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She has to replace the turbine vent, the second vent further west from garage is broken—this is where leak is, vents need to be closed and replace with power or solar vent
2 other turbine vents are too close to other vents—they are suppose to be 10 feet away from other vents to work properly, as they are now they are not venting at all. Recommneds to repalce these two with ridge vent. Above garage ridge vent should be added as overall the ventilation is poor in this area
Roof in fairly good condition otherwise
Now based here and replaced the ALX 200s that were in its place. Since taken, this route had been withdrawn and replaced by an extension of the 95
The building was commissioned to replace Sheffield's first town hall, which had opened in 1700 to a design by William Renny. This first structure stood by the parish church, on a site with little prospect for extension.
The Old Town Hall was built in 1807–8 by Charles Watson, and was designed to house not only the Town Trustees but also the Petty and Quarter Sessions. The initial building was a five-bay structure fronting Castle Street, but it was extended in 1833 and again in 1866 by William Flockton (1804-1864) of Sheffield and his partner for the project, Abbott; the most prominent feature was the new central clock tower over a new main entrance that reoriented the building to Waingate. At the same time, the building's courtrooms were linked by underground passages to the neighbouring Sheffield Police Offices.
The first Town Council was elected in 1843 and took over the lease of the Town Trustees' hall in 1866. The following year, the building was extensively renovated, with a clock tower designed by Flockton & Abbott being added.
By the 1890s, the building had again become too small, and the current Sheffield Town Hall was built further south. The Old Town Hall was again extended in 1896-7, by the renamed Flockton, Gibbs & Flockton, and became Sheffield Crown Court and Sheffield High Court. In the 1990s, these courts moved to new premises, and since at least 1997 to present, the building remains disused. In 2007, it was named by the Victorian Society as one of their top ten buildings most at-risk
Replacing an earlier digital photo with a better version 09-Oct-22.
First flown in Nov-01 with the Airbus test registration F-WWID, this aircraft was delivered to GECAS and leased to Iberworld (Spain) as EC-ICK at the end of Feb-02. It was returned to the lessor as EI-DIH in Dec-04 and immediately leased to Ryan International Airlines, (USA).
It was operated on behalf of Funjet Vacations for the 2004/05 winter season and returned to the lessor in Apr-05. Two days later it was leased to Iberworld again, still as EI-DIH, and was re-registered EC-JND in Nov-05. It was sub-leased to Go Air (India) as VT-WAW in Oct-06.
In Feb-07 it was returned to Iberworld, this time as EC-KBQ. It was wet-leased to Air Berlin between Mar / Oct-07 and was returned to the lessor in Jun-09.
The aircraft was leased to Rossiya - Russian Airlines as VQ-BDY in Jul-06 and returned to the lessor in Jul-16. A few days later it was leased to Viva Colombia as HK-5191. It returned to the lessor in Jan-19 and was stored at Mexico City.
In Jun-19 it was leased to SmartLynx Airlines - Estonia as ES-SAU. It was wet-leased to the easyJet Airline Company just two days later and returned to SmartLynx in Oct-19.
The aircraft was operated by SmartLynx on their own services and also did some short-term operations for JetTime (Denmark), LOT Polish Airlines, Norwegian Air Shuttle and TUI Airways UK before starting a long-term wet-lease for Norwegian Air Shuttle in Jan-20.
The lease was cut short when the COVID-19 Pandemic arrived and the aircraft was returned to SmartLynx in mid-Mar-20. It was returned to the lessor in Apr-20 and stored at Ostrava, Czechia. It never left!
The aircraft was transferred to AerCap in Nov-21 and the decision was made to scrap it. It was 'technically' broken up by Sep-22 and the empty shell, with all useful parts removed, was noted at Ostrava still standing on it's undercarriage in early Oct-22. Updated 09-Oct-22.
Replace the crappy laminate flooring with tile in the bathroom. The blue grout was a pain but turned out great.
Replaced in May 2014 with a version made using the fusion mode in Photomatix 5, from a single exposure.
To replace its fleet of L-4 Grasshoppers used during World War II, the US Army selected a modified version of the civilian Cessna 170. The Army needed an all-metal aircraft with good visibility, and the Cessna 170 fit the bill. Cessna added bulged windows to the sides and additional ones to the rear and top of the wing. Designated L-19 Birddog, the first entered service in 1950.
