I'd had this one to visit for well over a couple of years but only managed to get there a few months back. I was gutted to see that the old Tokheim pumps had been replaced although it was great to see the small village petrol station still trading with attended service as an added bonus.

The newer pumps appear to have only been installed fairly recently as the old diesel pump which had been kept for decoration still displays 169.9 but the pump island has had some modification to accommodate the newer pumps.

The earliest street view shows all three pumps UK branded with two of the three both for diesel with one would later dispense red diesel.

By August 21 the UK branding was no longer on the pumps

www.google.co.uk/maps/place/Lambley+Motors/@53.0006766,-1...

Replaced by a new mural some years ago

Queens Hall

Broad-bodied chaser, male

Replacing an earlier scanned photo with a better version 03-Mar-18, plus Topaz DeNoise AI 15-Apr-23.

 

'Wanula Dreaming', Australia World Tail livery, left side.

 

This aircraft was delivered to British Airways as G-BNLS in Mar-91. It was in service with British Airways for 23 years until it was permanently retired and stored at Victorville, CA, USA in May-14. It was last noted still stored at Victorville in May-15.

Replacing an earlier scanned photo with a better version 10-May-22 (DeNoise AI)

 

Leased to Ansett Air Freight and operated by Kitty Hawk Air Cargo.

 

This aircraft was delivered to American Airlines as N6833 in May-69. It was in service with American for 25 years until it was sold to a leasing company in May-94. It was converted to freight configuration with a main deck cargo door in Jun-94 and was leased to Kitty Hawk Air Cargo in Aug-94.

 

The aircraft was sub-leased to Pan Air in Oct-96 and returned to Kitty Hawk in Dec-96. It was sub-leased to Ansett Air Freight in Jan-98, returning to Kitty Hawk in Mar-99.

 

The company filed for Chapter 11 Bankruptcy Protection in May-00 and the aircraft was sold to the Kitty Hawk Collateral Liquidating Trust and leased back to Kitty Hawk Aircargo in Oct-01.

 

The aircraft was finally retired at Roswell, NM, USA at the end of Jul-05 and never flew again. It was last noted still stored at Roswell in Mar-11 in derelict condition.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise 07-Sep-25.

 

First flown in Nov-94 with the Airbus test registration F-WWAA, this aircraft was stored at Toulouse until it was delivered to China Eastern Airlines as B-2325 in Mar-95.

 

It was retired and stored at Shanghai-Hongqiao in Mar-14. The aircraft was sold to AVIC Leasing in Dec-14 and converted to freighter configuration at Dresden, Germany in Mar-16 and leased to Uni-Top Airlines, China in later the same month.

 

The aircraft was permanently retired at Shanghai-Hongqiao in Jun-19.

Replacing an earlier scanned photo with a better version 18-Mar-18, plus Topaz DeNoise AI 26-Jan-24.

 

This aircraft was delivered to ANA All Nippon Airways as JA8351 in Apr-74. It was sold to a lessor in Mar-86 and leased back to ANA. The aircraft was returned to the lessor in Jul-87 and sold to the Boeing Equipment Corporation as N773BE the same day.

 

It was sold to AVENSA Aerovias Venezolanas as YV-94C five days later. Another lessor bought it in Jul-89 and leased it back to AVENSA. It was sold back to AVENSA in Dec-90.

 

The aircraft was leased to Servivensa in Apr-99 and it was returned to AVENSA in Feb-00. It was permanently retired at Caracas, Venezuela in Aug-00 and eventually broken up there in Nov-04.

Replacing an earlier scanned photo with a better version 09-Apr-14.

 

Operated as a freighter by Baltic Airlines, it's seen here still in the basic livery of Manx Airlines, it's previous operator.

 

This was quite a late build Viscount which first flew in Aug-59. Originally ordered by Trans Australia Airlines as a Viscount 816, it should have become VH-TVR but the order was cancelled before delivery.

 

It was initially stored and then converted to a type V.836 in Apr-60 and sold to the Union Carbide Corporation for executive operation as N40N in May-60. It was sold to the Royal Australian Air Force in Aug-64 as A6-435 and operated for five years until it was sold in the USA in Nov-69 as N40NA to the Alda Corporation.

 

It returned to Australia the following month as VH-EQP with Jet Air Australia and was sold to the Brins Finance Corporation in Sep-70 and sold on the same day to Gates Aviation Turbine Propeller Sales.

 

In Jun-71, continuing it’s ‘executive’ role, it was sold to The Sultan of Oman’s Air Force serialled ‘501’. In Sep-78 it was sold to Royal Swazi National Airways as 3D-ACM but the sale was never completed and the aircraft stayed in Oman until Mar-79 when it was sold to British Midland Airways in the UK as G-BFZL.

 

The aircraft was briefly leased to BMA subsidiary Manx Airlines in Oct/Nov-83 and then leased to them again in Nov-85. In May-86 it was sold to British Aerospace (BAe), leased back to BMA and sub-leased to Manx Airlines, all on the same day.

 

It continued in service with Manx until it was returned to BAe in Nov-88 and immediately leased to Baltic Airlines. It was briefly sub-leased to Manx Airlines again in Apr/May-90 (when this photo was taken).

 

In May-90 Baltic Airlines was merged into British Air Ferries who changed their name to British World Airlines in Apr-93. In Apr-97 it was sold to Heli-Lift Ltd and leased to their subsidiary Heli Jet Aviation.

 

In Mar-98 it was transferred to their South African division as ZS-NNI and was later stored at Lanseria, South Africa, until it was sold to Trans Inter Congo in Nov-02 as 9Q-CGL. In Apr-03, now 44 years old, it was written off in a take-off accident in the Democratic Republic of Congo.

Replacing an earlier scanned slide with a better version 14-Jul-15.

 

The original Britannia Boeing 737 livery.

 

G-AVRO was quite an early B737, line number 162, delivered to Britannia Airways in Apr-69. Britannia leased it to FEAT Far East Air Transport as B-2605 over two winter seasons, Nov-76/Apr-77 and Nov-77/Apr-78.

 

It was sold to CG Air Leasing Inc as N313XV in May-86 and immediately leased to Presidential Airways. It was returned to CG Air Leasing and sold to the Aviation Sales Company in Apr-87 and leased to America West the following month.

 

They re-registered it N199AW in Oct-87. It returned to the Aviation Sales Co in Sep-91 and was stored. It was sold to International Pacific Trading in Mar-92 and leased to Aero Continente in Aug-92 as OB-1493.

 

It was returned in Aug-99 and sold to Millennium Aircraft Leasing Inc, briefly becoming P4-ARC before it was leased to Aero Continente (Chile) as CC-CJP the same month. It was returned to Millennium in Nov-99 and again leased to Aero Continente (Peru), this time as OB-1723.

 

It was retired and stored at Lima, Peru, in Oct-03. Aero Continente ceased operations in Jul-04 after the USA cancelled its permit to fly to US airports and named its Chief Executive among it's '10 most wanted' (allegedly because of 'criminal activities involving the illegal drugs trade').

 

The Company quickly restructured it's Board and started up again two weeks later as Nuevo Continente. However, the Peruvian Government cancelled it's operating permit in Jul-05 and the airline ceased trading, by which time this aircraft was 36 years old. OB-1723 remained stored at Lima, Peru, and was eventually broken up.

Replacing an earlier scanned slide with a better version 31-Jan-15, plus Topaz DeNoise AI 21-Aug-23.

 

Parked on the Aviation Overhauls Ramp. Not the best of shots but I remember it was a typical dark January day. I-TAVO had supposedly been bought by Bardock Aviation (UK) but was never delivered. Another UK airline start-up of the early 1960's that didn't last long!

 

History dates are approximate. This aircraft was delivered to the USAAF United States Army Air Forces serialled 44-07760 in early 1945. It was transferred to the UK Royal Air Force as KN682 in May-45.

 

In Nov-51 it was sold to Hunting Aviation Services as G-AMNL and in Dec-51 it was used in the British film/movie 'Top Secret' as an Aeroflot aircraft with the fictitious Soviet registration CCCP-L1783, with Northolt, UK doubling as Moscow.

 

The aircraft was leased to Hunting Clan in 1952 and in the early 1950's used the RAF serial XF767 for UK Ministry of Defence trooping flights. In mid 1960 Hunting Clan, along with other UK independent airlines, was merged to form British United Airways.

 

In Nov-61 the aircraft was leased to Aerolinee Itavia (Italy) as I-TAVO. In late 1963 the aircraft arrived in Liverpool UK for maintenance and storage with Aviation Overhauls.

 

It was due to be leased to Bardock Aviation Services as G-AMNL again and, still in basic Itavia livery, the titles Bardock Aviation Services were added in Mar-64. However, the 'transaction was cancelled' and it remained stored at Liverpool.

 

In Jun-64 it was sold to PLUNA Primeras Lineas Uruguayas de Navegacion Aerea as CX-BDB. The aircraft was later retired at Montevideo, Uruguay (date unknown). It was later presented to the Museo Aeronáutico de Montevideo, Uruguay and displayed in a derelict state. Updated from various sources 17-Jun-23.

Replacing an earlier digital photo with a better version 26-Aug-21 (DeNoiseAI).

 

Taken from the Templeton Bridge,

 

Fleet No: "722".

 

First flown with the Boeing test registration N1786B, this aircraft was originally to have been registered N17730. This wasn't taken up and the aircraft was delivered to Continental Airlines as N27722 in Apr-99. It was fitted with blended winglets in May-05. Continental Airlines was merged into United Airlines in Oct-10 and the blended winglets were changed to split scimitar winglets in Sep-15. Current, updated (Aug-20)

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 19-Nov-23.

 

Boeing 707-300C's were all built with a main deck cargo door and could be used for either passengers or freight. This aircraft was delivered to Northwest Orient Airlines as N376US in Nov-67.

 

It was sold to BWIA International (Trinidad & Tobago) as 9Y-TEK in May-75. In Mar-82 it was sold to Caribbean Air Cargo (Barbados) as 8P-CAD and converted to a full freighter configuration with the cabin windows replaced with blanks.

 

The aircraft was sold to Dynair Tech of Florida Inc in Oct-89 and stored. It was sold to Skyways International in Dec-90 and in May-91 it was sold to First City Texas Houston as N707KV. It was transferred to New First City Texas Houston in Nov-92 and stored at Athens, Greece.

 

In Feb-94 it was sold to Nordstrom Holdings and leased to TAAT Trans Arabian Air Transport as ST-ANP. The aircraft was sold to TAAT Uganda as 5X-ARJ and leased back to Trans Arabian (Sudan) in Dec-96 (when Sudan registered aircraft were banned from Europe).

 

It was re-registered ST-ANP again in Apr-99 when Trans Arabian Air Transport (Sudan) bought it. The aircraft was damaged beyond repair just 4 months later, in Aug-99, when it landed with a strong tailwind at Juba, South Sudan and overran the end of the runway.

Replacing an earlier scanned photo with a better version 29-Mar-21.

 

Fleet No: "703". 'Fisherman' tail livery.

 

First flown with the Short Brothers and Harland test registration G-14-3622 (3622 is also the c/n), this aircraft was delivered to Fischer Brothers Aviation (USA) as N622FB in Oct-83.

 

It was sold to Shorts Air Lease Inc in Nov-85 and leased back to Fischer Brothers. It was returned to the lessor in Nov-86. The aircraft was stored until it was leased to Westair Commuter Airlines in Sep-87.

 

The aircraft returned to the lessor in Feb-91 and was leased to Allegheny Commuter Airlines in May-91. It was returned to the lessor in Jul-94 and stored at Opa Locka, FL, USA.

 

It was sold to Pacific Coastal Airlines as C-GPCW in Jun-97. The aircraft was sub-leased to Ocean Air (Maldives) as 8Q-OCA in Jan-02 and returned to Pacific Coastal as C-GPCW in Apr-02.

 

The aircraft was retired from service in 2012 and stored at Vancouver, BC, Canada. It was sold to Air Cargo Carriers (USA) as N567AC in Aug-15. Now 27.5 years old the aircraft continues in service. Current, updated Mar-21.

 

Note: The registration C-GPCW was used later on a Pacific Coastal Beech 1900C between Apr-16/Jun-19.

Replacing an earlier digital photo with a better version 27-Sep-20.

 

Operating on behalf of CMTA Compagnie Mauritanienne de Transport Aerien

replaced blackberry photo

Replacing an earlier scanned photo with a better version 22-May-16, plus Topaz DeNoise AI 30-Mar-24.

 

This aircraft was delivered to PIA Pakistan International Airlines as AP-BGJ in Jan-04. It was withdrawn from service and stored at Karachi, Pakistan in Jul-24. Stored, updated 27-Dec-24.

Replaced the cartridge with a Denon DL103r moving coil cartridge

replaced the M9 with an M-P (240) :D

 

Having sold off a lot of old gear including most of my old Nikon kit, I also got hold of a 35mm 1.4 Summilux FLE

4th August 2018 - CM Coaches Volvo B7 and Target Travel Volvo B10M SUI8207 load outside Exeter St David's Station whilst operating rail replacement services between Exeter and Salisbury due to a strike by South Western Railway staff.

Replacing an earlier scanned photo with a better version 03-Nov-14, plus Topaz DeNoise AI 28-Mar-25.

 

Named: "Nordlingen".

 

First flown in Mar-87 with the Airbus test registration F-WWAR, this aircraft was delivered to Lufthansa in Jun-87 as D-AIAN. It operated for Lufthansa for almost 22 years until it was withdrawn from service and stored at Dresden, Germany in Oct-08.

 

It was sold in Apr-09, through an intermediary, to Kyrgyz Trans Avia as EX-35009. This appears to have been a way of getting round western sanctions on exports to Iran, like some of its sister-ships.

 

It was initially wet leased to Mahan Air in Jul-09. Not wet leased for long though! In Aug-09 it was re-registered in Iran as EP-MNR. I'm unable to verify that it's still in service after Nov-19 and it's given as 'stored' in most databases.

 

However, we don't know with aircraft in Iran whether it's just 'stored' or permanently retired, although it's now 38 years old! Updated 28-Mar-25.

Replacing an earlier scanned photo with a better version 07-Nov-17.

 

Fleet No: '3059'.

 

Originally built as a DC-10-30CF with a main deck cargo door enabling it to carry passengers or cargo, this aircraft was delivered to World Airways as N109WA in Apr-80. It was sold to a lessor in Feb-82 and leased back to World.

 

It was sub-leased to Air Florida between Mar-83 and Jul-84. It was also sub-leased to Malaysia Airlines between Jul/Sep-85 for a Haj Pilgrimage operation. The aircraft was leased to United Airlines in Apr-86.

 

It was sold to United in Sep-86 and re-registered N1859U. In Mar-97 it was converted to a full freighter configuration and transferred to United Airlines Cargo.

 

The aircraft was retired by United in Dec-00 and initially stored at Marana, AZ, USA. It was moved to Roswell, NM, USA in Dec-01 and was due to be sold to Federal Express (N327FE assigned) but the deal fell through.

 

It was sold to a lessor in Aug-02 and leased to Brasmex (Brasil Minas Express) as PR-BME in Sep-02. It returned to the lessor in Feb-04 and was stored at Sao Paulo-Guarulhos.

 

The aircraft was re-registered N478CT in Nov-04 and ferried to Marana the following month for further storage. In Feb-05 it was leased to Arrow Air Cargo.

 

They ceased operations at the end of Jun-10 and the aircraft was returned to the lessor in Jul-10 and was stored at Opa-Locka, FL, USA. It never flew again and was broken up there in Apr-14.

Replacing an earlier scanned photo with a better version 10-Sep-21 (DeNoise AI).

 

Named: "Byron Bay".

 

This aircraft was delivered to QANTAS Airways as VH-OGU in Aug-98. It was leased to Australian Airlines between late May and early Jul-99. The aircraft was retired by QANTAS in Dec-14 and was stored at Alice Springs, NT, Australia in Jan-15.

 

The aircraft was ferried to Victorville, CA, USA in Oct-15 and sold to ShunFeng Airlines (SF Airlines Cargo, China) as N207CR a few days later. It was transferred to Wells Fargo Bank Northwest, as Trustee, the same day.

 

It remained stored at Victorville until Jan-16 when it was ferried to Singapore-Paya Lebar for cargo conversion. It was converted to freighter configuration with a main-deck cargo door in Jun-16 and transferred back to SF Airlines Cargo as B-6996. Current, updated Mar-21.

Hopefully something will start to pop. there is not really much to photo right now. Birds are starting to arrive but they are still few in number ( except for the Robins ) I have been wondering where the Red Wings, Grackles and Cow Birds went I have not seen any at the feeder in almost a week now

 

(Replaced with a slightly rotated version.)

Replacing an earlier scanned photo with a better version 22-Oct-21 (DeNoise AI).

 

This aircraft was delivered to Linjeflyg (Sweden) as SE-DNI in Dec-91. It was wet-leased to LOT Polish Airlines in Apr-92. Linjeflyg was merged into SAS Scandinavian Airlines in Jan-93 and the aircraft was returned to SAS in Mar-93.

 

In Apr-93 it was leased to BMA British Midland Airways as G-OBMY, returning to SAS in Sep-98 it was immediately leased to Sterling European Airlines as OY-SEG. It returned to SAS in Apr-99 and was leased to Lithuanian Airlines as LY-BFV later the same month.

 

The aircraft was returned to SAS, sold to a lessor and stored in Feb-00. It was leased to British Airways as G-GFFD in Jun-00. It was returned to the lessor in Nov-08 and stored at Belgrade, Serbia. It was moved to Istanbul-SAW in Oct-11 prior to an expected leased to Aeroflot-Don.

 

The lease didn't take place and the aircraft remained stored at Istanbul until it was leased to Kyrgyzstan Aircompany as EK-37501 in Apr-12. The aircraft was permanently retired and stored in Oct-17.

 

I also have a photo of this aircraft with BMA British Midland Airways as G-OBMY at...

www.flickr.com/photos/kenfielding/6315570370

 

and with Lithuanian Airlines as LY-BFV at...

www.flickr.com/photos/kenfielding/6317952687

Replacing an earlier scanned photo with a better version 08-Feb-22 (DeNoise AI).

 

Named: "Greta Garbo".

 

First flown with the Boeing test registration N1786B, this aircraft was delivered to the original version of Lauda Air in Jun-01. Lauda Air was merged into Austrian Airlines in Oct-04.

 

It was fitted with blended winglets in Oct-08 and remained in full Lauda Air livery until it was repainted into Austrian Airlines livery in Jan-10 and was re-named "Hochschwab" in May-10.

 

After only 11 years in service the aircraft was ferried to Kemble, UK in Jun-12 and permanently retired! Updated 08-Feb-22.

 

Note: The registration OE-LNO was re-used on a DHL Boeing 757-200F in Feb-22.

Replacing an earlier scanned photo with a better version 08-May-16.

 

Delivered to Thai Airways International as HS-TMG in Jul-92, the aircraft was withdrawn from service and stored at Bangkok in Mar-06. It was sold to UPS United Parcel Service in May-06 as N257UP and ferried to Roswell, NM, USA for further storage. In Nov-06 it was flown to Singapore-Payar Lebar where it was converted to freighter configuration with a main-deck cargo door by Mar-07. The aircraft continues in service with UPS as of May-16.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 16-Jul-24.

 

Operated for Lufthansa by Lufthansa CityLine.

 

A different view, taken from the old Emirates offices on the 7th floor of the Control Tower extension.

 

First flown with the Fokker test registration PH-EXX, this aircraft was leased to DLT Deutsche Luftverkehrgesellschaft as D-AFKN in Jul-91. DLT was renamed Lufthansa CityLine in Mar-92.

 

It was sold to Lufthansa Leasing GmbH in Jul-92 while the lease to Lufthansa CityLine continued. The 'CityLine' titles were removed in Mar-94 although the aircraft continued to be operated by Lufthansa CityLine.

 

It was returned to Lufthansa Leasing in Jan-97 and leased to Contact Air in Feb-97 when it became part of 'Team Lufthansa' operated by Contact Air. It changed to Lufthansa Regional in Oct-03.

 

The aircraft was returned to Lufthansa Leasing in Apr-04 and sold to Air Iceland - Flugfelag Islands as TF-JMN at the end of the month. It was wet-leased to Air Baltic between Apr-09 / May-10. It was withdrawn from service and stored at Woensdrecht, Netherlands in May-17.

 

In Oct-17 the aircraft was sold to the Avmax Group and leased to Silverstone Air (Kenya) as 5Y-SMO a few days later. It was withdrawn from service in Nov-19 and stored at Nairobi-Wilson. Silverstone Air ceased operations in Mar-20, the aircraft was returned to the lessor and remained stored.

 

Silverstone Air was rebranded as Jetlite Air in Feb-21 and the lease was transferred. It was wet-leased to Saacid Air, Somalia in Aug-23. Jetlite Air appear to have morphed into DragonFly Aviation, Kenya in Nov-23.

 

Details are a bit sketchy, however the aircraft appears to have been sold to an unknown operator in Malawi as 7Q-SMO in May-25. Now 34 years old the aircraft appears to be still active. Updated 13-Aug-25.

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

With Halton Transport having met its demise, various operators have filled the gaps. Arriva have replaced many service runs, including parts of servcies 14A, 61, 62 and 200, Warrington's Own Buses have taken on parts of service 62 and some college work, Stagecoach have taken on some schools work and Ashcroft Travel have taken on services 26/27.

 

Warrington's Own buses have drafted in additional vehicles from far and wide, including a trio of ex Transdev Lancashire Volvo B7RLE / Wright. 227 (BD12TEJ) is seen in Runcorn old town working a former Halton service 62.

Replacing an earlier digital photo with a better version 04-Jan-20.

 

Now with 'billboard' titles

 

Named: "Prince Sebastian".

 

This aircraft was delivered to Luxair Luxembourg Airlines as LX-LGU in Oct-98. It was sold to Champion Air LLC (Dale Ernhardt Racing) as N500DE in Oct-07. Current, updated 10-Oct-24.

 

Note: The registration LX-LGU was previously used on a Luxair Boeing 707-344B between 1987/1993 and is currently on a Luxair B737-8C3/SW since 2012.

Replacing an earlier scanned slide with a better version 17-Feb-16.

 

Air Bridge Carriers. Looking very much in need of a coat of paint. Who remembers sending Telex's?...

 

First flown in Dec-60 with the UK temporary registration G-1-7, this aircraft was delivered to Riddle Airlines in Jan-61 as N6502R. It was sold to Capitol Airways in Jul-62 and sold to Zantop Air Transport in Sep-65. Zantop Air Transport was renamed Universal Airlines and the aircraft was re-registered N895U in Sep-66. In Feb-72 it was sold to Sagittair and stored at Coventry, UK. It was sold to Field Aircraft services in 1973 and remained stored until it was registered G-BEOZ in Mar-77. It was leased to ABC Air Bridge Carriers in Aug-79. It was retired at East Midlands Airport, UK, in Mar-86 and was preserved at the East Midlands Aeropark in May-87.

Replacing an earlier scanned photo with a better version 12-Mar-17, and DeNoise AI 09-Nov-22.

 

All Nippon and JAL were the only airlines to order the shorter range version of the Boeing 747-400, the -400D (Domestic). The most obvious difference was that it didn't have winglets.

 

This aircraft was delivered to ANA All Nippon Airways as JA8960 in May-93. It was sold to a lessor a few days after delivery and eventually sold back to ANA in May-05.

 

The aircraft was in service for 21 years and was permanently retired at Tupelo, MS, USA in Mar-14. It was last noted still at Tupelo in Oct-14 and was subsequently broken up.

Strolling through Old Aberdeen on my way to the University this beauty caught my eye, just had to capture the image to archive on Flickr.

 

Vehicle make: LAND ROVER

Date of first registration: October 2012

Year of manufacture: 2012

Cylinder capacity (cc): 2198 cc

CO₂Emissions: 266 g/km

Fuel type: DIESEL

Export marker: No

Vehicle status: Tax not due

Vehicle colour: BLUE

Vehicle type approval: N1

Wheelplan: 2 AXLE RIGID BODY

Revenue weight: 2505kg

 

The Land Rover Defender (initially called the Land Rover Ninety and Land Rover One Ten) is a British four-wheel-drive off-road SUV developed from the original Land Rover Series launched in June 1948.

 

In October 2013 Land Rover announced that production would end in December 2015 after a continuous run of 67 years.

 

Production finally ended on 29 January 2016 when the last Defender, H166 HUE, rolled off the production line at 9:22.

 

Jaguar Land Rover announced their intention to launch a replacement new Defender, which motoring journalists speculate will be different from the original version.

 

The model was introduced in 1983 as "Land Rover One Ten", and in 1984 the "Land Rover Ninety" was added - the numbers representing the respective wheelbases in inches. (In fact the Ninety was nearer 93 inches at 92.9".)

 

The number was spelled in full in advertising and in handbooks and manuals, and the vehicles also carried badges above the radiator grille which read "Land Rover 90" or "Land Rover 110", with the number rendered numerically.

 

The Ninety and One Ten replaced the earlier Land Rover Series, and at the time of launch, the only other Land Rover model in production was the Range Rover.

 

In 1989, a third model was brought out by Land Rover to be produced in parallel with the other two: the Land Rover Discovery.

 

To avoid possible confusion, from 1991 the Ninety and the One Ten were renamed the "Defender 90" and "Defender 110". These carried front badges that said "Defender", with a badge on the rear of the vehicle saying "Defender 90" or "Defender 110".

 

The most recent model, from 2007-2016, still featured the space above the radiator for the badge but was blank. Instead had "Land Rover" spelled across the leading edge of the bonnet in raised individual letters, in keeping with the Discovery and Freelander. At the rear was a new style of '"Defender" badge with an underlining "swoosh". On these last models there are no badges defining the wheelbase model of the vehicle.

 

The 127-inch (3,226 mm) wheelbase Land Rover 127, available from 1985, was always marketed with the name rendered numerically. Following the adoption of the Defender name, it became the "Defender 130", although the wheelbase remained unchanged.

 

The North American Specification (NAS) Defender 110 sold for the 1993 model year carried a badge above the radiator grille which read "Defender," whereas the NAS Defender 90 sold for the 1994 to 1997 model years had "Land Rover" spelled across the top of the radiator grille in individual letter decals. NAS Defenders also carried a cast plaque on the rear tub in the original style of the Series Station wagons with "Defender 110" or "Defender 90" below the Land Rover lozenge and the vehicle's unique limited edition production run number.

 

Production of the model now known as the Defender began in 1983 as the Land Rover 110, a name which reflected the 110-inch (2,800 mm) length of the wheelbase. The Land Rover 90, with 93-inch (2,362 mm) wheelbase, and Land Rover 127, with 127-inch (3,226 mm) wheelbase, soon followed.[4]

Outwardly, there is little to distinguish the post-1983 vehicles from the Series III Land Rover. A full-length bonnet, revised grille, plus the fitting of wheel arch extensions to cover wider-track axles are the most noticeable changes. Initially the Land Rover was also available with a part-time 4WD system familiar to all derivatives produced since 1949. The part-time system failed to sell and was quickly dropped from the options list by 1984. While the engine and other body panels carried over from the Series III, mechanically the 90 and 110 were modernized, including:

Coil springs, offering a more comfortable ride and improved axle articulation

A permanent four-wheel-drive system derived from the Range Rover, featuring a two-speed transfer gearbox with a lockable centre differential

A modernised interior

A taller one-piece windscreen

A new series of progressively more powerful and modern engines

The 110 was launched in 1983, and the 90 followed in 1984. From 1984, wind-up windows were fitted (Series models and very early 110s had sliding panels), and a 2.5-litre (153 cu in), 68 horsepower (51 kW) diesel engine was introduced. This was based on the earlier 2.3-litre (140 cu in) engine, but had a more modern fuel-injection system as well as increased capacity. A low compression version of the 3.5-litre (214 cu in) V8 Range Rover engine transformed performance. It was initially available in the 110 with a four-speed transmission with integral transfer case, then later in conjunction with a high strength "Santana" five-speed transmission.[5]

This period saw Land Rover market the utility Land Rover as a private recreational vehicle. While the basic pick-up, 4x4 and van versions were still working vehicles, the County 4x4s were sold as multi-purpose family vehicles, featuring improved interior trim and more comfortable seats. This change was reflected in Land Rover starting what had long been common practice in the car industry — detail changes and improvements to the County model from year to year in order to attract new buyers and to encourage existing owners to trade in for a new vehicle. These changes included different exterior styling graphics and colour options, and the introduction of new options, such as radio-cassette players, styled wheels, headlamp wash and wipe systems, as well as accessories such as surfboard carriers and bike racks. The switch from leaf spring to coil spring suspension was a key part of the new model's success. It offered improved off-road ability, load capacity, handling, and ride comfort.

 

The 127 (and 130)

 

From 1983, Land Rover introduced a third wheelbase to its utility line-up, a 127-inch (3,226 mm) wheelbase vehicle designed to accommodate larger, heavier loads than the 110. Called the "Land Rover 127", it was designed specifically with use by utility and electrical companies in mind, as well as military usage.

 

In its standard form, it is a four-door six-seater consisting of the front half of a 110 4x4, and the rear of a 110 high-capacity pick up (HCPU).

 

The logic was that this allowed a workcrew and their equipment to be carried in one vehicle at the same time. The 127 could carry up to a 1.4 tonnes (1.4 long tons; 1.5 short tons) payload, compared to the 1.03 tonnes (1.01 long tons; 1.14 short tons) payload of the 110 and the 0.6 tonnes (0.59 long tons; 0.66 short tons) of the 90

Land Rover 127s were built on a special production line, and all started life as 110 4x4 chassis (the model was initially marketed as the 110 crew cab, before the more logical 127 name was adopted). These were then cut in two and the 17 inches (432 mm) of extra chassis length welded on before the two original halves were reunited. These models did not receive their own dedicated badging like the other two models, instead they used the same metal grille badges as used on the Series III 109 V8 models, that simply said "Land-Rover".

 

Land Rover Defender 130; fully equipped car in the desert

Although the standard body-style was popular, the 127 was a common basis for conversion to specialist uses, such as mobile workshops, ambulances, fire engines and flatbed transports. In South Africa, the Land Rover assembly plant offered a 127 4x4 with seating for 15. Land Rover also offered the 127 as a bare chassis, with just front bodywork and bulkhead, for easy conversion.

 

127" chassis with double cab and bimobil camper module

Initially held back by the low power of the Land Rover engines (other than the thirsty petrol V8 engine), the 127 benefited from the improvements to the line-up, and by 1990 was only available with the two highest power engines, the 134 hp (100 kW) 3.5-litre V8 petrol, and the 85 hp (63 kW) 2.5-litre turbo diesel .

 

Engine development

 

The original 110 of 1983 was available with the same engine line-up as the Series III vehicles it replaced, namely 2.25-litre (137 cu in) petrol and diesel engines, and a 3.5-litre (210 cu in) V8 petrol unit, although a small number of 3.2-litre (200 cu in) V8s were produced.

 

In 1981 the 2.25 l engines were upgraded from three- to five-crankshaft bearings in preparation for the planned increases in capacity and power.

 

The 2.5-litre version of the diesel engine, displacing 2,495 cubic centimetres (152.3 cu in) and producing 68 hp (51 kW), was introduced in both the 110 and the newly arrived 90. This was a long-stroke version of the venerable 2.25-litre unit, fitted with updated fuel injection equipment and a revised cylinder head for quieter, smoother and more efficient running. A timing belt also replaced the older engine's chain.

 

In 1985 the petrol units were upgraded. An enlarged four-cylinder engine was introduced. This 83 hp (62 kW) engine shared the same block and cooling system (as well as other ancillary components) as the diesel unit. Unlike the diesel engine, this new 2.5-litre petrol engine retained the chain-driven camshaft of its 2.25-litre predecessor. At the same time, the 114 hp (85 kW) V8 was also made available in the 90- the first time a production short-wheelbase Land Rover had been given V8 power.

 

The V8 on both models was now mated to an all-new five-speed manual gearbox.

 

The year 1986 saw improvements in engines to match the more advanced offerings by Japanese competitors. The "Diesel Turbo" engine was introduced in September, a lightly turbocharged version of the existing 2.5-litre diesel, with several changes to suit the higher power output, including a re-designed crankshaft, teflon-coated pistons and nimonic steel exhaust valves to cope with the higher internal temperatures.[4][6] Similarly, an eight-bladed cooling fan was fitted, together with an oil cooler.

 

The changes for the turbo diesel were kept as slight as possible, in the aim of making the car saleable in Land Rover's traditional export markets across the globe.

 

The 2.5 diesel, 2.5 petrol and Diesel Turbo engines all shared the same block castings and other components such as valve-gear and cooling system parts, allowing them to be built on the same production line. The Diesel Turbo produced 85 hp (63 kW), a 13% increase over the naturally aspirated unit, and a 31.5% increase in torque to 150 lb·ft (203 N·m) at 1800 rpm.

 

Externally, turbo-diesel vehicles differed from other models only by having an air intake grille in the left-hand wing to supply cool air to the turbo. The engine was adopted as the standard engine for UK and European markets.

 

Early turbo-diesel engines gained a reputation for poor reliability, with major failures to the bottom-end and cracked pistons. A revised block and improved big end bearings were introduced in 1988, and a re-designed breather system in 1989. These largely solved the engine's problems, but it remained (like many early turbo-diesels) prone to failure if maintenance was neglected.

 

At the same time that the Diesel Turbo was introduced, the V8 engine was upgraded. Power was increased to 134 hp (100 kW), and SU carburettors replaced the Zenith models used on earlier V8s.

 

Sales turnaround

 

The new vehicles with their more modern engines, transmissions, and interiors reversed the huge decline in sales that took place in the 1980s (a 21% fall in a single year, 1980–1981). This growth was mainly in the domestic UK market and Europe. African, Australian and Middle-Eastern sales failed to recover significantly - Land Rover had not been immune to the poor reputation caused by poor build quality and unreliability which had afflicted the rest of British Leyland, of which Land Rover was still part. In these markets Japanese vehicles such as the Toyota Landcruiser and Nissan Patrol gradually took over what had been a lucrative export market for Land Rover for decades. Meanwhile, the company itself adopted more modern practices, such as using marketing campaigns to attract new buyers who would not previously have been expected to buy a Land Rover. The operation was streamlined, with most of the satellite factories in the West Midlands that built parts for the Land Rover being closed and production brought into the Solihull factory, which was expanded.

 

To maximise sales in Europe, Land Rover set up the Special Vehicles Division, which handled special low-number conversions and adaptations to the vehicles. The bulk of the division's work was the construction of stretched-wheelbase mobile workshops and crew carriers for British and European utility companies, often including six-wheel-drive conversions, but more unusual projects were undertaken, such as the construction of an amphibious Land Rover 90 used by the company as part of its sponsorship of Cowes Week from 1987 to 1990.

 

The Special Projects Division also handled specialised military contracts, such as the building of a fleet of 127-inch (3,226 mm)

V8-powered Rapier missile launchers for the British Army. The Rapier system actually consisted of three Land Rovers: a 127 which carried the launching and aiming equipment, and two 110s which carried the crew and additional equipment.

 

Land Rover Defender

 

The biggest change to the Land Rover came in late 1990, when it became the Land Rover Defender, instead of the Land Rover 90 or 110. This was because in 1989 the company had introduced the Discovery model, requiring the original Land Rover to acquire a name.

 

The Discovery also had a new turbodiesel engine, the 200TDi. This was also loosely based on the existing 2.5-litre turbo unit, and was built on the same production line, but had a modern alloy cylinder head, improved turbocharging, intercooling and direct injection.

 

It retained the block, crankshaft, main bearings, cambelt system, and other ancillaries as the Diesel Turbo. The breather system included an oil separator filter to remove oil from the air in the system, thus finally solving the Diesel Turbo's main weakness of re-breathing its own sump oil. The 200Tdi, produced 107 hp (80 kW) and 195 lb·ft (264 N·m) of torque, which was nearly a 25% improvement on the engine it replaced (although as installed in the Defender the engine was de-tuned slightly from its original Discovery 111 hp (83 kW) specification due to changes associated with the turbo position and exhaust routing).

 

This engine finally allowed the Defender to cruise comfortably at high speeds, as well as tow heavy loads speedily on hills while still being economical.

 

In theory it only replaced the older Diesel Turbo engine in the range, with the other four-cylinder engines (and the V8 petrol engine) still being available. However, the Tdi's combination of performance and economy meant that it took the vast majority of sales. Exceptions were the British Army and some commercial operators, who continued to buy vehicles with the 2.5-litre naturally aspirated diesel engine (in the army's case, this was because the Tdi was unable to be fitted with a 24 volt generator). Small numbers of V8-engined Defenders were sold to users in countries with low fuel costs or who required as much power as possible (such as in Defenders used as fire engines and ambulances).

 

Along with the 200Tdi engine, the 127's name was changed to the "Land Rover Defender 130". The wheelbase remained the same; the new figure was simply a tidying up exercise. More importantly, 130s were no longer built from "cut-and-shut" 110s, but had dedicated chassis built from scratch. The chassis retained the same basic structure as the 90 and 110 models, but with a longer wheelbase.

1994 saw another development of the Tdi engine, the 300Tdi. Although the 200Tdi had been a big step forward, it had been essentially a reworking of the old turbocharged diesel to accept a direct injection system. In contrast the 300Tdi was virtually new, despite the same capacity, and both the Defender and the Discovery had engines in the same state of tune, 111 bhp (83 kW), 195 lbf·ft (264 N·m).

 

Throughout the 1990s the vehicle attempted to climb more and more upmarket, while remaining true to its working roots. This trend was epitomised by limited-edition vehicles, such as the SV90 in 1992 with roll-over protection cage, alloy wheels and metallic paint and the 50th anniversary 90 in 1998, equipped with automatic transmission, air conditioning and Range Rover 4.0-litre V8 engine.

 

A new variant was the Defender 110 double cab, featuring a 4x4-style seating area, with an open pick up back. Although prototypes had been built in the Series days, it was not until the late 1990s that this vehicle finally reached production.

 

2012 updates

 

In August 2011, Land Rover announced an update of the Defender for the 2012 model year. By this time, Land Rover publicly acknowledged that it was working on a project to produce an all-new replacement for the Defender. This would lead to the unveiling of the first DC100 concept vehicle in September that year. While emissions and safety regulations have threatened the Defender since the early 2000s, these had either been avoided or Land Rover had found ways to modify the vehicle to economically meet the new requirements. However, safety regulations due for introduction in 2015 requiring minimum pedestrian safety standards and the fitment of airbags to commercial vehicles cannot be met without a wholesale redesign of the Defender.

 

The main change for the 2012 models was the installation of a different engine from the Ford Duratorq engine range. Ford decided, due to cost reasons, not to modify the 2.4-litre engine introduced in 2007 to meet the upcoming Euro V emissions standards and so the engine was replaced with the ZSD-422 engine, essentially a 2.2-litre variant of the same engine. Although smaller than the existing unit the power and torque outputs remained unchanged and the same six-speed gearbox was used as well.

 

The engine included a diesel particulate filter for the first time on a Defender. The only other change was the reintroduction of the soft top body style to the general market. This had been a popular option for the Land Rover Series but by the introduction of the Defender had been relegated to special order and military buyers only. Land Rover stated that the option was being brought back due to customer feedback.

 

The last Defender, a soft-top "90" rolled off the Solihull production line at 9:22 on Friday 29 January 2016. The BBC reports that the Defender's replacement is due to be launched in 2018/2019.

   

Ontario

Where once the laptop had its place is now a quiet little corner. We decided to move the laptop back upstairs in the bedroom...we both have realised we spent waaay too much time on the internet (yes im guilty to being addicted to flickr and a bit facebook) not like we are reaaally,really addicted but it was time ;)

 

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 09-Nov-23.

 

This aircraft was delivered to Aeroflot Russian Airlines as CCCP-86054 in 1983. It became RA-86504 in 1992 when the Russian Federation was formed.

 

It was withdrawn from use and broken up by 2006.

There isn't a time I can remember when Aladdin was not a part of my life. I have no memory of seeing Aladdin in theaters with my family, because I was so young. But, I do remember all the merchandise that was released with the film...namely the dolls! Every time the Aladdin cartoon series aired on television, my sister and I dropped whatever we were doing to watch it. We were truly bummed out when the show was canceled. One of the reasons we loved getting cable television when I was nine, was the fact that we got the Toon Disney Channel...which ran episodes of the Aladdin cartoon. My parents bought us Aladdin on vhs tape, but we eventually had to replace it around 2004. Somehow, we managed to ruin that vhs tape as well, but fortunately, we found the same '04 edition on dvd at the flea market during the summer of 2014. That dvd turned out to be faulty after a few uses, so we once again had to track down another! I guess my sister and I watch Aladdin so much, that we have a habit of ruining the tapes! We also always loved the sequels, Return of Jafar and Aladdin and the King of Thieves. I still vividly recall the day I first saw Aladdin and the King of Thieves on vhs. It was around my birthday, when I spotted the display at CVS while shopping with my mom. She said I could pick the tape or Palace Wedding Jasmine as part of my birthday gift. Even though I desperately coveted the Jasmine doll, I chose the vhs, so Colleen and I could share it. For years and years, I always regretted not choosing the Jasmine doll. But realistically, Jasmine would have been destroyed within a year, like most of our childhood Aladdin dolls. Upon reflection, my childhood would have felt a little empty without Aladdin and the King of Thieves being in it!

 

Besides the movies, my sister and I collectively had hoards of Aladdin merchandise when we were young. We had the Sega video game, which we played every Saturday morning religiously. I owned a purple Aladdin lunchbox which I took to school with me, and Colleen had a green pencil case. We somehow managed to hang onto both the lunch box and the pencil case over the years. Then there were our Aladdin paper dolls--Aladdin was mine, Jasmine was Colleen's. We both always got into heated fights over who played with Jasmine. Jasmine's head had to be taped together more times than I can count, because we both played with her so much. Aladdin also saw play...but he was nude most of the time. I somehow lost both his outfits. Not to mention, while at the hair salon one day, I let another little girl play with Aladdin...and she chose to draw on the back of him! I also had a palace figurine set that came with Aladdin, the Sultan, and Jasmine. Our dog, Haley, ate Jasmine's head one day while I was walking down the hallway. Years later, I still resented Hayley for destroying my beautiful Jasmine figurine. I bought the Aladdin Polly Pockets too--poor Jasmine lost both her hands, but I still have the set. Colleen and I even had Aladdin clothes. Our childhood wardrobes consisted of swimsuits, shirts, and even underwear that were adorned with Aladdin cartoons. Basically, whatever merchandise was marketed for Aladdin, chances are, my sister and I wanted it.

 

It's no surprise given my long history of obsessing in the movie Aladdin, that I have accumulated a ridiculous number of Aladdin dolls over the years. The dolls, of all the merchandise, were always my favorite, and usually the thing I whined the most about not having. It seemed as though Colleen and I never had luck with our Aladdin dolls when we were kids. My sister's black, rambunctious (and might I say disgustingly smelly) dog, Hayley, devoured several of our dolls in the course of a few years. Hayley consumed Colleen's brand new Water Surprise Jasmine doll within the first week of her arriving home from the store. To be honest, my younger self couldn't be trusted any more with the Aladdin dolls than Hayley. It was a habit of mine to steal Colleen's coveted Aladdin dolls when she was at school. Sometimes I would take only Jasmine's necklace to use on my Sun Jewel Kira, other times, I would steal just Aladdin's lamp. One day, I worked up the nerve to borrow the Aladdin doll. Even though I was very young, I still vividly remember sneaking into Colleen's closet, digging through her laundry basket of Barbie dolls, and snagging Aladdin. Mom warned me not to play with Colleen's stuff, but that certainly did not stop me. Apparently, according to Colleen, I broke Aladdin's head that day...which she was NOT happy about. I conveniently blocked out my memory of decapitating Aladdin! Mom and Dad unintentionally rewarded me that day, as I got to keep the broken Aladdin, since they bought Colleen a replacement Water Jewel Magic Aladdin. Colleen felt ripped off, because her old Aladdin doll came with more clothing and accessories than her new doll.

 

I used to beg Colleen everyday to borrow her beautiful Jasmine doll. One day, she foolishly let me have my way, by giving me the privilege of carrying Jasmine around the grocery store. I lost Jasmine, who was wearing her purple dress, that day while we were shopping. Colleen was furious with me, and for years and years, she hung the entire incident over my head. I was certainly not any more trustworthy with my own Aladdin dolls. I don't know where my beloved childhood Musical Princess Jasmine went. She was either lost like Colleen's Jasmine doll, our she was one of Hayley's meals. I made my Perfume Jasmine and "Classics" Jasmine doll bald not long after I bought them. Poor "Classics" Jasmine was my birthday gift when I turned four years old. I still recall picking her out at Toys 'R' Us, along with the So Much to Do! Kitchen playset. Water Jewel Magic Jasmine and Aladdin, as well as Colleen's Perfume Jasmine were the only dolls who survived our early childhood unscathed. Well, Water Jewel Magic Jasmine didn't completely escape carnage....her head fell off on multiple occasions and Dad had to super glue her back together. Regardless, she was the surviving Jasmine doll that I always played with until I bought my Sparkling Jasmine in 2002.

 

Although our luck with Aladdin dolls was not the best in our early years, the acquisition of my Sparkling Jasmine in 2002 shifted things. She was the first Jasmine to be in stores since the My Favorite Fairytale lady (who I had missed out on getting). I was so unbelievably ecstatic the day Mom, Dad, Colleen, and I were at Target and I saw the most stunning Jasmine doll ever. Sparkling Jasmine's purple ensemble was unique, and I loved her less bug eyed facial screening. To me, she most resembled the character I loved, and I was so grateful that I was able to afford her. The last Jasmine doll I had been so taken with was the Holiday Princess lady. But due to her "fanciness" I declined from asking Mom or Dad if I could get her. Although she wasn't outrageously priced in retrospect, she was at least double the price of my less than $15 Sparkling gal. Jasmine became a fast favorite, of course it helped that her only competition was our sad, repaired Water Jewel Magic Jasmine. Coincidentally, I had been playing with Water Jewel Magic Jas right around this time, casting her as a poor farm girl who ran away from home. Obviously, Water Jewel Magic Jasmine was dethroned when Sparkling arrived. Sparkling Jasmine was my most prized possession for several years. She was the apple of my eye, and her beauty could not be matched. I bought her numerous Barbie fashion packs that would go splendidly with her purple makeup. Wherever I went, Jasmine was sure to tag along. Kid Kore Katie, Colleen's favorite doll, who was sold with a poodle, soon became Jasmine's traveling companion. We took the dolls to the pool, the beach, in the woods, to the movie theaters, to restaurants....everywhere and anywhere we traveled! Along the way, other Aladdin dolls joined the cast. During a beach themed doll scene, Colleen gave our childhood Water Jewel Magic Aladdin a new identity. He became Leroy, the hard working, nerdy, reliable guy. Leroy and Jasmine fell in love, and the rest is history! We would crank up my Britney Spears albums and have Jasmine sing to Leroy. Sometimes he would duet with her when male singers guest starred on the songs. They would take flying unicorn rides on my Starlight Unicorn (who did not actually feature wings), named Ocean. Jasmine's furry/hoofed friends were always nearby--Ocean and Muffin my Puppy Ruff dog I got when I was two/three. The family soon became the "Arabache" clan. Jasmine's family showcased her adopted sister Katie, and her two sisters/sometimes daughters Reggie and Myra. Leroy's side consisted of his wheelchair bound sister, Becky, and his featherbrained brother Bradley. Winning London Mary-Kate and Ashley and Pet Pals Skipper, aka Robin, were also part of the family, but changed sides. There were also usually Kelly and Krissy dolls added once we decided to have Jasmine and Leroy start their own family (one was Stroll 'N Play Krissy, aka Natasha, the other usual was 1995 Bathtime Fun Kelly, aka Stephanie). Once I got Xpress It! Yasmin, she too was a staple in our games, sometimes featured as Leroy's sister, other times as Jasmine's. Bradley was our decapitated "Classics" Aladdin from childhood. Reggie and Myra were our two Perfume Princess Jasmine minis. Ironically, I had always been jealous of Colleen's much neater Perfume Jasmine, even though I already had my own. Myra, who was my original doll, had an earring chewed off by a guinea pig and virtually no hair. Colleen gave me her Jasmine doll, who I renamed as Reggie--she was the smarter, more "mature" twin who was also the head troublemaker. Myra was the sweet, incontinent one who always asked for "Mommy" or "Daddy," and who was notorious for toting a massive stuffed Pooh Bear with her. Despite the scruffiness of some of our oldest Aladdin dolls, they were incorporated into the newer games. It was also around this time that we found "replacements" for a few of them. Colleen bought another, much fresher Water Jewel Magic Aladdin, who we named Lennon, at an outdoor flea market. He subbed in for Leroy on occasion, since his arms weren't faded and his hair paint was intact. We also scored a very mint looked "Classics" Aladdin for $5 at the town flea market (which is notoriously over priced). She decided to make him the father of Leroy and Bradley, and he was dubbed "Frank." We always envisioned Leroy and Bradley having an overbearing mother, but nobody was permanently cast in the role. As adults, we feel that Bratz Portia would have been the perfect leading lady! For several years our doll family remained more or less unchanged until our favorites began to deteriorate. I bought Princess Party Jasmine as a temporary substitute when Sparkling Jasmine balded and began to fade from too many pool excursions. But she just wasn't the same, which is why I eagerly bought a secondhand Sparkling Jasmine in 2004 or 2005. She was purchased a little bit too late though, because by that point we had phased out of the Arabache clan and were playing with a new doll family. These days, the members of the Arabache household still make appearances in photos and Youtube skits. We always cast the original dolls, despite having minter counterparts. But my skills as a doll restorer have helped our poor childhood friends look substantially better, so they aren't the raggedy faces we used to play with anyways! The "Leroy and Jasmine" era will forever be Colleen's and my favorite time in our doll playing history. Of course, it was all that more special since we incorporated several beloved Aladdin dolls!

 

It was not only my love for the film, but also my "not so great" childhood experiences, that drove me to collecting so many Aladdin dolls. It was surprisingly unintentional that I first began buying so many Aladdin dolls. My original focus when beginning to collect dolls again in 2011 (I took a few years off from dolls when I was a teenager) was on Hercules dolls and the Hunchback of Notre Dame dolls, as well as a few random Disney dolls. I remember I wanted Water Surprise Jasmine and Holiday Jasmine first. Not long after, I couldn't resist buying a brand new Water Jewel Magic Jasmine, since I have a long history with our childhood doll. Then, one day, I won Rajah Friendship Jasmine on eBay somehow. I was fueled with anger after losing a bid on Fashion Secrets Megara. I took all that frustration and turned it towards bidding on Jasmine. I couldn't believe I won her!!! She was the first bid on eBay I ever won that was opposed. The day she arrived, I opened her up right away, and I couldn't help but desire more Aladdin dolls. So, I used Margo Rana's "Disney Dolls Guide", as a map for which Jasmine and Aladdin dolls I wanted. One of my main targets from the get go was Palace Wedding Jasmine--a doll I coveted from the moment I saw her at CVS as a child. She was the most expensive individual doll in my collection, but worth every penny. I was able to make another childhood dream come true that first year, when I found a perfect set of Magic Carpet Aladdin and Jasmine dolls online. I had pined for them each time we were at my friend's house, and I saw her sister's dolls set up in her bedroom! Within my first year of collecting, I had nearly all the dolls in the Aladdin section of her book. It's become an addiction of mine to buy Aladdin dolls as an adult. I've taken long breaks from purchasing anymore of them, but it just takes one doll to send me into a frenzy. That's actually how my third Aladdin shelf happened. I simply wanted to buy Glitter Princess Jasmine and Sparkle Princess Jasmine on eBay. Then I found Genie of the Lamp, Gem Princess Jasmine, Enchanted Tales Aladdin, and several more dolls over the course of the next two months. I couldn't cram another doll on my other two Aladdin shelves, so I evicted all my Cindy dolls from the top shelf. My Aladdin expansion made me very happy, as I not only had a fabulous new display to look at, but I also was able to put just about all my duplicated Aladdin dolls on display!

 

My Aladdin dolls all have a history, whether I made memories with them as a child or an adult, I cherish each and every one. They've been a staple in my dolly world since I was too young to remember. I am so grateful that a few of our oldest dolls are still standing, like Bradley, Leroy, and our original Water Jewel Magic Jasmine. All have required an extensive amount of work--from new bodies, to partial reroots, to paint touch ups. My Sparkling Jasmine needed some of the most lengthy restoration as she was so heavily played with. Despite being able to fix up these dolls, Colleen and I still always have trouble turning away Aladdin duplicates. Colleen was over the moon to find a boxed Water Jewel Magic Aladdin, renamed Luxor, in 2018 at the flea market. I was secretly glad that a third Sparkling Jasmine joined the family in 2013 in the "60 Doll Bin." She most captures the spirit of my forlorn childhood doll (but when she was brand new, not trashed). I'm without a doubt torn whenever I see an Aladdin/Jasmine doll I don't "need" floating around a secondhand venue. Of all the Disney movies dolls were produced for, I have the most Aladdin dolls hands down. The majority are the 90s-early 2000s era produced by Mattel, as they are the cream of the crop in my opinion, due to nostalgia! But I also have expanded my collection to include Disney Store dolls and later Mattel releases, even those with gaudy molded clothes. Aladdin dolls have left a mark on every era of my dolly history. They were the coolest Disney dolls to have in our household, and also the ones most likely to be lost or destroyed, during our early years. When I was eleven to thirteen, Aladdin dolls were key cast members of the most sentimental time in our doll playing history. It wouldn't have been the same if we had another Disney couple or a random Barbie and Ken instead of Leroy and Jasmine. And of course, it was the Aladdin section in Margo Rana's book that drove me bonkers and fueled my inner doll addict when I first dabbled back into collecting as a nineteen year old. Although there aren't many Aladdin dolls I don't have, I still find that my family is constantly expanding, and I never tire of adding more! My Aladdin dolls always have the best display spaces reserved for them, in the same way that I always hold a special place for them in my heart that no other dolls can ever touch!

I replaced my really old Logitech Webcam with a new one. I really like this new one its so much clearer than my other one.

This is meant to go with my Shelby Cobra when I'm finished :-)

 

I got the idea for doing the logos brick-built from Ryan Link

 

Thanks for rendering Blackout!

 

Looks best when either far away or small

Heidelberg - Heiliggeistkirche und Marktplatz

 

The Church of the Holy Spirit (German: Heiliggeistkirche) is the largest church in Heidelberg, Germany. The church, located in the marketplace in the old town center, was constructed between 1398 and 1515 in the Romanesque and Gothic styles. It annually receives 1–3 million guests a year, making it among the most visited churches in Germany.

 

The church was planned as the burial place of the Electors of the Palatinate and as a representative church of the Palatinate royal seat. In the Palatine War of Succession, the princely graves of the Electors were destroyed; today only the grave of the founder of the church, Elector Ruprecht III, remains. The church was also the location of the founding of the Heidelberg University and was the original repository of the Bibliotheca Palatina.

 

The congregation was originally Roman Catholic, but the church has changed denominations more than ten times through its history. Intermittently, over a 300 year period, the nave and the choir of the church were separated by a wall, allowing both Catholics and Protestants to practice in the church at the same time. The wall was ultimately removed in 1936, and the congregation is now solely Protestant. Today, it is a parish church within the Evangelical Church of Heidelberg and is part of the Evangelical Church in Germany.

 

History

 

A manuscript from 1239 references a Romanesque chapel in the center of Heidelberg named “Zum Heilien Geist” (English: to the Holy Ghost). A Gothic, asisleless church was constructed on that site around 1300 and subsequently referred to as the Chapel of the Holy Spirit (Heiliggeistkapelle). King Rupert commissioned a new church building in 1398, which replaced the chapel and became the current Church of the Holy Spirit. The current church is the third sacral building on the site.

 

Congregations

 

Between the 16th and 20th centuries, the church changed confessions over ten times, between Lutheranism, Calvinism, Catholicism, and Old Catholicism. Sermons had been delivered in German at various points before the Reformation at the Church of the Holy Spirit, but Protestantism was not quickly adopted in Heidelberg. The first Protestant service was conducted at the Church of the Holy Spirit in 1546. Elector Otto Henry converted the region in 1557, and the church was officially designated as a Lutheran parish church. Otto Henry's successor, Friedrich III, converted the church to Calvinism and commissioned the Heidelberg Catechism.

 

In 1706, a succession crisis resulted in the church being divided in half in order to accommodate both Catholics and Protestants simultaneously, so that both congregations could hold their services without any mutual disturbance. The church was divided by a wall which separated the nave and the chancel, creating a second altar in the center of the church. In 1719, Elector Karl III Philipp ordered soldiers to occupy the church and tear down the wall in order to restore it to a purely Catholic place of worship. Political pressure from other states and the Holy Roman Empire forced him to re-erect the wall shortly thereafter. The wall was again removed in 1886, but was rebuilt once more as a result of the Kulturkampf and pressure from the Vatican. It was ultimately removed on 24 June 1936. The church has been solely Protestant since.

 

Bibliotheca Palatina

 

The Bibliotheca Palatina was founded and originally kept in the gallery of the Church of the Holy Spirit, where good light for reading was available. It contained several collections, including the libraries of Heidelberg University, Heidelberg Castle, and several monasteries.

 

During the Thirty Years War, this collection of manuscripts and early printed books were taken as loot and presented to the Pope by the Count of Tilly, who commanded the Catholic League’s forces at Heidelberg in 1622. Reportedly 54 oxcarts filled with crates of books were taken to Rome from the Church of the Holy Spirit. They now form the Bibliotheca Palatina section of the Vatican Library. As a result of the Congress of Vienna, 847 of the german manuscripts from this collection were returned to the University of Heidelberg in 1816. For the University's 600th anniversary, a further collection of 588 of the Bibliotheca's documents were temporarily exhibited at the Church. Much of the exhibition contained documents detailing the workings of the former library itself: from the former library's binding techniques to records on the library's removal in 1623.

 

Architecture

 

Construction

 

Documents name Arnold Rype, a former mayor of Heidelberg, as the church's "master builder". At the time, the term "master builder" referred not to the architect but the financial initiator. The only known architects are Hans Marx, who worked on the church until 1426, as well as Jorg, who was responsible until 1439. Both men probably supervised work on the nave. Under the reign of Prince-elector Frederick I, a noted specialist in the construction of church towers, Niclaus Eseler, came from Mainz to Heidelberg and was likely responsible for the execution of the primary work on the church's spire, though the steeple was completed by Lorenz Lechler.

 

Construction began in 1398 when the cornerstone was laid. The choir was completed and consecrated in 1411, and the nave finished in 1441. The construction of the steeple was started in the same year, but works were interrupted until 1508, and the tower was finished in 1544.

 

Restoration

 

During the Palatinate War of Succession, the church was raided by French forces in 1693 and significantly damaged by a fire. The fire destroyed the church tower, which was rebuilt in 1709 in a baroque style. A viewing platform inside the main spire is accessible to the public via a narrow staircase with a total of 208 steps. The platform is located 38 meters above ground level.

 

The 1693 fire damaged the roof, and resulting in decades of water damage in much of the building. Late 18th century restoration efforts greatly altered the original design of the building. Crumbling, octagonal sandstone pillars were sanded-down to round columns. Medieval frescoes were either plastered over, or reinterpreted in baroque style.

 

One of the vaults of the nave is decorated with a fresco, created around 1440. Each of the vault's eight panels are decorated with an angel playing a unique instrument. The fresco was restored in 1950 by Harry MacLean, who added a bassoon to one angel, which was not original to the piece. A Holy Ghost hole sits between the eight angels.

 

Stained glass

 

Heiliggeistkirch's original medieval windows were destroyed by the fire of 1693. None of the original windows were preserved and no record or attestation to what they looked like exists. To replace the damaged windows, emergency glazing was introduced in the 19th century, principally in the choir and along the south aisle of the nave. Matching windows, installed on the north aisle, were subsequently destroyed in 1945 during the Second World War. The poor condition of the 19th century glazing became a pressing issue in the mid 20th century, resulting in a historically significant series of unrealised attempts to commission the design of a unified programme of stained glass windows from contemporary artists.

 

In the mid 1970s, the regional church board voted to replace the 19th century additions, as part of a broader restoration and repair of the interior. As a result, several significant efforts were made in the 1970s and 1990s to reinstall stained glass into these windows through a programme of artworks by a single artist. Initially, the German artist Johannes Schreiter was commissioned in 1977 to undertake the project and design a total of twenty-two pieces, but negative response to his designs and the resulting “Heidelbergerfensterstreit” (Heidelberg Window Controversy) meant that only one complete work, the Physics Window, was installed in the church. Subsequently, the British artist Brian Clarke was asked to submit a proposal for the remaining windows. His resulting designs drew on the history of the site's location as the repository of the Biblioteca Palatina and its link to the development of Calvinism through the 1563 Heidelberg Catechism. Ultimately, of Clarke's designs were implemented.

 

During the late 1990s, Hella Santarossa won a subsequent 1997 competition for a series of five windows whose core element is treated, broken coloured glass. Santarossa is a member of the Derix family, one of the major stained glass studios in Germany. Her series of five windows were installed in the north nave.

 

The "Heidelberger Fensterstreit"

 

The most famed and controversial stained glass works commissioned for the church are those of Johannes Schreiter, commissioned in 1977 to design twenty-two stained glass windows. At the time, this was to be the largest stained glass commission to have been granted to a single artist. The resulting avant-garde designs, which incorporated references from science, medicine, philosophy, and the analogue technologies of the day, became the subject of a cultural and theological dispute known as the "Heidelberg Controversy" (German: Heidelbergerfensterstreit Fensterstreit). This dispute is cited as "the most intense controversy on record involving twentieth century stained glass".

 

Schreiter's designs had previously been debated and tested within a focus group including theologians, art critics, and church attendees. They were then presented to the public in 1984 when the first window was installed on the south isle. This window is known as the "Physikfenster" (English: "Physics Window"). It's critical theme immediately became controversial. Critics called the Physics Window overly conceptual, elitist, and secularly dejected. When sketches of Schreiter's following pieces were released, local parishioners were reportedly disenfranchised by their themes. Protests, parish votes, and petitions ultimately prevented their installation. Nine years after Schreiter was commissioned, the project was officially terminated on June 23rd 1986. Schreiter had originally been commissioned to create ten separate pieces for the nave; the ensuing controversy caused the remaining nine to be abandoned. The Physics Window remains the only work of Schreiter's installed in the church, though other windows from the series have since been purchased and displayed by independent organisations, including other churches and hospital clinics.

 

The Physics Window is 458 cm tall and 125 cm wide. The majority of the piece is red, representing the Holy Spirit; a white arrow at the top represents the Holy Spirit descending to earth. Only two points on the piece are in bright blue: one highlighting the Einstein's theory of relativity, E=mc², and the other states the date the first atomic bomb was dropped on Hiroshima, 6 August 1945. Written above both of these in black, gothic script, is a passage from the Second Epistle of Peter (2 Peter 3:10) combined with a passage from Isaiah (Isaiah 54:10). The first passage references an apocalyptic end to the earth, in which everything created by man is destroyed by fire. This theme is reflected in Schreiter's work by an effect in the glass that resembles burnt paper near the date of the Hiroshima tragedy. By contrast, the second passage offers hope, implying that God will remain merciful despite man's mistakes.

 

Notable burials

 

Originally, the Church of the Holy Spirit contained the tombs of the Palatinate electors, which were later destroyed by fire during the War of the Palatine Succession. The only remaining tomb is that of Prince-Elector Rupert III, the founder of the church, which is still preserved.

 

Dorothea of Denmark, Electress Palatine (1520–1580)

Eberhard II, Duke of Württemberg (1447–1504)

Elisabeth of Nuremberg (1358–1411)

Louis III, Elector Palatine (1378–1436)

Louis IV, Elector Palatine (1424–1449)

Rupert, King of the Romans (1352–1410)

Wolfgang of the Palatinate (1494–1558)

 

(Wikipedia)

 

Die Heiliggeistkirche ist die größte und bedeutendste Kirche in Heidelberg. Mit der Apsis zum Marktplatz steht sie mitten in der Heidelberger Altstadt. Ihr Turm beherrscht und prägt – mit dem achteckigen Glockenturm des Schlosses – das Stadtbild. Die aus rotem Neckartäler Sandstein gebaute gotische Hallenkirche mit barockem Dach und barocker Turmhaube gilt als „völlig singuläres Bauwerk von hohem künstlerischen Rang“.

 

Die Kirche wurde von 1398 bis 1515 errichtet und war als Grablege der Kurfürsten von der Pfalz und als repräsentatives Gotteshaus der kurpfälzischen Residenzstadt geplant. Bei schweren Zerstörungen im Pfälzischen Erbfolgekrieg wurden die Fürstengräber verwüstet, sodass sich heute nur noch das Grab des Erbauers des Chors der Kirche, Kurfürst Ruprecht III., der als Ruprecht I. deutscher König war, in der Kirche befindet. Bekannt ist die Heiliggeistkirche auch als einstiger Standort der Bibliotheca Palatina sowie wegen ihrer wechselvollen, eng mit der Geschichte Heidelbergs verknüpften, konfessionellen Geschichte. Von 1706 bis 1936 war die Kirche durch eine Scheidemauer in zwei Teile geteilt. Das Langhaus war protestantisch, der Chor katholisch. Seit 1936 gehört die gesamte Kirche zur Evangelischen Landeskirche in Baden.

 

Kirchenrechtliche Stellung

 

Die Heiliggeistkirche war ursprünglich eine von der Peterskirche kirchenrechtlich abhängige Kapelle. Kurfürst Ruprecht III. erreichte im Zusammenhang mit der Gründung der Universität Heidelberg bei Papst Bonifatius IX., dass die Heiliggeistkirche aus der Abhängigkeit von der Peterskirche gelöst und zur Stiftskirche erhoben wurde. Verschiedene Pfründen, die ursprünglich an anderen Kirchen bestanden, wurden auf die Heiliggeistkirche übertragen und dienten der Finanzierung der jungen Universität, deren Professoren zugleich Stiftsherren an der Heiliggeistkirche waren. Die Einrichtung des Kollegiatstifts war 1413 abgeschlossen. Gleichzeitig fungierte die Heiliggeistkirche als Pfarrkirche für die Altstadt, während die Peterskirche die Funktion einer Pfarrkirche für die Neustadt (die nach der Stadterweiterung von 1392 hinzugekommenen Teile der heutigen Altstadt) übernahm. Kurfürst Ottheinrich löste nach seinem Amtsantritt das Stift auf und übertrug die Pfründen an die Universität, die Heiliggeistkirche wurde zur evangelischen Pfarrkirche.

 

Die Heiliggeistkirche blieb der Universität seit ihrer Gründung, die mit einer Messe in der (damaligen) Heiliggeistkirche gefeiert wurde, verbunden. In der Folgezeit blieb die Heiliggeistkirche Universitätskirche, ihre Tür diente als Schwarzes Brett der Universität. Im 19. Jahrhundert übernahm die Peterskirche die Funktion als Universitätskirche.

 

Baugeschichte

 

Eine dem Heiligen Geist geweihte Kirche am Heidelberger Marktplatz wurde im Jahr 1239 in einer Urkunde des Klosters Schönau zum ersten Mal erwähnt. Weitere Erwähnungen folgen erst in den Jahren 1353 und 1358.

 

Bei der im Jahr 1239 erwähnten Kirche handelte es sich um eine spätromanische Basilika, von welcher im Jahr 1936 eine Apsis ausgegraben wurde. Um 1300, vielleicht aber auch schon zwischen 1278 und 1288, wurde sie zu einer dreischiffigen spätromanischen oder bereits gotischen Kirche umgestaltet. Diese Kirche war halb so lang wie die jetzige und ist durch Ausgrabungen in den Jahren 1886 sowie 1936 bis 1942 gut dokumentiert. Als Grund für diesen Umbau wird ein Brand vermutet, dem ein Hochwasser vorausgegangen sein soll.

 

Kurfürst Ruprecht III. ließ anstelle des bisherigen Chores ab 1398 einen hohen und lichten Hallenchor erbauen. Da Heidelberg unter der Herrschaft Ruprechts I. die alten Zentren Bacharach, Alzey und Neustadt verdrängt hatte und alleinige kurpfälzische Residenzstadt geworden war, sollte es, seinem Rang entsprechend, eine große und repräsentative Kirche erhalten, die auch als künftige Grablege der Pfälzer Kurfürsten bestimmt war. Diese repräsentative Funktion erhielt besonderes Gewicht, als Ruprecht III. zum deutschen König gewählt wurde und der Chor der Heiliggeistkirche dereinst das Grab eines Königs aufnehmen sollte. Der Chor wurde vermutlich schon 1410 zur Beisetzung von Ruprecht III. vollendet.

 

Ursprünglich war der Bau eines neuen Langhauses nicht vorgesehen. Die Kombination eines hohen, stattlichen Chores mit einem älteren und kleineren Langhaus findet man heute noch bei der Sebaldus-Kirche in Nürnberg. Unter Kurfürst Ludwig III. wurde dann doch mit dem Bau eines neuen Langhauses begonnen, das 1441 fertiggestellt und genauso hoch wie der Chor war. Chor und Langhaus bilden äußerlich eine Einheit. Wahrscheinlich schon im Jahr 1441 wurde auch mit dem Bau des Westturms begonnen. Die Arbeiten mussten jedoch bis 1508 unterbrochen werden. Wahrscheinlich 1515 wurde der Turm – damals mit einem spitzen gotischen Helm – vollendet.

 

Als Baumeister nennen Urkunden einen Heidelberger Bürger namens Arnold Rype, der zeitweilig auch Bürgermeister der Stadt war. Im damaligen Sprachgebrauch meinte man mit Baumeister jedoch nicht den Architekten, sondern den – oft ehren- oder nebenamtlich tätigen – Finanzkoordinator. Von den Architekten der Heiliggeistkirche kennt man lediglich Hans Marx, welcher 1423 in einer Urkunde erwähnt wird und bis 1426 an der Kirche arbeitete, sowie Jorg, der bis 1439 zuständig war. Beide beaufsichtigten wahrscheinlich die Arbeiten am Langhaus. Unter Friedrich dem Siegreichen kam der berühmte Turmbauspezialist Niclaus Eseler aus Mainz nach Heidelberg, der vermutlich den Großteil der Arbeiten am Turm der Heiliggeistkirche durchführte, der jedoch erst in der letzten Bauphase von Lorenz Lechler vollendet wurde.

 

Am 22. Mai 1693 wurde die Kirche während des Pfälzischen Erbfolgekrieges schwer beschädigt. Französische Truppen sperrten eine große Menschenmenge in der Heiliggeistkirche ein und steckten die Kirche in Brand. Erst als bereits Glocken, Balken und Gewölbeteile herabstürzten, wurde auf Bitten des jungen reformierten Pfarrers Johann Daniel Schmidtmann eine Tür geöffnet. Bei der Flucht aus der Kirche wurden viele Menschen erdrückt, andere von französischen Soldaten, die die Kirche plünderten, misshandelt.

 

In den Jahren 1698 bis 1700 wurde das Dach in damals moderner gebrochener Form wiederhergestellt. Bei dem Dach handelt es sich um eines der frühesten noch komplett erhaltenen Mansarddächer in Deutschland. 1709 erhielt der Turm seine barocke welsche Haube. Zwischenzeitlich angebrachte Seitenkapellen wurden bei dem Wiederaufbau entfernt.

 

Von 1978 bis 1985 wurde die Kirche umfassend restauriert; dabei wurde die ursprüngliche, auf Rottönen basierende Farbgebung wiederhergestellt.

 

Architektur

 

Die Heiliggeistkirche ist aus sorgfältig behauenen Sandsteinquadern aus dem Neckartal erbaut. Der Hallenumgangschor ist mit einer dreischiffigen Emporenhalle unter einem durchlaufenden Dach verbunden. Eine derartige Emporenhalle findet man in Süddeutschland äußerst selten. Den Durchgang vom Mittelschiff zu den Seitenschiffen bilden sechs Arkaden mit schlanken, kapitelllosen Rundpfeilern. Der gesamte Kirchenraum ist von einem einfachen Kreuzrippengewölbe überdeckt.

 

Das Niveau der nördlichen Empore liegt über dem der Südempore. Ungewöhnlich ist, dass die Seitenschiffe breiter als das Mittelschiff sind. Dies beruht darauf, dass die Emporen der Seitenschiffe von Anfang an dazu bestimmt waren, die Büchersammlung des Kurfürsten Ludwig III. aufzunehmen. Eine weitere Besonderheit liegt darin, dass die Hauptblickachse nicht wie üblich auf ein Fenster im Chor, sondern auf einen Strebepfeiler gerichtet ist. Dieses kühne Motiv der Achsenverschränkung ist bei Kirchenbauten der Parler-Schule oft zu finden. Eine baugeschichtliche Besonderheit stellt die Einziehung des Chormittelschiffs zum Triumphbogen dar.

 

An den Längsseiten der Kirche befinden sich gestufte, bis auf einige Wasserspeier schmucklose Strebevorlagen, dazwischen jeweils zwei übereinander angeordnete Maßwerkfenster, die großen am Chor mit drei oder vier Pässen. Der schlanke Westturm ist in den Baukörper eingezogen und besitzt ein achteckiges Glockengeschoss mit einer markanten Barockhaube.

 

Äußeres

 

Kennzeichnend für das Äußere der Heiliggeistkirche ist eine gewisse Monumentalität unter Verzicht auf Architekturdetails. An der Nordseite des Chors ist eine Sakristei angebaut mit einer gemalten Strahlenkranzmadonna an der Nordostecke als einzigem Schmuck. Das Gemälde stammt aus dem späten Mittelalter und wurde im 19. Jahrhundert sowie im Jahre 1987 restauriert.

 

Aus der Barockzeit stammen jeweils drei nachträglich eingebaute Portale an der Nord- und der Südseite. Über den mittleren Portalen auf Nord- und Südseite ist das Wappen des Kurfürsten Johann Wilhelm und seiner Gemahlin Anna Maria Luisa de’ Medici angebracht. Unter diesem Herrscher wurde die Kirche instand gesetzt. Das barocke Hauptportal wurde 1967 an die Nordseite versetzt und durch ein neugestaltetes Portal ersetzt. An der Nordseite am Fischmarkt ist in der Außenwand ein kleiner mit Fischen geschmückter Brunnen eingelassen. Eine Markierung zeigt den Stand des Hochwassers im Jahr 1784 an.

 

Typisch für die Heiliggeistkirche sind die kleinen Ladenanbauten, die zwischen den Strebepfeilern eingefügt sind. Während früher Blumenhändler, Schuhmacher und Bäcker zu finden waren, sind heute neben kleinen Buchläden vor allem Andenkenbuden dort untergebracht. Der Schriftsteller Michael Buselmeier schrieb, dass sich „der Andenkenschund immer dreister breitmacht“. Auf der Südseite sind im Mauerwerk mehrere Brezeln dargestellt. Diese Darstellungen stammen aus dem 15. Jahrhundert und zeigen das richtige Größenmaß an, damit die Kunden überprüfen konnten, ob die von den Bäckern verkauften Brezeln die richtige Größe hatten.

 

Königsgrab

 

Entsprechend der Funktion als kurfürstliche Grablege befanden sich im Chor der Heiliggeistkirche insgesamt 54 Grabmale und Särge von zwischen 1410 und 1685 bestatteten Kurfürsten der Pfalz und von Angehörigen der kurfürstlichen Familien. Als besonders prächtig galt das Renaissance-Grabmal von Ottheinrich, das – schon zu seinen Lebzeiten aufgestellt – wegen der freizügigen Frauenfiguren Anstoß erregte, sodass Ottheinrich es mit Tüchern verhüllen ließ. Auch die Grabmale von Ludwig VI. und von Friedrich IV. waren aufwändig und repräsentativ gestaltet. Karl Ludwig und Karl II. verzichteten demgegenüber auf Grabmäler und ließen sich in schlichten Särgen bestatten.

 

Im Pfälzischen Erbfolgekrieg wurden nahezu alle Grabmäler durch Brand und Plünderungen zerstört. Nur noch die Grabplatte des Kurfürsten Ruprecht III., als Ruprecht I. deutscher König, und seiner Gemahlin Elisabeth von Hohenzollern ist erhalten. Dabei handelt es sich um die Deckplatte der zerstörten Tumba. Das Grab war ursprünglich als Hochgrab in der Mitte des Chores aufgestellt, inzwischen hat die Grabplatte einen Platz im nördlichen Seitenschiff gefunden. Sie stellt eine bedeutende Bildhauerarbeit im hochgotischen „weichen Stil“ dar. Die Gesichter sind idealisiert, der König ist mit Zepter, Krone und Reichsapfel als Zeichen seiner Würde dargestellt. Die schlanken Körper sind in schwere und reiche Gewänder gehüllt, die kunstvolle Falten werfen. Die Gesichter wurden 1693 beschädigt und danach ergänzt. Zu Füßen des Königs liegt ein Löwe als Symbol der Stärke, zu Füßen der Königin ein Hund als Zeichen der Treue. Zwischenzeitlich befand sich die Grabplatte an der Scheidemauer, seit 1936 ist sie an ihrem jetzigen Platz, allerdings verkehrt herum, aufgestellt: Statt wie ursprünglich nach Osten, der aufgehenden Sonne und dem Jüngsten Tag entgegen, blickt der König nun nach Westen.

 

Als der Kurfürst im Jahr 1720 die Residenz nach Mannheim verlegte, wurde die Kirche im heute nicht mehr vorhandenen Heidelberger Karmeliterkloster neue kurfürstliche Grablage. Nach dem Ende der Kurpfalz im Jahr 1803 ließ Kurfürst Maximilian IV. Joseph die Särge nach München überführen, wo sie sich in St. Michael befinden.

 

Im südlichen Seitenschiff befinden sich einige Grabplatten von kurfürstlichen Hofmeistern und Professoren der Universität aus dem 15. Jahrhundert mit deutlichen Spuren des Brandes aus dem Jahr 1693.[28] Sie waren bei den Restaurierungsarbeiten ab 1936 im Kirchenraum gesichert worden und wurden anschließend dort eingemauert.

 

Glasfenster

 

Die mittelalterlichen Glasfenster wurden bei dem Brand im Jahre 1693 zerstört. Die später eingebauten Fenster barsten durch die Druckwelle, die bei der Sprengung der Alten Brücke im März 1945 entstanden war. Alle jetzigen Glasfenster stammen daher aus der Zeit nach dem Zweiten Weltkrieg.

 

Das westlichste Bleiglasfenster im südlichen Seitenschiff stammt von Johannes Schreiter und wurde 1984 eingebaut. Ursprünglich hatte Johannes Schreiter eine ganze Serie von Fenstern für die Heiliggeistkirche entworfen. Nach einem heftigen Streit wegen der von einigen als zu progressiv empfundenen Fenster wurde jedoch im Jahr 1986 beschlossen, keine weiteren Fenster von Johannes Schreiter einzubauen. Von den Fenstern, die die Beziehung der modernen Welt und der Wissenschaften zum Glauben reflektieren sollten, wurde nur das Physik-Fenster verwirklicht. Darin erkennt man unter anderem die berühmte einsteinsche Gleichung e = m c2 und das Datum des Atombombenabwurfs auf Hiroshima. Die fünf Fenster im Nordseitenschiff wurden in den Jahren 1999 bis 2001 eingebaut. Sie stammen von Hella Santarossa und behandeln das Wirken des für die Kirche namensgebenden Heiligen Geistes in der Welt. Das Glasfenster über der Westempore ist von Gottfried von Stockhausen aus dem Jahr 1967 und zeigt das Lamm auf dem Buch mit dem sieben Siegeln aus der Offenbarung des Johannes. Seine volle Pracht entfaltet es nur in der Abendsonne.

 

Bibliotheca Palatina

 

Von Beginn an war auf den Emporen die später um die Büchersammlung des Kurfürsten Ludwig III. erweiterte Stiftsbibliothek aufgestellt. Auf den Emporen gab es relativ gute Lichtverhältnisse zum Lesen. Durch wesentliche Ergänzung insbesondere durch Ottheinrich, aber auch unter Johann Casimir, wurde die Bibliothek zu der weltberühmten Bibliotheca Palatina. Während des Dreißigjährigen Krieges wurde die Sammlung im Jahr 1622 von Kurfürst Maximilian I. von Bayern als Kriegsbeute geraubt und dem Papst geschenkt. Von den rund 5000 Büchern und 3524 Handschriften gelangten 1816 nur 885 zurück und befinden sich heute in der Universitätsbibliothek Heidelberg. Der Rest wird auch heute noch im Vatikan aufbewahrt. Zur 600-Jahr-Feier der Universität im Jahr 1986 kam eine repräsentative Auswahl der Bücher für eine einmalige Ausstellung vorübergehend an ihren alten Standort zurück. Das berühmteste Stück der Bibliotheca Palatina, die Manessische Liederhandschrift, hatte Kurfürst Friedrich V. mitgenommen, als er 1619 Heidelberg verließ, sodass sie dem Raub entging. Über Umwege gelangte sie nach Paris, 1888 konnte die Heidelberger Universitätsbibliothek sie zurückkaufen.

 

(Wikipedia)

 

Der Marktplatz ist ein zentraler Platz in der Altstadt von Heidelberg.

 

Topographie und Geschichte

 

Der Marktplatz ist einer der ältesten Plätze der Stadt und erfüllt seine namensgebende Funktion seit es den Platz als solchen gibt. Im Norden und Süden wird er von Häuserzeilen begrenzt, im Osten des Marktplatzes steht das Rathaus, im Westen wird der Platz von der Heiliggeistkirche dominiert.

 

In der Mitte des Platzes steht der Herkulesbrunnen, der zwischen 1706 und 1709 errichtet wurde und an die enormen Anstrengungen des Wiederaufbaus der Stadt nach den Verwüstungen des Pfälzischen Erbfolgekriegs erinnern soll.

 

Neben seiner Funktion als Ort für den Wochenmarkt diente der Platz in früheren Jahrhunderten auch als Platz für öffentliche Prozesse, wie z. B. gegen Johannes Sylvanus, die Räuberbande des Hölzerlips oder Mannefriedrich im Jahre 1812.

 

Nachdem der Marktplatz zwischenzeitlich auch als Parkplatz neben der damals noch für den Kraftfahrzeugverkehr freigegebenen Hauptstraße diente, ist er seit dem Ende der 1970er Jahre nunmehr nur noch für Fußgänger zugänglich. Im Winter dient der Marktplatz auch regelmäßig als ein Veranstaltungsort des Heidelberger Weihnachtsmarktes der am queeren "Pink Monday" nach dem 1. Advent pink-rosa beleuchtet ist (der andere Platz ist der Universitätsplatz).

 

(Wikipedia)

Replacing the KingAir as multi-engine training aircraft.

Replacing an earlier scanned photo with a better version 12-Mar-17, although the negative has deteriorated (yellowed) over time.

 

Taken from the glass fronted viewing terrace at Las Palmas with some reflections!

 

A UK airline based at Manchester, Av8 Airlines (Aviate - gettit?) was yet another airline that didn't last. Initial services were operated using this leased Icelandair B767 on long-haul flights Manchester / Dublin / Cape Town using Icelandair's AOC. Operations were started in Nov-03. The plan was to have a B767-300ER for long-haul and a B757-200 for inclusive tour flights from Manchester to southern Europe. They took delivery of the B757 (G-OAVB) in Nov-03 and it flew regular training flights but never entered revenue service. Their own AOC was granted in Mar-04 but was rescinded almost immediately as the parent travel company couldn't raise the necessary CAA Bond. They ceased trading in early Apr-04 and the B757 was returned to the lessor.

 

This aircraft was delivered to SAS Scandinavian Airlines as SE-DKX in Oct-91. It was sold to the Sunrock Aircraft Corporation in Jan-94 and leased back to SAS. At the same time it was transferred to SAS Norway and re-registered LN-RCL. The aircraft was returned to the lessor in Nov-03 as N365SR.

 

It was leased to Icelandair the following month and immediately wet leased to a new UK company, Av8 Airlines. They ceased operations in Apr-04 and the aircraft was returned to Icelandair.

 

In Dec-04 it was wet leased to NEOS (Italy) for the winter, returning to Icelandair in Apr-05. It was wet-leased to SBA Santa Barbara Airlines in Nov-06, returning to Icelandair in Sep-08.

 

After major maintenance at Tel Aviv the aircraft was leased to Travel Service Airlines (Czech Republic) in Dec-09. In May-09 it was sub-leased by Travel Service Airlines to Kabo Air (Nigeria), still operated by Icelandair. The aircraft returned to Travel Service Airlines in Dec-09 and was returned to Icelandair in Apr-10.

 

In May-10 it was wet-leased to SBA Santa Barbara Airlines again, returning to Icelandair in Feb-11. It had a major maintenance check at Guangzhou, China and was dry leased, long term, to Air Niugini as P2-PXW in Apr-11. Now 31 years old, it continues in service. Updated 29-Oct-22.

 

Note: The registration TF-FIB was previously used on an Icelandair B737-400.

Replacing an earlier digital photo with a better version 15-Jun-25

 

This aircraft was delivered to MCAP and leased to Air Europa as EC-LPR in Apr-12. It was sold to Maverick Aviation Ventures Apr-22, lease continued. Current, updated 15-Jun-25.

Replacing an earlier digital photo with a better version, plus Topaz DeNoise AI 24-Aug-23.

 

This aircraft was delivered to PIA Pakistan International Airlines as AP-BID in Mar-08. It was repainted into standard livery Apr-10.

 

It was withdrawn from service in Feb-20 and stored at Karachi, Pakistan, presumably due to the COVID-19 Pandemic. However, it hasn't returned to service. Stored, updated 28-Dec-24.

Replacing an earlier digital photo with a better version 05-Jan-22 (DeNoise AI).

 

A purpose built freighter, this aircraft was delivered to Singapore Airlines as 9V-SFI in Nov-00. It was transferred to Singapore Airlines Cargo when the company was set up in Jul-01.

 

The aircraft was leased to Great Wall Airlines as B-2433 in Aug-08. Great Wall Airlines was merged into China Cargo Airlines in Jul-11. It continued in service.

 

The aircraft was returned to Singapore Airlines Cargo as 9V-SFI in Oct-15. The Cargo Division was reintegrated into Singapore Airlines mainline in Apr-18. Current, updated 06-Jan-23.