponed by rain). Freddie Winnai of Philadelphia qualified in 42.40 seconds, a new world's record for a one-mile (1.6 km) track, and went on to win the 50-lap main event.

 

The NMRA operated Langhorne through the 1929 season, staging 100-lap events on Labor Days and occasional shorter races. Difficulties in track preparation, management disputes, and poor attendance drove the speedway to the brink of bankruptcy until noted promoter Ralph "Pappy" Hankinson took over in 1930. "Pappy" brought in AAA Championship 100-lap races and continued to stage shorter Sprint car racing on the circular track. One of the first stock car races in the northeastern U.S. was held at Langhorne in 1940; Roy Hall of Atlanta, Georgia was victor in the 200-lap event.

 

In 1941, Hankinson sold the track to stuntman Earl "Lucky" Teter after a falling out with the AAA. However, Teter's tenure only lasted until July 5, 1942 when he was killed while attempting his Rocket Car leap stunt in Indiana State Fairgrounds. [1][2] That very same month, the U.S. Government banned all forms of auto racing due to America's involvement in World War II. As a result, the Speedway sat idle and did not host a race of any kind until 1946. Less than a month after the racing ban was enacted, "Pappy" Hankinson, the man so instrumental in bringing notoriety to Langhorne early on, died of natural causes in Florida. With a huge void created in the track's management, ownership of Langhorne Speedway was passed on to John Babcock and his family. Then in 1951, Irv Fried and Al Gerber became promoters.

 

Catering chiefly to USAC's Championship Car division, Fried and Gerber had the track's layout reconfigured to a "D" shape in 1965 by building a straightaway across the back stretch and paving over the uneven dirt surface with asphalt. However, as suburban growth engulfed the speedway, the offers from developers became too tempting to refuse. Fried and Gerber announced the sale of the property to mall developers in 1967, but the speedway held on through five more seasons. The final race held at Langhorne occurred on October 17, 1971, with Roger Treichler claiming the checkered flag at the National Open for Modified stock cars.

 

Site after closure of speedway[edit]

 

The landscape of the once-famous racetrack was dramatically altered after that last race over 40 years ago. Almost immediately after Langhorne's closure, the property was razed in order to make way for a new shopping development. The current space features a Sam's Club, a Restaurant Depot warehouse and a former K-Mart store where the pits and grandstand were once located. A heavily overgrown wooded area has completely enveloped the infield and backstretch, while a small grocery store and asphalt parking lots around the perimeter of the site cover up the rest. As a result, no physical remnants of the track itself remain. [1]

 

On Saturday, October 14, 2006, almost 35 years to the day of the last race held at Langhorne, the Pennsylvania Historical and Museum Commission dedicated a historical marker at 1939 E. Lincoln Highway (in the same general area where the track was located) which reads:

  

Opened in 1926, this circular one-mile dirt track was known as the "Big Left Turn." It hosted a NASCAR inaugural race in 1949. Notable drivers Doc Mackenzie, Joie Chitwood, Rex Mays, Lee Petty, Dutch Hoag, A.J. Foyt, and Mario Andretti raced here in stock, midget, sprint, and Indy cars. Langhorne was reshaped as a "D" and paved in 1965. The National Open Championship run here was regarded as the "Indy of the East." Final race was held in 1971. [3][4]

 

Langhorne was relocated to southern New Jersey and became Bridgeport Speedway in Bridgeport, NJ.[5]

 

Deaths and serious injuries[edit]

 

The track became known as one of the more dangerous tracks in motorsports. Larry Mann, Frank Arford, Bobby Marvin, John McVitty, Joe Russo, Mike Nazaruk, and Jimmy Bryan were all killed racing at this track. In the first National Open in 1951, a large wreck blocked the track and burned driver Wally Campbell, that year's NASCAR National Modified Champion.[6] Several other noted drivers were injured in accidents, often described as spectacular, due to high speeds on the mile-long but rough dirt surface.

 

In 1965, one of the most spectacular comebacks in auto racing history began with the serious burns and injuries to Mel Kenyon. Kenyon would later return to racing to place third at the Indy 500 and win numerous national midget racing championships.

 

"Puke Hollow"[edit]

 

Probably the most notorious area of the original dirt race course, which earned the nickname "Puke Hollow", was located at turn #2 (see note below). It received this moniker due to the fact that a driver might be inclined to "puke" as a result of the extreme jostling his car would experience when hitting the deep ruts which formed in this section of the track as a race progressed. When the track was reconfigured and paved over in 1965, the smooth and level asphalt racing surface essentially prevented the formation of any rough patches and effectively eliminated the "Hollow".

(Note: Since the racetrack was a near perfect circle until 1965, there were no clear-cut "turns" as compared to a more traditional track layout; the turns are based on dividing the circular track into 4 quarters, with turn #2 being the second "quarter" from the start line.)

 

Ahhh had such a fun night last night ~ drinks, nibblies, girlfriends + SATC2 movie date! What a great way to break up the week, we want to make it a regular thing ~ it only cost us $9 for a cheap Tuesday movie ticket! Thrifty, happy fun ~ always the best!

 

I felt like getting glammed up, so my favourite coat is definitely a winner, I'm addicted to my 70s platforms so of course they made a showing + I thought it was an appropriate occasion to break in my newest dress addition to my closet: a beautiful Harah creation. As I always say, I love any excuse to frock up!

 

Wearing: coat/platforms/belt/clutch-vintage; dress-Harah Designs; necklace-Ash & Cole

 

MORE AT MY BLOG!

#Ajwaa #Dates (#khajoor), directly from #Medina. These are considered the best dates in the world.

as in I go on dates with my bike, Bradley.

I'll bet on my owl collection that my Saturday night was better than yours.

Ramadan is over in another day or two.

Dates are traditionally eaten to break the fast at sunset.

 

note: the colours look desaturated on firefox & iexplorer for mac... i still have to learn how to do the colour calibration thing

 

Over the past few days, I've revamped the design of my photoblog. There may still be some bugs and quirks to iron out, but for the most part it's complete. Feel free to provide feedback (or report bugs) either here or by leaving a comment on my blog.

This is my first attempt at designing and assembling save the date tickets for my destination wedding. Yes it was quite a process but I'm pretty happy with the results. Envelopes were made from vellum paper. They were scored, folded, and then embossed with two palm trees. The sleeves were made from sparkle merlot card stock, scored, folded, and embossed. The tickets were printed three to a sheet on Aspire Petallics metallic paper. The corners were rounded and sides were cut each by hand with an x-acto.

Dates on sale by the kilo at Doha's Omani Souq during Ramadan.

This was from yesterday, but I love it so much I wanted to post it here too.

Dates are one of the very famous fruits here in Egypt. Also taken at Khan El Khalili.