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George Caleb Bingham - American, 1811 - 1879
The Jolly Flatboatmen, 1846
West Building, Main Floor — Gallery 65
A flatboat with eight light-skinned men floats toward us down a wide river in this horizontal painting. The boat nearly spans the width of the composition and has low sides and a shallowly arched, low cabin upon which the men gather. At the center, a man with dark hair and wearing light blue trousers and a pink shirt dances with one foot and both arms raised. To our right a seated musician plays a fiddle, and to our left a smiling man holds up a metal pot and strikes the flat bottom with the back of his fingers. The remaining men sit or recline around the musicians and dancing man, some looking toward the dancer and two looking out at us. Bedrolls and animal skins are stored in the cabin below. The olive-green surface of the river is streaked with pale blue. The horizon line comes about a third of the way up the composition. The trees and riverbanks in the distance are hazy beneath a watery blue sky.
George Caleb Bingham was one of the most important American painters of genre subjects in the mid-19th century. His series of scenes of life and work on the Missouri and Mississippi Rivers established his reputation in his own day and are today recognized as his finest creations. The Jolly Flatboatmen, along with Fur Traders Descending the Missouri (1845, Metropolitan Museum of Art), are the masterpieces of Bingham’s river pictures and icons of American art. In 1847, the American Art-Union, which had purchased The Jolly Flatboatmen directly from the artist, produced a large mezzotint of it that was distributed to its members (approximately 10,000) throughout the country, immediately making it one of the best-known works of art of its era. It depicts a group of men who, after accomplishing the hard work of rowing their flatboat upstream and loading it with cargo, are now relaxing and enjoying music and dancing. Bingham’s careful attention to detail is everywhere evident—a raccoon pelt hanging from a nail; a coil of rope; a turkey, which sticks its head out between the slats of the crate below the dancing man; a blue shirt hanging to dry. The composition is at once dynamic—the dancing man and the musicians—and elegantly stable in the way Bingham arranged the figures to form an isosceles triangle. The painting survives in superb condition, with its subtle brushwork, soft colors, and precise drawing intact.
The Jolly Flatboatmen joins two paintings by Bingham already in the Gallery’s collection—a fine early landscape, Cottage Scenery (1845) and Mississippi Boatman (1850). The Gallery’s 2014-2015 acquisition of works from the Corcoran collection significantly strengthened its representation of American genre painting. Superb works were added by Bingham’s contemporaries William Sidney Mount (The Tough Story–Scene in a Country Tavern, 1837), William Tylee Ranney (The Retrieve, 1850), and Richard Caton Woodville (Waiting for the Stage, 1851). The Jolly Flatboatmen now becomes the cornerstone of that group and one of the most significant paintings in the Gallery’s collection of 19th-century American paintings.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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Photos pour www.parsenlive.fr
photographe : www.lamamy.fr
Les photos ne sont pas en libre service, même sur Internet. Pour les utiliser, contactez l'auteur qui vous fournira un devis. Pour les forums et sites perso, merci de préciser l'auteur et un lien vers www.parsenlive.fr !
Tu use the pictures, contact the author. For forums and personnal websites, please name the author and link to www.parsenlive.fr !
Although the precise history of the development of rocket propulsion is obscure, we know that the first rockets were developed in ancient China. Modern rocket engines that lift spacecraft into orbit operate on the very same principles as the first Chinese rockets. Both ancient and modern rockets are reaction devices. Key to the development of the early Chinese rocket was the invention of something similar to black powder, a mixture of saltpeter (the oxidizer), charcoal and sulfur that burns rapidly and furiously when ignited. The first crude firecracker probably was a sealed bamboo tube filled with black powder. When ignited, the black powder exploded violently. If only one end of the tube was sealed, the burning black powder forced a mass of flames, gas and particles out of the unsealed open end. In reaction, the bamboo tube would move rapidly in the opposite direction. This device was a crude rocket. The National Museum of the United States Air Force, 1100 Spaatz Street, Wright-Patterson Air Force Base, Dayton, Ohio 23 August 2021
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Point Precise uses photogrammetry and your iPhone’s device sensors to convert your scans into precise 3D point clouds.
To make precise and accurate cuts, you need a high-quality table saw to get your woodcutting job done. If you think that the best table always comes at a higher price tag, you are partially wrong. You can have the best table saw under 1000, it means you can take your woodwork projects to the next level without breaking your bank.
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Look no further than this premium quality table saw that you can have just under $1000. In case, if you are looking for a compact and adaptable table saw, this one is your go-to since it slices through thick wood like a sharp knife through margarine.
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Kilmallie Parish / Banavie War Memorial
More precise NGR NN 10875 76986
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Many local war memorials have been recently cleaned so came to see if this one had been cleaned but does not seem to have had any work done on it
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TO THE GLORIOUS MEMORY
OF THESE LOCHABER MEN WHO DIED
FOR KING AND COUNTRY IN THE GREAT WAR
1914- 1916
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MJR. E.S. GOOCH, TORCASTLE, BERKS YEOMANRY
TPR. A. MACDOUGALL, CORPACH, SCOTTISH HORSE
Q.M.S. J. CAMERON, MUIRSHEARLICH, LOVAT SCOUTS
TPR. J. MACSALMAN, BANAVUIE, LOVAT SCOUTS
TPR. A. CAMERON, GLENLOY, LOVAT SCOUTS
TPR. A. CAMERON, GUISACHAN, LOVAT SCOUTS
GUNR. D. MACDOUGALL, CORPACH, ARG.MTN.BTY.
PTE. D. CAMERON, CAOL, ROYAL SCOTS.
PTE. A. DONALDSON, MOUNT, K.O.S.B.
PTE. J. ROY DALZIEL, GUISACHAN, SCOTTISH RFLS.
PTE. A. GILLIES, LOCHY-SIDE, SCOTTISH RFLS.
L/CPL. A. CAMERON, BRAINCHAMUS, BLACK WATCH
L/CPL. J. GILMOUR, BLAICH, BLACK WATCH
SERGT. D. CAMPBELL, GLENPEAN, SEAFORTH HDRS.
L/CPL. J. GRAY, BANAVIE, SEAFORTH HDRS.
L/CPL. E. CAMPBELL, GLENPEAN, GORDON HDRS.
PTE. A. MACPHERSON, MUIRSHEARLICH, GORDON HDRS.
CAPT. A. CAMERON. OF LOCHIEL, CAMERON HDRS.
LIEUT. ARCHD. CAMERON. OF LOCHIEL, CAMERON HDRS.
PTE. P.A. SHAND, ACHNACARRY, CAMERON HDRS.
PTE. J. MACDONALD, ACHNACARRY, CAMERON HDRS.
PTE. H. MACCULLOCH, ACHNACARRY, CAMERON HDRS.
PTE. R. BAKER, ACHNACARRY, CAMERON HDRS.
PTE. P. MACDONALD, PUTACHAN, CAMERON HDRS.
PTE. J. MACLENNAN, GLEN-KINGIE, CAMERON HDRS.
PTE. B. SUTHERLAND, GLEN-KINGIE, CAMERON HDRS.
PTE. D. CAMPBELL, GAIRLOCHY,, CAMERON HDRS.
PTE. A. MACMASTER, MUIRSHEARLICH, CAMERON HDRS.
PTE. R.R.S. CRAWFORD, MANSE, CAMERON HDRS.
PTE. A. MACKENZIE, CORPACH, CAMERON HDRS.
PTE. D. MACMILLAN, CORPACH, CAMERON HDRS.
PTE. A. MACINTYRE, TRISLAIG, CAMERON HDRS.
PTE. J. CAMPBELL, BADABRIE, CAMERON HDRS.
PTE. A. MACLAREN, ARDECHIVE, CAMERON HDRS.
PTE. A. CAMERON, ACHAPHUBLE, CAMERON HDRS.
PTE. A. CAMERON, GLENMAILLIE, CAMERON HDRS.
PTE. J. MACLAREN, GLENFINNAN, CAMERON HDRS.
L/CPL. N. MARTIN, BANAVIE, ARG. & SUTHD. HDRS.
PTE. A.C. CAMERON, GLENMAILLIE, M.C.G.
PTE. M. COLQUHOUN, CORPACH, R.A.M.C.
PTE. J. CAMPBELL, GLENPEAN, R.A.M.C.
PTE. J. MACMASTER, FASSFERN, CANADIAN SFTHS.
D. GILLIES, LOCHY=SIDE, TRANSPORT
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"BITHIDH AN CLIU BUAN"
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1939 - 1945
A.B. T. ALEXANDER, TOMONIE, R.N.
A.B. J. MACDONALD, CORPACH, R.N.
A.B. D. ROBERTSON, CORPACH, R.N.
SGT. A. MACINTOSH, CORPACH, R.A.F.
PTE. D. MACDOUGALL, CORPACH, R.A.S.C.
PTE. K. MACDONALD, ACHNACARRY, CAM. HRS.
PTE. P. WILSON, TOMONIE, CAM. HRS.
---
ID:MHG52984
Type of record:Monument
Name:Banavie War Memorial, Fort William
Grid Reference:NN 10871 76995
Map Sheet:NN17NW
Civil Parish:KILMALLIE
Geographical Area:LOCHABER
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Site Type WAR MEMORIAL (20TH CENTURY)
Canmore ID 318842
Site Number NN17NW 63
NGR NN 10871 76994
Council HIGHLAND
Parish KILMALLIE
Former Region HIGHLAND
Former District LOCHABER
Former County INVERNESS-SHIRE
After almost a decade of research, precise delivery of pharmaceuticals via targeted nanoparticles could give way to more effective treatments while minimizing their impact on healthy tissue. (Photo: Flickr // ZaldyImg)
Sunlight dapples the geometrically precise rows of a mature vineyard at Finca Adalgisa, where the vibrant golden hues of autumn contrast against the deep emerald canopy of native trees. This high-angle capture highlights the sophisticated integration of viticulture within a serene residential landscape, emphasizing the architectural harmony between traditional homesteads and the productive land. The long, rhythmic shadows cast by tall poplars stretch across the vines, creating a textured tapestry that defines the quintessential terroir of the Argentine wine country. Pristine swimming pools sparkle amidst the greenery, offering a modern respite within this historically rich agricultural estate nestled in the shadow of the Andes. The photograph utilizes a wide field of view to illustrate the dense, verdant canopy that envelops the property, effectively blurring the lines between private sanctuary and working farm. Every cluster of leaves and rustic structure tells a story of sustainable tradition and the meticulous care required to maintain such an iconic Mendoza landmark. As the season turns, the cooling air amplifies the saturated colors of the foliage, providing a dramatic backdrop for the sprawling estate. This vantage point allows viewers to appreciate the sheer scale and tranquility of the region, where time seems to slow amidst the gentle rustle of leaves and the promise of a future vintage. The composition balances natural beauty with deliberate human intervention, showcasing the timeless elegance of viticultural life in South America. This image is a collaborative production by Samuel Jeffery and Audrey Bergner for Project 23.
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La luz del sol se filtra sobre las filas geométricamente precisas de un viñedo maduro en Finca Adalgisa, donde los vibrantes tonos dorados del otoño contrastan con el profundo dosel esmeralda de los árboles nativos. Esta captura desde un ángulo elevado resalta la sofisticada integración de la viticultura dentro de un paisaje residencial sereno, enfatizando la armonía arquitectónica entre las granjas tradicionales y la tierra productiva. Las largas sombras rítmicas proyectadas por los altos álamos se extienden a través de las vides, creando un tapiz texturizado que define el terruño por excelencia de la región vitivinícola argentina. Piscinas impecables brillan en medio de la vegetación, ofreciendo un respiro moderno dentro de esta finca agrícola históricamente rica, ubicada bajo la sombra de los Andes. La fotografía utiliza un campo de visión amplio para ilustrar el denso y verde follaje que envuelve la propiedad, desdibujando eficazmente las líneas entre el santuario privado y la granja en funcionamiento. Cada grupo de hojas y estructura rústica cuenta una historia de tradición sostenible y el cuidado meticuloso requerido para mantener un punto de referencia tan icónico en Mendoza. A medida que cambian las estaciones, el aire fresco amplifica los colores saturados del follaje, proporcionando un telón de fondo dramático para la extensa propiedad. Este punto de vista permite a los espectadores apreciar la escala y la tranquilidad de la región, donde el tiempo parece ralentizarse entre el suave susurro de las hojas y la promesa de una futura cosecha. La composición equilibra la belleza natural con la intervención humana deliberada, mostrando la elegancia atemporal de la vida vitivinícola en América del Sur. Esta imagen es una producción colaborativa de Samuel Jeffery y Audrey Bergner para el Proyecto 23.
Explore more of our work:
Local Guides: cheargentinatravel.com & nomadicsamuel.com
🌎 Personal Sites: samueljeffery.net, audreybergner.com & samuelandaudrey.com
Photo by Samuel Jeffery & Audrey Bergner | Project 23
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You tripped into history, or to be precise – you fell straight into the past. Build towers, collect resources, use the power of the scientific method and you will surely manage to return to your time! It's all in your hands now in this uncompromising battle for survival of the species! Find out who's stronger – the technology of the future, or brute force. Time Mayhem!
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Euro Racing Show in Luxembourg, ... some racing cars, old-timers, and a SM race as well as hilarious drift show. You honestly need to see for yourself how precise and talented those drift drives are ...
Avec l'arrivée des premiers frimas et la rentrée des classes, de plus en plus de personnes autour de moi connaissent ou sont des gens grippés. H1NI ou pas, le cercle devient de plus en plus serré. On va bien voir...
Yatton is a large village in North Somerset, between Bristol, Weston-super-Mare and Clevedon. It has a remarkably long history, with evidence of human activity going back to prehistoric times, a substantial Roman presence, an established Anglo-Saxon settlement, a large medieval manor and parish, and a later transformation brought about by drainage, agriculture, the railway and modern suburban development. Its most conspicuous historic building is St Mary's Church, the huge medieval church often known as the “Cathedral of the Moors”.
The landscape helps explain Yatton's history. The village occupies a strip of slightly higher ground amid the low-lying North Somerset Levels. This raised ridge provided a natural route through what was historically a much wetter landscape. The traditional explanation of the name is that it derives from an Anglo-Saxon term incorporating gat or gaet, meaning a way, passage or track, and tun, meaning a settlement. The idea is that Yatton was the “village on the track”, with an ancient route running along the higher ground from Cadbury Hill towards the coast. The precise etymology is uncertain, however.
Prehistoric and Roman Yatton
Human activity around Yatton is considerably older than the village itself.
North Somerset Council's historical assessment records Neolithic activity before about 4000 BC. The higher ground around Yatton would have provided a relatively dry place from which people could exploit the surrounding wetlands, while the ridge itself became a natural route through the landscape.
Nearby Cadbury Hill is particularly important. Its Iron Age hillfort overlooks the surrounding landscape, and the ancient route descending from the hill is thought to have influenced the later development of Yatton's High Street. The relationship between Cadbury Hill, the ridge and the village is therefore potentially much older than the medieval settlement.
The Romans subsequently established themselves in the area.
Roman agricultural activity is recorded around Yatton, while the Roman villa at Wemberham, just south of the modern village, demonstrates the importance of the surrounding agricultural landscape during the Roman period. Archaeological evidence also includes Roman coins and other material.
The Roman occupation was not simply an isolated settlement. Yatton formed part of a wider landscape of farms, routes and settlements on the Somerset Levels, with the slightly elevated land providing valuable agricultural sites surrounded by wetlands.
After the end of Roman rule in the fourth and early fifth centuries, documentary evidence becomes much scarcer. The landscape nevertheless continued to be farmed and occupied, eventually becoming part of the Anglo-Saxon political and administrative landscape of Somerset.
The Anglo-Saxon settlement
Yatton appears to have been well established by the late Anglo-Saxon period.
North Somerset's archaeological assessment notes that the large royal estate centred on Congresbury included the territory that subsequently became Yatton parish. Over time, this large estate was broken up and its constituent settlements developed greater independence.
A record from the reign of Edward the Confessor indicates that the manor of Yatton was transferred to the Bishop of Wells. This is important evidence for the settlement's status before the Norman Conquest.
Yatton's position on higher ground was particularly advantageous. The surrounding Levels were much wetter than today, and medieval communities progressively reclaimed and drained portions of this landscape.
The village therefore developed as a settlement on a relatively dry ridge surrounded by valuable agricultural land.
Yatton in the Domesday Book
The Domesday Book of 1086 provides the first detailed snapshot of Yatton.
It records Yatton under the name Latune and places it in the Hundred of Winterstoke. The estate belonged to the Bishop of Wells and contained 72 recorded households, making it one of the larger settlements in Somerset recorded by Domesday.
The figures are remarkable for a village.
Domesday records 28 villagers, 37 smallholders and seven slaves, together with 22 ploughlands and five plough teams belonging to the lord and 17 belonging to the inhabitants. It also records substantial meadow and woodland.
The recorded population was consequently much larger than the raw figure of 72 households might suggest. The Domesday figures represent households rather than every individual, so Yatton may have had several hundred inhabitants.
The evidence indicates that Yatton was already a prosperous agricultural community.
It also had a church by 1086.
The later magnificence of St Mary's Church is therefore not an entirely new phenomenon: there was already an established religious centre here in the eleventh century.
Medieval Yatton
The medieval period was probably the most important era in the development of the historic village.
The Bishop of Wells retained strong connections with Yatton, and the settlement benefited from the wealth generated by agriculture and the reclamation of the surrounding Levels.
The low-lying land around Yatton was progressively drained through a network of ditches and watercourses known locally as rhynes. Some of the drainage landscape dates from the medieval period, although major later drainage schemes substantially altered it.
This reclamation increased the amount of land available for grazing and cultivation.
The prosperity generated by this landscape eventually produced the extraordinary medieval church that survives today.
St Mary's Church — the “Cathedral of the Moors”
St Mary's Church, Yatton is easily the most spectacular historic building in the village.
The present church was principally constructed during the fourteenth and fifteenth centuries, replacing or substantially enlarging an earlier building.
Its scale is strikingly disproportionate to modern Yatton, which explains the traditional nickname “Cathedral of the Moors”.
The church consists of a large nave with aisles, transepts, chancel and a central tower. Later medieval work, particularly in the Perpendicular style, greatly enlarged and embellished the building.
The church's size is a direct expression of medieval Yatton's prosperity.
Building such a substantial church required considerable financial resources, skilled craftsmen and a wealthy population capable of supporting the institution.
The church therefore provides a physical illustration of the importance of medieval agriculture and the wealth generated by the Somerset Levels.
The central tower is another notable feature. It was apparently intended to carry a spire, but the spire was never completed, leaving the tower with its distinctive truncated appearance.
Inside, the church contains substantial medieval and later monuments and fittings.
Its history also extends beyond the medieval elite.
The churchyard contains the graves of members of the Joules family, a locally prominent Romani family whose burials span the nineteenth and early twentieth centuries. Historic England has documented approximately thirteen members of the family buried in the churchyard, including eight from the mid-nineteenth to early twentieth centuries.
This provides an interesting social dimension to the history of Yatton, showing how the churchyard became a record of communities and families from very different backgrounds.
Agriculture and the Somerset Levels
For centuries, Yatton's economy was overwhelmingly agricultural.
The surrounding Levels provided pasture, meadow and arable land, but their usefulness depended upon drainage.
The landscape visible today—with fields divided by drainage channels, rhynes and hedges—is partly the product of centuries of attempts to control water.
The medieval reclamation of the Levels increased agricultural productivity, while later drainage schemes continued the process.
One major episode occurred in the early nineteenth century.
An Act of 1819 authorised the drainage of the Congresbury North Marsh, creating an extensive network of rhynes and drainage ditches.
This was part of a much wider transformation of the Somerset Levels, in which wetlands were converted into productive agricultural land.
Yatton's location therefore made it dependent upon water management long before modern engineering existed.
The village's history cannot really be separated from the history of the Levels themselves.
The coming of the railway
The greatest nineteenth-century change came with the arrival of the Bristol and Exeter Railway.
The railway was constructed as part of the expansion of the Great Western Railway network and was engineered under the influence of Isambard Kingdom Brunel.
Yatton's first station was originally called Clevedon Road.
This reflected its original purpose: passengers travelling towards Clevedon could continue their journey by road.
The railway arrived in the 1840s, bringing Yatton into the rapidly expanding national railway system.
The railway soon became much more important.
On 28 July 1847, the Bristol and Exeter Railway opened its branch from Yatton to Clevedon, and the station was renamed Yatton.
A bay platform was constructed for the branch trains, transforming Yatton into a genuine junction station.
The line was originally built to the broad gauge associated with Brunel and the Great Western Railway.
This was an important period in the history of the village.
Yatton was no longer merely a farming community connected to nearby towns by roads.
It had become a railway junction with direct access to the expanding national network.
The railway also changed the economic geography of the area.
Farmers could send produce to larger markets more easily.
People could travel to Bristol and other towns for work and commerce.
Visitors could reach North Somerset more easily.
The village consequently became increasingly connected to the outside world.
The Strawberry Line
The railway's importance increased further when the Cheddar Valley Railway opened from Yatton on 3 August 1869.
The line initially ran to Cheddar, later being extended to Wells. Eventually, through connections, it formed part of a route towards Witham.
This railway became famous for its carriage of strawberries.
The fertile agricultural land of the Somerset Levels produced large quantities of fruit, particularly strawberries, which could be transported rapidly by rail to the major markets of Bristol and London.
The line consequently acquired the nickname “The Strawberry Line”.
The name has survived even though the railway itself disappeared.
Today, the former railway route is used as the Strawberry Line walking and cycling trail, extending from Yatton towards Cheddar. It forms part of National Cycle Network Route 26.
The trail is an unusually tangible survival of Yatton's railway history.
A visitor can leave Yatton station and follow the old railway formation through the countryside, passing former stations and railway structures.
The route therefore preserves not only the memory of the trains but also the landscape created by the railway.
Yatton becomes a major railway junction
Yatton's railway network expanded still further.
The Clevedon branch provided a connection to the seaside town.
The Cheddar Valley line ran south through Congresbury and Winscombe towards Cheddar and Wells.
A further branch, the Wrington Vale Light Railway, opened in 1901, running from Congresbury towards Wrington and Blagdon. Although the branch did not begin directly at Yatton, its trains generally originated at Yatton, making the station an important operational point for the surrounding network.
For a village of Yatton's size, this was an impressive railway network.
The station connected the village with Bristol, Exeter, Clevedon, Cheddar, Wells, Congresbury, Winscombe, Wrington and Blagdon.
Yatton had effectively become the railway gateway to a large part of North Somerset.
The railway and agriculture
The railway also transformed Yatton's agricultural economy.
Fresh produce could be moved much faster than previously possible.
The famous strawberries were particularly important because their value depended on reaching consumers quickly while still fresh.
The Strawberry Line therefore became a major part of the economic history of Yatton.
The railway also transported other agricultural products, livestock and goods.
At the same time, the improved transport links encouraged the village's population to grow and allowed people to commute or conduct business beyond the immediate area.
The twentieth century
The early twentieth century brought further changes.
The railway network reached its greatest extent around the beginning of the century, after which competition from road transport gradually weakened many of the branch lines.
The Clevedon branch eventually closed to passenger traffic in 1966.
The former Cheddar Valley railway was more severely affected by the Beeching-era closures. Passenger services between Yatton and the remaining route towards Witham ceased in 1963, while goods services continued for a short time afterwards.
The railway network that had once made Yatton a major junction consequently disappeared with remarkable speed.
The main Bristol–Exeter railway survived, however.
That is why Yatton railway station remains in use today, while the former branch lines have largely become walking and cycling routes.
The contrast is particularly striking.
A modern passenger train can still arrive at Yatton from Bristol or Exeter, while a few hundred metres away the Strawberry Line carries cyclists and walkers along the route of a railway that disappeared more than half a century ago.
The Second World War and later development
Yatton, like many Somerset communities, was affected by the Second World War.
The village's location near Bristol and the major railway routes made transport strategically important.
After the war, however, the greatest change was gradual suburbanisation.
The growth of Bristol and Weston-super-Mare, combined with improved road and rail connections, made Yatton increasingly attractive to commuters.
The village began to expand beyond its historic linear core.
Modern housing estates appeared north, south and east of the older settlement.
Modern Yatton
Today Yatton is a substantial village and commuter settlement.
Its modern development has produced a striking contrast between the historic centre and newer residential areas.
The older settlement is concentrated around High Street, Church Road and St Mary's Church, while twentieth- and twenty-first-century housing extends considerably beyond the medieval core.
North Somerset Council's planning documents describe this as a transition from the earlier linear settlement along the High Street towards more extensive outward development.
Recent development has included housing to the north of the railway station and around areas such as Horsecastle Farm Road, Meadowland and Arnold's Way, as well as expansion south-west of the historic village.
This growth has brought Yatton much closer to neighbouring Claverham and Cleeve, creating an increasingly continuous built-up area.
The village nevertheless retains a strong individual identity.
Its railway station remains active.
St Mary's Church remains the dominant historic landmark.
The old Strawberry Line survives as a recreational route.
The surrounding Levels retain their distinctive drainage landscape.
The combination of these features means that Yatton's past remains unusually visible.
Yatton and the railway today
Yatton station remains an important station on the Bristol–Exeter railway.
Modern Great Western Railway services connect the village with destinations including Bristol, Weston-super-Mare, Taunton and Exeter.
The station's continued survival is particularly significant given the fate of the branch lines.
It is effectively the surviving centre of the railway network that once spread across North Somerset.
The old railway to Cheddar is now one of the village's most popular heritage and recreational features.
The Strawberry Line begins at Yatton and follows the old railway corridor through the Levels. The route's name preserves the memory of the agricultural produce that once travelled by steam train to distant markets.
Yatton's historical character
Yatton is therefore a place where several different histories overlap.
The prehistoric landscape is represented by Cadbury Hill and archaeological discoveries.
The Roman period is represented by the Wemberham villa and agricultural settlement.
The Anglo-Saxon period is reflected in the settlement's name and early estate history.
The Norman period is recorded by Domesday and the established church.
The medieval period produced the magnificent St Mary's Church and extensive reclamation of the Levels.
The nineteenth century brought drainage improvements, industrialisation and, above all, the railway.
The early twentieth century saw Yatton become a major railway junction and agricultural transport centre.
The mid-twentieth century brought the closure of the branch railways.
The late twentieth and early twenty-first centuries transformed Yatton into a commuter village while preserving much of its historic core and the Strawberry Line.
One of the most interesting aspects of Yatton is that its location has remained important throughout all these periods.
The same raised ridge that offered an attractive settlement site to prehistoric and Roman communities later provided the route for the medieval village and its High Street.
The same agricultural landscape that supported medieval prosperity subsequently produced strawberries for the railway markets.
The same railway that carried Victorian produce now carries modern commuters.
The same railway embankment that once carried steam trains now carries cyclists and walkers.
The continuity is remarkable.
Yatton is an ancient North Somerset settlement whose history stretches from prehistoric occupation and Roman farming through Anglo-Saxon and medieval development to its transformation by the railway. The village stands on a ridge of slightly higher ground amid the Somerset Levels, and its name may derive from an Anglo-Saxon term meaning “village on the track”. The area was influenced by the Iron Age hillfort at Cadbury Hill and was occupied during the Roman period, when the villa at Wemberham formed part of the surrounding agricultural landscape. By the eleventh century Yatton was already a substantial settlement, and the Domesday Book of 1086 recorded 72 households, 22 ploughlands and a church, with the estate belonging to the Bishop of Wells.
Medieval Yatton became prosperous through agriculture and the reclamation of the surrounding Levels. This prosperity produced St Mary's Church, the enormous fourteenth- and fifteenth-century building traditionally known as the “Cathedral of the Moors”. The church replaced or enlarged an earlier medieval place of worship and remains the most impressive physical reminder of Yatton's medieval importance. The surrounding Levels were progressively drained and converted into productive agricultural land, with the network of rhynes still forming a distinctive part of the landscape.
The arrival of the Bristol and Exeter Railway in the 1840s transformed Yatton. Originally called Clevedon Road, the station became Yatton when the Clevedon branch opened in 1847. The Cheddar Valley Railway opened in 1869, creating what became known as the Strawberry Line, famous for transporting Somerset strawberries to major markets. Yatton subsequently became the railway gateway to a large part of North Somerset, with connections towards Clevedon, Cheddar, Wells, Congresbury, Winscombe, Wrington and Blagdon.
The branch railway network disappeared during the twentieth century, with the Yatton–Witham passenger route closing in 1963 and the Clevedon branch following in 1966, but the main Bristol–Exeter railway survived. The former Strawberry Line has since been transformed into a walking and cycling route, preserving much of the old railway formation and its name. Modern Yatton has expanded considerably as a commuter and residential settlement, yet St Mary's Church, the historic High Street, the railway station, the surrounding Levels and the Strawberry Line preserve tangible evidence of the village's long and varied history.
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