Eventually over 3000 L-19s--redesignated O-1 in 1962--would serve with all branches of the armed forces, namely in the forward air control and artillery spotting role. It was especially valuable in Korea and Vietnam, though it was used far more in the latter, as it was reliable, quiet, and could operate from virtually anywhere. Some were even armed as "emergency gunships," though this was discouraged. FACs and observation pilots paid the price, as well--no single type of aircraft suffered more losses than O-1s, because their role required them to fly low and slow; it was also easy to shoot one down. (Captain Hiliard Wilbanks was posthumously awarded the Medal of Honor for covering a trapped US Army Special Forces team with his lightly armed O-1 in 1967. ) So popular was the O-1 that it was never quite replaced completely by the O-2 Skymaster and OV-10 Bronco in Vietnam; the last Birddog left US service in 1974.
Though painted as a US Army L-19A, this aircraft, 51-12303, was actually delivered to the USAF in 1951. It may have seen service in Vietnam, and was retired in 1973, to be sold as surplus. It was bought by a private owner, and flew until at least 1979, when it was involved in a nonfatal landing accident. 51-12303 may not have flown again, as it was donated to the US Army Artillery Museum at Fort Sill, Oklahoma in 1984. It was moved to the Kansas National Guard Museum in Topeka probably fairly recently and was restored; whoever did the restoration work did a nice job, since it looks like you could just fire it up and taxi it out.
This pic is a bit misleading, as the one bolt looks like it is inserted into the top piece. The pic was simply flipped over and give the illusion of that. Replace both bolts with different ones. I prefer the use of large thumbscrew-type bolts for easier attaching at the roll bar, myseelf. This is found in the fence section of any box store, as Lowe's or Home Depot and costs probably less than $3 bucks. They also sell 6"X6" pieces of flat red rubber in the plumbing department there. It can easily be trimmed or cut to the size of the top of this DIY mount. Add the set screw for your camera tripod mount and this DIY project is about done.
Replacing the Tuned Mass Dampers (big shock absorbers) in the bridge. Getting the platform in place is half the task!
Replacing the Tuned Mass Dampers (big shock absorbers) in the bridge. Getting the platform in place is half the task!
Replacing an earlier scanned print with a (slightly) better version 28-Apr-19.
Not one of my best efforts, taken through glass and slightly blurred...
This aircraft was delivered to US Air as N619AU in Nov-93. US Air was renamed US Airways in Feb-97. It was sold to a lessor in Jun-03 and leased back to US Airways. The registration N912UW was assigned in May-06 but wasn't used. Instead, it was re-registered N932UW in Oct-06. The aircraft was returned to the lessor in Apr-09 and immediately sold to FedEx Federal Express. It was stored prior to freighter conversion. It was re-registered N907FD in Aug-09 and converted to freighter configuration with a main deck cargo door in Jan-10. In Jul-10 the aircraft was transferred to Federal Express Canada Ltd as C-FMFG and operated on behalf of FedEx by Morningstar Air Express in full FedEx livery. Current (Apr-19).
Cameron found someone new.... :(
I know that feel, Jade.
In the snow nobody can see you cry.
I don't even know. He was boring, but he had those adorable fun cute moments and my soul was calm and happy. Yay, now me and Jade are in the same situation! ;-; We just gotta find somebody else then.
There are 5 hidden locks that hold your upper cover. Three in the back and two under the touchpad. Use a tiny srewdriver or a nail to easily unlock them.
en.wikipedia.org/wiki/All_Saints%27_Church,_Newcastle_upo...
All Saints' Church is a late 18th-century church in Lower Pilgrim Street, Newcastle upon Tyne, England, which replaced a medieval church on the same site. All Saints' Church is the only elliptical church building in England, the third tallest religious building in Newcastle and the ninth-tallest structure in the city overall. It is a Grade I listed building.
History
The old church
A Christian church stood here in 1286, and here continued to stand, of course undergoing many changes and restorations between times, until the end of the eighteenth century, when it was pulled down, and the present church built. The original All Saints', or All Hallows', was built in the Gothic style. Its appearance is thus described by Henry Bourne:
This church is seated upon a hill, which is much about the same height with the situation of St. Mary’s, in Gateshead, and upon the same line with it. It is not so long as St. Nicholas, being only 55 yards 1 foot a quarter long, but it is broader, as being 25 yards 2 feet broad. The steeple is but a mean height being a square tower, with only one spire arising from it. The bells belonging to this church were founded in 1696. They were cast out of the metal of that famous statue of King James the Second which stood on the Sandhill. They were founded in the ground belonging to St Austin Friars, in that part of it which is in the back of the Hospital of the Holy Jesus. Their sound is not so melodious as the others in this town, but the note is exceedingly exact, and more tuneful than the others.
McKenzie, who was living when the old church was pulled down, and when much public interest was taken in it, gives in his history an interesting account, from which we gather that the steeple and west end occupied the site of the present church. The church extended further east over what is now the burial ground. The steeple was a low, square, inelegant tower, supported by buttresses at the corners of the west side, and terminated by large embrasures. From the centre rose a small square turret, surmounted by a short spire, terminated with a gilt vane. The principal entrance into the church was the west door of the steeple which corresponded in size with the west door of St Nicholas's. Above it was a large and beautiful Gothic window. There were also a north and south porch, the former leading into Silver Street, the latter into Pilgrim Street. The steeple contained a good clock, with chimes and two painted dials. The five bells were cast by Christopher Hodgson of London. There were seven chantries; one of them – St Peter's – being founded by Roger Thornton. The windows of the old church were large and ornamented with stained glass, but they were greatly damaged at the time of the civil war.
But the finest monument in the church was, fittingly, that erected to the munificent "Patron of Newcastle", Roger Thornton. Brand gives an illustration of it,[6] and Mackenzie describes it thus "It consisted of an altar, the front of which was enriched with beautiful gothic compartments and armorial bearings, over which rose an elliptic canopy, surmounted by a spiral arch rising in the centre and terminated with a tower, the crest of the Thornton family. The whole was included in a wall with a semi-octagonal tower at each end and embrasures along the top. On this part of the monument was the representation of two small figures supporting the family arms. But the principal ornament of this monument was the large brass plate which covered the top of the altar, on which were beautifully engraved the figures of Roger Thornton and Agnes his wife, with numerous effigies of the apostles and saints, many of them with the symbols of their martyrdom. The beautiful monument is now gone, but the brass is still preserved and hangs in the vestry. In 1841 the vicar of the church, the Rev. R. Green, had it cleaned, repaired, and fitted into the wood frame in which it now hangs." This memorial brass has now been installed behind the altar of St Nicholas's Cathedral in Newcastle.
A very interesting feature of the church was the seamen's porch, and gallery on the north side, built by the Master and Brethren of the nearby Trinity House, Newcastle in 1618. The front of the gallery was decorated with painted panels. The centre one bore the arms of Trinity House, and on the side panels were depicted four scriptural subjects, all most appropriately being connected with the sea.
Connected with the font of the old church is the name of a Newcastle worthy which deserves to be recorded. When the Scots entered the town in 1640 they commenced, in their fanatical zeal against Popery, to deface the religious monuments. Beginning at St John's, the first object sacrificed was, naturally, the font which stood in the porch. One Cuthbert Maxwell, a stonemason of Newcastle, seeing this, ran in haste to St Nicholas’ and All Saints’, and hid the fonts of these churches before the Scots had time to reach them. After the Restoration he set them up again, and thus to Cuthbert Maxwell we owe the preservation of the beautiful font of St Nicholas. Concerning that belonging to All Saints’ the font thus saved was octagonal in shape, and carved with armorial bearings. At the demolition of the church it was given to Alderman Hugh Hornby, that enthusiastic collector of antiquities who built the carved stones from Tyne Bridge towers into the wall of his garden in Pilgrim Street.
Of the early history of old All Saints' there are few records except accounts of repairs. We hear of the assembly of the “Four-and-Twenty”, and of the “Ancients of the Parish” – for the purpose of considering needful repairs, and of levying cesses for carrying them out. The parish register commences in 1600.
The new church
About 1785 the churchwardens procured plans and estimates for the restoration of the building from William Newton, of Newcastle; but Dr Sharp, the Archdeacon of Northumberland, objected to the proposed design of shortening the chancel, and thus altering the form of an old Gothic church. Two other architects, David Stephenson and John Dodds, were called in, and they reported that it was impossible to give an estimate for restoring the church, as so many unforeseen circumstances might crop up. They reported, "That this decayed building cannot be repaired but at as much expense as building a new one. If one part is taken down the rest will follow." It appeared that "the south wall was in danger of falling by the pressure of the roof; one of the pillars of the steeple had considerably shrunk, and the steeple itself inclined to the south. The stone of the groined arches under the bells was decayed, the timber and bells in great danger of falling in, the stone in several windows decayed, the walls were rotten, and the lime had lost its cement and become almost dust".
On Easter Tuesday (18 April 1786) a general meeting of the parishioners was held, and they resolved unanimously to erect a new church. The work of destroying the old one proceeded immediately and, unfortunately, most of its old monuments, windows, and other interesting relics were not preserved; they either perished or were carried away during the operations. It was found necessary to blast with gunpowder the masonry of the tower, so tenacious was the mortar binding it, and while doing so a sad accident occurred, by which a well-known inhabitant of the town lost his life. This was Captain William Hedley, who was killed by one of the stones of the great west door falling upon him while he was standing watching the work of destruction. He was greatly respected in Newcastle, and well known abroad as the hero of a deed of humanity and daring, in saving a child from drowning in Bordeaux harbour. His conduct on that occasion was praised highly in the French newspapers.
The whole of the old church having at length been taken down, the construction of the new one was commenced with. The design of David Stephenson had been selected, and the foundation stone was laid on 14 August 1786 by the Rev. James Stephen Lushington, Vicar of Newcastle. In proceeding with the building the original design was departed from in two important points. The portico, which was to have had a colonnade of Ionic columns along the south front, was altered to the present Doric design, and the money thus saved was devoted to the improvement of the tower. According to the original design, the latter was to have consisted of "a plain octagonal tower, of uniform width, rising from the arch on which the present spire stands to the height of thirty-seven and a-half feet, and terminating with a semicircular dome twelve feet in diameter, making a total height of one hundred and forty-three feet from the ground. The tame and spiritless appearance of the model, however, happily caused its rejection. A model of the present handsome and superior design was exhibited to the trustees in August 1790, and finally adopted on the 12th of September following."
The new church was finished in 1796, and its cost was £27,000, the whole being obtained by assessment of the parish, except £2061.19s raised by the sale of pews, £30 by donations, and £100 given by Mrs Atlee for the additional expense of making the internal fittings of mahogany instead of oak. The church is built in the form of an ellipse, the longer diameter of which runs nearly north and south. It is in form like the Pantheon at Rome. The roof, without any supporting pillars, is a splendid piece of carpentry. It was first put together in the yard at the Austin Friars, where the bells of the old church were cast. The square tower on which the steeple stands is at the south end, and the interior forms the vestibule. On either side of it there is a wing – that on the left being used as a morning chapel and for baptisms, and that on the right as the vestry where hung the monumental brass of Roger Thornton, now moved to Newcastle Cathedral.
On Tuesday, 17 November 1789, the new church was consecrated by the Right Rev. Thomas Thurlow, Lord Bishop of Durham, and the opening sermon was preached by the Rev. Hugh Moises, morning lecturer of All Saints’ and head-master of the Grammar School. His text was from Leviticus xix: 30: Ye shall keep My Sabbaths and reverence My sanctuary. I am the Lord.
In 1881 the churchwardens called the public attention to the state of the church, and appealed for help to remedy it. Subscriptions were gathered in and the work of restoration was vigorously proceeded with.
About the end of 1881 Richard S. Donkin of Campville, North Shields, a wealthy shipowner, whose place of business was close by the old church, made a handsome offer to improve the graveyard at his own expense. This offer was thankfully accepted by the parishioners, and early in 1882 the work was proceeded with. Many other generous gifts were at the same time made to the church, but we will only mention one more, that of the presentation of the new clock by Mr John Hall, another Newcastle merchant. It was formally set going and illuminated on the evening of 3 February 1882. On the occasion an address was presented to Mr Hall by Mr Joseph Cowen, M.P. for the town, on behalf of the people of the parish. In presenting this address Mr Cowen, standing on the steps of the church, made a speech to the assembled people who crowded below to the number of about ten thousand.
Recent history
The church was deconsecrated in 1961, and converted to offices/auditorium in 1983-84 as the Town Teacher initiative. It was then used by the Royal Northern Sinfonia before their move across the river to The Sage, Gateshead in 2004. The church was for a while used by the Church of Saint Willibrord with All Saints, a member of The Old Catholic Church Anglican Diocese. It has also hosted musical events. Following flooding damage caused by blocked roof drains over the 2009/2010 and 2010/2011 winters, the building was left in a state of semi-disrepair. In 2015 it was placed on Historic England's Heritage at Risk register. In 2019, the local congregation of the Evangelical Presbyterian Church in England and Wales signed a 150-year lease for All Saints. After a comprehensive restoration project, worship services as All Saints' