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The nave (west) of Paisley Abbey provides an example of original Medieval architecture dating from the 12th century. The earliest surviving architecture is the south-east doorway in the nave from the cloister, which has a round arched doorway typical of Romanesque or Norman architecture which was the prevalent architectural style before the adoption of Gothic. The choir (east end) and tower date from the late 19th and early 20th centuries and are examples of Gothic Revival architecture. They were reconstructed in three main phases of restorations with the tower and choir conforming to the designs of Dr Peter MacGregor Chalmers. The roof in the nave is the most recent of restorations with the plaster ceiling by Dr Rev. Boog which was added in the 1790s being replaced by a timber roof in 1981.
St Mary's at Somersham sits in a green area on the eastern edge of the village (not large but a bigger settlement than many in this area). It is an attractive building of mainly 14th century date following the form of many of the area's smaller churches with west tower followed by an aisleless nave and chancel, a continuous vessel with little structural break. Much of the exterior is rendered and limewashed, which lightens the tones and cheers it up somewhat.
Within it is one long integrated space but contains much of interest in its furnishings, with two royal arms and 18th century paintings of Aaron & Moses flanking the altar. The easternmost of the wooden tie-beams of the ceiling even retains fixings that likely once supported the sanctus bell used for mass, a rare vestige of pre-Reformation worship. A more recent addition is the bold display of modern stained glass in the lunette formed at the head of the otherwise blocked north doorway, a splash of colour designed by Suffolk-based glass artist Surinder Warboys.
Somersham church is a place of great charm, and whilst it is normally kept locked outside of services a keyholder may be sought nearby (thankfully Simon already knew where to find them and was on the case the moment we arrived).
A local landmark and perhaps my favourite of the Gloucester city churches, St Nicholas's is instantly recognisable for its truncated spire, the top part having been damaged during the siege of the city in 1643 and left with its distinctive cap ever since.
The church dates back to Norman times though what we see today is mostly the result of later modifications and enlargements throughout the Middle Ages, with the handsome tower a fine example of 15th century design. The rest of the exterior is a little difficult to appreciate owing to being hemmed in by surrounding trees and buildings, aside from the south side that faces the street.
Inside the greater antiquity of the building is more readily apparent in the Norman arches on the north side. There is much else of interest here, the church having several good monuments, the largest a tomb with effigies in the south aisle. It does have the feel of a church in retirement, having been made redundant some years ago and is now happily cared for by the Churches Conservation Trust.
St Nicholas's is a rewarding church well worth a visit. It is only open at certain times though a key is available from the museum opposite during reasonable hours for those who find it locked.
www.visitchurches.org.uk/visit/church-listing/st-nicholas...
So much has been said in praise of St Mary's church in the Redcliffe area of Bristol that it seems rather pointless trying to go into further detail here beyond saying that its repute is truly well deserved, this being the church that Elizabeth I called "the fairest, goodliest, and most famous parish church in England."
St Mary Redcliffe is a wonderfully complete vision of English late Decorated / early Perpendicular Gothic architecture which is broadly unified stylistically. The present building mainly dates from 1292-1370 and has a cathedral-like form and scale, fully cruciform with nave, choir and transepts flanked by aisles in each case and the church culminating in a Lady Chapel at the east end. The tower is at the north west corner and crowned by a tapering spire (truncated by a lightning strike in 1446 and only rebuilt in 1872) and a landmark for the surrounding area (visible as one arrives in Bristol by train as I did, being so close to the station). However the most dramatic architectural feature of the exterior is the unique two-storied hexagonal porch on the north side which is the main entrance to the church. This porch has much unusual ornament in its carved doorways and details and within is a joy to behold with its vaulted ceiling, a beautiful introduction to the church beyond.
Inside the nave the glory of the interior becomes clear, flooded with light from the many great aisle and clerestorey windows and crowned throughout by vaulted ceilings of a variety of beautiful designs, all studded with gilded roof bosses. It is a breathtaking interior to behold and a feast for the eyes. As one progresses further down the church through the aisles and transepts one encounters tombs and effigies to various medieval worthies of Bristol and whilst most of the medieval glass has disappeared beyond a few collected fragments (located in the chapel at the north west corner under the tower) there are some huge swathes of Victorian glass and some rather more rewarding postwar glass in the Lady Chapel adding a rich splash of colour at the far end of the building.
It is impossible to really do this architectural gem justice with words so I'll let the photos do the rest of the talking. All I can add is that this is one of the loveliest buildings in the country and a masterpiece of English medieval art and architecture. It shouldn't be missed and is happily normally open to visitors on a daily basis.
Late 13th century roof boss in the nave vault.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
Eltham Palace in south east London is the place where high medieval architecture and the art deco styling of the 1930s collide.
www.flickr.com/photos/barryslemmings/sets/72157594230012929/ for the full set.
The site had belonged to Bishop Odo, half brother of William the Conqueror in 1086. Anthony Bek, Bishop of Durham, certainly built a defensive wall around the site in the 1290s. Edward I, Edward II and Edward III all visited or lived here, Bek having given the site to young Edward II. Edward III spent most of his youth here.
The Order of the Garter, Europe's oldest surviving order of chivalry may have been founded here by Edward III in 1348. Later kings added to the site but it was Edward IV who built the magnificent Great Hall in 1470s which can still be seen. It has the third largest hammer beam ceiling in England.
Tudor kings Henry VII and Henry VIII favoured the site for many years as it was one of only six palaces which could house the entire royal court of 800 people. However Eltham was largely replaced by the now lost Greenwich Palace which was nearer the river but still had access to the good hunting around Eltham.
It later became a farm and the Great Hall narrowly avoided demolition in the 19th century.
In the 1930s the lease was acquired by the wealthy Courtauld family who proposed a radical rebuild of the site, which was still owned by the Crown. After some controversy architects John Seely and Paul Paget go the go-ahead in 1933 and work started.
The interior is furnished in the art-deco style and modern features of the new house included a centralised vacuum cleaner system in the basement with outlets in every room, heated towel rails and radios in the staff bedrooms.
The Courtaulds lived in the house from 1936 until 1944. Conservative minister Rab Butler lived at Eltham with the Courtaulds and much of the 1944 Education Act is thought to have been written here.
Although the family still had 88 years left on the lease the Second World War prompted the Courtaulds to leave and the building became the headquarters for the Army Educational Corps from 1945 until 1992. English Heritage had already cared for the Great Hall but took over the whole site in 1995 and began a restoration of the main house which, fortunately, had retained many of its art deco features and interiors.
More fittings and furniture have since been returned to the house - including a table and chairs which were found in the board room and the props department of Pinewood film studios. Stephen Courtauld had been on the board of Ealing Film Studios for 20 years.
Narrow street in Rouen, Normandy features medieval architecture with half-timbered buildings and stone facades. A tower with a conical roof and cross-topped spire stands prominently. The scene is framed between tall, closely-set structures with traditional lamps lining the path. Overcast sky creates a moody atmosphere typical of historical European towns, enhancing the Gothic and Renaissance architectural elements. Rue Saint-Romain is known for its proximity to the iconic Rouen Cathedral, reflecting the historical richness of this French city.
The chantry chapel of King Henry V (d.1422) encloses the eastern end of the Confessor's chapel and the lower part of the apse, forming an upper and lower structure that curiously straddles the ambulatory behind. The lower part contains the tomb of the King (his wooden effigy long since stripped of its original silver adornments around the time of the Reformation and had to wait till 1971 to recieve a new head) while above is a chapel (inaccessible to visitors) which retains most of its original medieval statuary (which again is frustratingly difficult to see in detail).
www.westminster-abbey.org/abbey-commemorations/royals/hen...
Westminster Abbey is perhaps the most significant church in English History, site of the coronation of monarchs since it was founded by Edward the Confessor, and burial place of the majority of them, along with many other historical figures of note. It is first and foremost a superlative work of medieval architecture, from its soaring 13th-14th century nave, transepts and choir (all in a curiously French inspired version of Decorated Gothic) to the masterpiece of English Perpendicular, the incredibly lacy fan-vaulted Henry VII's chapel at the east end.
The Abbey is also a treasure house of ecclesiastical art, most of it monumental sculpture on the numerous tombs and effigies of almost every date ranging from the entire medieval period through to the 20th century; a somewhat cluttered interior, crammed full of interest, there is simply nothing else quite like it, no other church contains so many monuments.
The Abbey's monastic ranges partially survive, most notably the cloisters and superb chapter house; a short summary of the Abbey's riches is simply impossible. The monastery itself was shut down during the Dissolution, after which the Abbey briefly became a cathedral until its diocesan rank was revoked merely a decade later. Today it is designated a 'Royal Peculiar' owing to its unique status.
The Abbey is a textbook in stone of British history, and thus a hugely popular tourist attraction. It currently has more limited opening hours in the post-Covid recovery period and entry is not cheap, but happily after decades of a strict prohibition against photographers the rules have now been relaxed at last and visitors are now welcome to fully enjoy this marvellous building with their cameras!
For further details (and restrictions) see below:-
St Andrew's at Foxton, Leicestershire, the first church of a crawl on Heritage Saturday (the best time to visit Leicestershire as many churches are normally locked, though this one is normally open).
Highlights here include a fine Norman font, a striking Millennium window and a few roof carvings (for those with a longer lens).
Kitzbühel, Tyrol showcases colorful medieval architecture. A historic church with a distinctive bell tower rises in the background. Foreground buildings feature pastel facades—yellow and pink—with green shutters and floral window boxes. Traditional Tyrolean style is evident in the steep gabled roofs and painted exteriors. A street lamp suspended above adds to the quaint charm. Lush greenery is visible, indicating a vibrant spring setting. The scene captures the charming, historical essence of this Austrian town.
View over the Narva River, which is also the international border between Estonia / EU and Russia. I was standing at the edge of Estonian territory beside the Hermann Castle in Narva, looking over at the medieval fortress of Ivangorod just over the border in Russia. (I was deeply nervous about trying to photograph this castle, knowing there could be sensitivites about border areas, especially in Russia which we were about to enter).
The two castles have stood staring at each other across the Narva River for centuries, bearing witness to ancient hostilities that sadly continue to this day.
A majestic example of medieval architecture, the Castle of the Princes of Acaja towers over Fossano’s historic center with its corner towers and inner courtyard. Built in the 14th century as a fortress, it was later transformed into a noble residence, preserving its grandeur and timeless charm.
Shit at night a week before Halloween so kinda fitted the bill.
Around the Peterborough district on the Lincolnshire border, Crowland (or Croyland another name for it) Abbey is a landmark across the fields of the Fens.
The ruins today are all that remains of a large Monastery which dated back to the 7th Century when a monk called Guthlac came this remote settlement that was originally an Island amongst a load of marshland.
After the dissolution of the Monasteries courtesy of Henry VIII the ruins were taken down but the North aisle was left and today serves as the parish church.
The tower also survived this ordeal, in this tower alone the first proper peal of bells was rung here in the 10th-Century, and the ropes are the longest ringing ropes in England.
De Moriaan, located in the vibrant heart of 's-Hertogenbosch's Markt, stands as a testament to medieval architecture and the enduring legacy of brick construction in the Netherlands. Built in the 13th century, it is celebrated as one of the oldest brick houses in the country. Its historical significance is further accentuated by the 13th-century beams that still adorn its basement, offering a tangible connection to the past. Originally constructed by Hendrik I of Brabant for his friend Beckerlijn, De Moriaan features a distinctive Gothic brick hall and a round tower, elements that were characteristic of the era's architectural style. Despite facing demolition in 1956 to make way for traffic, it was saved by a ministerial refusal to grant a demolition permit, leading to its restoration in 1963. Today, De Moriaan not only serves as a national monument but also houses the local tourist office and a café, blending its rich history with modern-day hospitality.
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Bryggen is a historic harbour district in Bergen, one of North Europe’s oldest port cities on the west coast of Norway which was established as a centre for trade by the 12th century.
In 1350 the Hanseatic League established a “Hanseatic Office” in Bergen. They gradually acquired ownership of Bryggen and controlled the trade in stockfish from Northern Norway through privileges granted by the Crown. The Hanseatic League established a total of four overseas Hanseatic Offices, Bryggen being the only one preserved today.
Wells Cathedral is a magical place to me, having cast a spell over me from the very first time I laid eyes on it as a seven-year old when it started to be a regular break on our journeys south west for childhood holidays. Although it wasn't the first cathedral I'd encountered it was the first I'd seen after developing a more conscious interest in church art and architecture and it seemed to me like something from another world (which in many ways it is). I never forgot the impression it made, its beauties inside and out, and having not visited for nearly three decades I decided getting reacquainted was long overdue.
Described as England's 'Queen amongst cathedrals' it is not as huge as some but it is as beautiful as any, and its setting within the enclosure of a charming cathedral close that constitutes a large part of this modestly-sized but picturesque cathedral-city just adds to its qualities. Its three towers beckon the visitor through the turreted gates that connect the close to the market place and to walk through these and behold the west facade for the first time is an unforgettable experience. The central tower is a beautiful example of Somerset's pinnacled late Gothic masterpieces, and yet it almost disappears, practically forgotten, when one encounters the rich display between the two western towers with their curiously flat parapets. These towers are also mainly 15th century work, but below them, and built two centuries earlier, the facade unfolds like a huge screen covered with niches, most of which remarkably retain their original statues, the largest display of medieval sculpture surviving in England.
Currently visitors are directed to enter via the cloisters on the south side rather than through the surprisingly small, almost apologetic doorways burrowed through the base of this astonishing facade, so it is important to spend some time absorbing it before entering the building. Once inside the effect is rather calmer than the riot of ornamentation on the west front, and the scale a little more intimate and inviting than many cathedral interiors. Most of it is early 13th century and harmonious in style, but it is a later addition that draws the eye looking down the nave, the unique 'scissor arches' installed to brace the crossing in order to stabilise the central tower following signs of movement. The transepts beyond are of the same date and design as the nave, whilst further east the more ornate choir is a little later, being completed in the early 14th century. Beyond this the retrochoir and polygonal Lady Chapel with their delicate pillars and vaults form one of the most delightful and visually satisfying of English medieval interiors.
Furnishings and features of interest are plentiful as one explores the church admiring the beauty of its architecture, with much medieval glass surviving at the east end, the east window and the adjoining clerestories having survived almost intact (more survives in the choir aisles and lady chapel though aside from the traceries most is in a fragmentary state). Many medieval bishops effigies are to be seen (many forming a posthumous 13th century commemoration of earlier Saxon bishops) along with three chantry chapels. In the north transept is the famous medieval astronomical clock with its painted dials and jousting knights marking the quarter hours.
One of the most exquisite features is the chapter house also on the north side, approached via a delightfully timeworn staircase and covered by a particularly attractive vaulted ceiling. It is one of the highlights of the building and shouldn't be missed. The cloisters on the south side are also a delight to wander through and were one of the last major additions to the cathedral.
Wells Cathedral is without a doubt one of the country's greatest treasures and in my mind one of the most beautiful churches anywhere and even its surroundings are a joy to explore. It is sad to think of it closed at present owing to the current lockdown, it deserves to be visited and enjoyed again by all once the present crisis is over.
St Lawrence's in Ludlow could easily claim to be the grandest parish church in Shropshire but also one of the very finest and most rewarding medieval churches in the country. The tower may also be ascended for some fine views over the town of Ludlow and beyond.
Built by Sancho Garces III El Mayor (The Great), King of Pamplona and Count of Aragon, Sobrarbe, Ribagorza, Alava and Castile (b. 970 - r. 1004 - d. 1035), then by Ramiro I and Sancho Ramirez
Detail of the rich painted decoration in St Andrew's chapel, created in 1868 by Thomas Gambier Parry.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a separate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
The stone may be new, but the design is vintage 1338, when the imagination was given free rein, and curves flowed freely in window tracery and other stonework like never before. The York tracery "flows," to be sure, but it is also balanced and kept firmly under control (cf. windows at Sleaford, Lincolnshire (www.flickr.com/photos/hunky_punk/7686624146) and Snettisham, Norfolk (www.flickr.com/photos/hunky_punk/7511302668), for example, that seem almost alive and struggling to free themselves from the confines of the arch).
Photos from a follow up visit to Stanford on Avon to get some better details of the 14th century glass.
St Nicholas's at Stanford on Avon is simply a churchcrawler's delight, one of the most rewarding village churches a visitor could hope for. There is so much to admire here, the building itself is mainly 14th century in an attractive mixture of stone types, with a sturdy west tower crowned by chunky Georgian pinnacles. From outside several blocked windows are noticeable, the result of several of the grandiose monuments within. The interior is light and spacious, thanks to the almost total lack of seating in the nave and aisles, just a few pews aligned with the nave arcades to keep clutter to a minimum. The original timber ceilings remain above, with some amusing bosses in the nave.
There is much ancient woodwork in the chancel, mostly tudor linenfold panelling (brought here from nearby Stanford Hall). There is one misericord seat, and the woodwork of the screen and pulpit are also medieval. At the west end is a post Reformation gem, the 1630 organ made for the chapel of Whitehall Palace and ejected by Oliver Cromwell. It ended up in the possession of the local Cave family of Stanford Hall and found sanctuary here.
The Cave family are the main reason for the wealth of monuments in the church, a collection representing most periods from the medieval to the early 20th century, some of very fine quality. The earliest is the 14th century priest in the south aisle, the rest are from tudor times and onwards, including fine tudor alabaster effigies in the nave, a large Elizabethan monument in the north aisle, a grand Jacobean monument in the chancel, two big early 19th century monuments at the west end (these last three all block windows), and the slightly unnerving Zulu War memorial in the north aisle, with a soldier stepping off his plinth. The walls throughout the church are adorned with large colourful hatchments that add to the building's character.
The monuments and furnishings would individually be ample reward elsewhere, but there is more still in the superb collection of medieval stained glass, one of the most extensive in any parish church. Not much of it is in situ, except for sections of the east window and the remaining chancel windows with their complete series of the 12 apostles in 14th century glass. The end windows of both aisles have much glass of the same date, with good traceries and female saints in the main lights. The bulk of the aisle windows are glazed with a collection of later donor panels,roundels and heraldry, though all are worthy of examination. (The glass was completely removed for several years during the 1990s, to be restored and re-ordered by the Barley Studio in York; I visited a couple of times to find the church looking very different, being entirely plain-glazed).
Being close to my home town of Rugby, this was one of the first medieval churches I was taken to see in childhood when I first developed an interest in them. It left a lasting impression and is one of my all time favourites.
Situated on the northern edge of Northamptonshire very close to the Leicestershire border, Marston Trussell is most noticeable to the traveller for the handsome tower of its medieval church, a building of mainly 13th - 14th century date. This tower has greater height than the nave has length, and the chancel being only fractionally shorter than the nave makes the building appear slightly oddly proportioned. The north porch is notable for its timber-framed outer structure, including a strangely-shaped arch partially cut through the wooden lintel.
Sadly despite being heritage weekend we arrived too early to see inside on this occasion. This church is normally kept locked outside of service times; I did once manage to track down a keyholder and get inside in the early 1990s though have no decent photos to show for the interior and its glass.
britishlistedbuildings.co.uk/101216629-church-of-st-nicho...
St Giles at Chesterton is a long low building mostly dating from the 14th and 15th centuries. It's interior has a tunnel-like effect, there being little structural difference between nave and chancel, all one long chamber without aisles, separated only by a modest screen.
It's most important features are the group of monuments at the west end of the nave, all to members of the Peyto family, builders of the renowned windmill nearby, and former occupants of the now vanished mansion that stood immediately north of the church (built 1650-60, demolished 1802; only an impressive gateway arch remains).
St Peter, Ketteringham, Norfolk
In 2006, I wrote: Ketteringham is just south of the main A11 road, but clever planning policies have left it feeling remote; more remote than it felt before the new road was built, probably. The village straggles along a mile or so of street, and the church is about half a mile to the south. My OS map showed a road leading up to it, but when we looked for this road it turned out to be the private drive of Ketteringham Hall, and was very firmly locked off. Instead, we had to go out into the country on the road to East Carleton and then come back northwards towards the church. It sits immediately beside another entrance to the Hall grounds, and you can see at once that it was a park church, the main churchyard entrances pointing towards gates into the grounds, the public lychgate in the corner added almost as an afterthought.
Another sign that this was a park church is that it was patently given a good going over in the late 18th century. The antiquarian-minded squirearchy of the times didn't know much about medieval architecture, but it knew what it liked. Hence, the fortress-like pinnacle to the tower stairway, and the guardian angels at the other three corners. The residents of the Hall at the time were the Atkyns; their successors were the Boileaus, whose famous mausoleum is to the east of the church. It was built under very traumatic circumstances, one of the central incidents in Owen Chadwick's masterly Victorian Miniature, a book I only read after my visit here, but which will send me back there as soon as possible.
There have been four main families that have left their impression here - the Grays, the Heveninghams, the Atkyns and the Boileaus. The atmosphere of the interior, at once rustic and grand, tells you that the Boileaus had more say in the 19th century than the ecclesiologists of Oxford and Cambridge ever did. Sir John Boileau, the hot-tempered, paternalistic Squire, was responsible for the elegant west gallery; he spent thirty years in dispute with the vain, egotistical, Calvinist Rector William Andrew, and his appalling wife Ellen, a tale recounted in Chadwick's book.
The key lets you in through the vestry, and you step into a chancel which is quite overwhelming in the quantity of its memorials. There are over 500 years worth of them from all four families, and the best thing is that they are almost all both interesting and quirky - few of them are merely pompous or run of the mill.
There are, broadly speaking, four groups. On the south side of the chancel is a large table tomb which might once have formed an Easter sepulchre. Set in its recess are two late 15th century brasses to Sir Henry and Lady Gray. An older brass to Jane Gray is set on the wall to the west of it. Moving west, the massive tomb by Robert Page for Edward Atkyns, who died in 1750, looks like nothing so much as a bath tub with lion's feet.
Directly opposite is the family pew of the Atkyns, later that of the Boileaus - memorials of both families tower above it, most prominently the weeping woman and urn on the Richard Westmacott memorial to father and son Edward and Wright Atkyns; the array of weapons stacked beside the urn recall that the son died in battle.
This is echoed in one of the later brass inscriptions set below to Charles Augustus Penryn Boileau, youngest son of Sir John Boileau. Something of a rake, he went to the Crimean War as a way of escaping his debts, and died in Malta on his way home as a result of injuries suffered at the 1855 seige of Sebastapol; a tangle of musket, sword, bugle and so on, is starkly carved from stone beneath.
A memorial of similar size to John, Charles' eldest brother, matches it; more successful in public life than his brother, he was a parliamentary private secretary to Lord John Russell. Russell's retirement coincided with the end of the Crimean War; John rushed out to see it end, but caught a fever in Austro-Hungary. He came home, but was sent to the south of France to recuperate. He got as far as Dieppe, and died there in 1861.
Between the two brasses is a central, larger one to their parents; SIr John Boileau, his movements, talents and emotions known to us today from Chadwick's book, a bull-headed yet sympathetic character who might have stepped out of the pages of Trollope, and his wife Catherine.
Catherine should have been remembered by a memorial window depicting the Saint that gave her name; but there was such an uproar in the parish, fanned by the Rector, about having an image of a Saint in the church that Sir John relented. The Rector, who was not unkind, reported to Sir John that his greatest fear was that the simple people of the parish might think it was the Virgin Mary.
Perhaps the most curious memorial is the most westerly one of this group. It is a 1910 memorial to Charlotte Atkyns, who died in Paris in 1836, and is buried in an unmarked grave; born a Walpole, she found herself caught up in the events of the French Revolution, and the inscription further recalls that she was the friend of Marie Antoinette, and made several brave attempts to rescue her from prison; and after that Queen's death strove to rescue the Dauphin of France. She bankrupted the family fortunes in her quest, mortgaging the Ketteringham estate and claiming to have spent an extraordinary eighty thousand pounds, about fifteen million in today's money.
Owen Chadwick recalls that, on her death, she requested that her body be returned to Ketteringham and a marble slab be placed on the chancel walls. Her relatives of the time, left destitute by her enthusiasms, not unreasonably failed to carry out either request. You might think that Charlotte's Francophile adventures and the French name of the Boileaus might indicate a family connection; in fact, the Boileaus were an old Huguenot family who came to Norfolk by way of Dublin, and already owned Tacolneston Hall. They bought the bankrupt Ketteringham estate after Charlotte's death.
Perhaps the best of all the memorials is in the north-east corner of the chancel, to Sir William Heveningham and his wife Mary. It is curious, the way the figures and prayerdesk at the bottom, and the ascending angel above, appear to obscure the inscription; but there may be a reason for this. Sir William was one of those who sat in judgement on Charles I, and although he did not actually sign the death warrant, he was deprived of his inheritance, and for many years his name was under a cloud.
St Peter is obviously worth the visit for the memorials alone, but there is rather more to it than that. The church has one of the best collections of medieval and Flemish glass in central Norfolk. One of the most interesting aspects of the collection, given that the Hall was in the hands of four powerful families over the centuries, is that it includes a 15th century Grey arms, and so we may perhaps assume that the families that collected the later continental glass were adding it to English medieval glass that was already in situ.
The most important glass is an English medieval Coronation of the Queen of Heaven, an extraordinarily rare pair of panels. Also English are numerous angels, a Saint Cecilia playing her psaltery, and a Bishop. Continental roundels include St Barbara, and there is also a fascinating St Christopher with a hermit looking on, which I take to be 15th century continental.
One of the striking things about the east window is that this is a collection set for display. I assume that this was the work of the late 18th century Atkyns family. Mary Parker tells me that the entire window was reset in 1908 by the King workshop of Norwich, and that some of it is now in reverse order to that given in an account of 1851. Some of the panels are in poor condition, and I fear that this may be because they were originally set back-to-front, that is to say with the painting outside, exposed to the elements. The King restoration corrected this, but not before the damage had been done.
If St Peter had none of the glass, and none of the memorials either, there would still be much to recommend it. The font is fascinating; four of the panels feature evangelistic symbols, and two others flowers; but the final two panels are very unusual. They are the only two that appear to have suffered iconoclasm; one is clearly a crucifixion scene, something like that which you find often on fonts in the seven sacraments series. The eighth panel is harder to decode. It shows a seated figure holding a staff - could it be Christ in judgement? Or the Mother of God enthroned? It is hard to say. The renewed roof, with its restored angels, is set on outstanding corbels, and there is a good view of them from up in the gallery. This is a small, narrow church, and the intimacy of the views from aloft is much to be recommended. In such a small building it even gives a good vantage point for photographing the east window if you have a decent zoom.
Sir John Boileau built the gallery as a way of providing accommodation for the Sunday School, an interference that the Rector deeply resented. There was no way that Sir John's liberal paternalism and the Rector's fundamentalist intransigence were ever likely to accommodate each other. The firm security of tenure enjoyed by both, and the further sources of friction that arose between them, not least the interference of the Rector's wife, made the situation explosive.
All around are hatchments of Atkyns and Boileaus. There is no doubt that they had their say, but strangely enough there is no sense of triumphalism; rather, they mark a church which is a real backwater, both geographically and in terms of English church furnishing and decoration. But if this was a backwater, it was a moneyed one; there is a real quality to the way everything was carried out here, and this remains today. As a good example, take the late 16th century painting on boards of the Wedding at Canaa in use as a reredos. My goodness, what a thing to find in an English country church! At the time it was painted, we were all enthusiastic protestants, stripping our churches and our lives of things of beauty. But here it is, an extraordinary Flemish survival, probably collected in the early 19th century.
As I said at the start, Norfolk is still full of surprises. This is not a church you find by accident, and so it fully repays the effort of getting here and getting in. What must it have been like to attend divine service here in the 19th century? I assume that the entire parish, pretty much, worked for the Hall. Whose side were they on in the long-running dispute between Squire and Rector? The Rector had the advantage of a three-decker pulpit. The reading light now faces north-west, but at one time he would have faced north-east, to address the Hall pew. This must have given him something of an advantage on a Sunday.
But today it is the Hall families we remember; the Grays, the Heveninghams, the Atkyns and especially the Boileaus. So, spare a glance and a thought before leaving for the cold stone memorial on the south nave wall for William Wayte Andrew, Rector through the middle years of the 19th century. In his evangelical Calvinist zeal he faced up to the Boileaus, but it must be with pursed lips that he is a silent witness to them now.
Simon Knott, 2006, updated 2016
Warmington church stands proud on high ground overlooking the main road up the north-eastern fringe of Edgehill. The church is of mainly 13th to 14th century date and is built of the local ironstone which always adds such character with it's delightful golden-brown hue.
The colouring of the stonework is also most apparent within the nave and aisles, which are separated by solid Transitional style arcades (the pillars are Norman in character, while the arches they carry are pointed, though still partially Romanesque in spirit). There is some interesting tracery in the north aisle, particularly the pentagram design in the east window. The chancel betrays later detailing from the 14th century, most notably the fine sedilia with its cusped canopies. Frustratingly I missed the chance to see inside the two-storey extension on the north side on this visit, assuming it to be just another locked vestry, but externally it seems to be a more significant structure.
The windows of the church are largely plain-glazed, though there is stained glass of the Victorian period in the chancel and west window of the tower (none of it terribly exciting).
St Michael's church is normally kept open for visitors during the day, and is well worth a look.
St Margaret's at Wolston is a fine cruciform village church close to Coventry with a squat central tower (a previous one fell c1760, taking the chancel roof with it) and a good Norman south doorway (moved when the church was expanded in the 14th century).
The interior is light and spacious and dominated by the surviving Norman crossing arches (with some carved capitals). The font is a fine piece of rustic Decorated with small masks amidst the low relief canopies. The transepts are now screened off but still accessible, that on the south with fine cusped tomb recesses of c1300 sheltering very poorly preserved effigies (on the floor and difficult to see in the gloom). Opposite is an early 16th century monument whose brasses and inscriptions have long since vanished. In the chancel is an attractive sedilia and an unusually painted roof, dating from the 1760s after the fall of the tower.
This was my first visit since a major internal re-ordering swept away the pews and pulpit (all still in place on my previous visit in 2013) and opened up the nave for more flexible use. The 14th century font was also relocated to the south aisle from its place at the west end of the nave where the footings of its Norman predecessor have now been exposed beneath a glass floor.
Westminster Abbey is perhaps the most significant church in English History, site of the coronation of monarchs since it was founded by Edward the Confessor, and burial place of the majority of them, along with many other historical figures of note. It is first and foremost a superlative work of medieval architecture, from its soaring 13th-14th century nave, transepts and choir (all in a curiously French inspired version of Decorated Gothic) to the masterpiece of English Perpendicular, the incredibly lacy fan-vaulted Henry VII's chapel at the east end.
The Abbey is also a treasure house of ecclesiastical art, most of it monumental sculpture on the numerous tombs and effigies of almost every date ranging from the entire medieval period through to the 20th century; a somewhat cluttered interior, crammed full of interest, there is simply nothing else quite like it, no other church contains so many monuments.
The Abbey's monastic ranges partially survive, most notably the cloisters and superb chapter house; a short summary of the Abbey's riches is simply impossible. The monastery itself was shut down during the Dissolution, after which the Abbey briefly became a cathedral until its diocesan rank was revoked merely a decade later. Today it is designated a 'Royal Peculiar' owing to its unique status.
The Abbey is a textbook in stone of British history, and thus a hugely popular tourist attraction. It currently has more limited opening hours in the post-Covid recovery period and entry is not cheap, but happily after decades of a strict prohibition against photographers the rules have now been relaxed at last and visitors are now welcome to fully enjoy this marvellous building with their cameras!
For further details (and restrictions) see below:-
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.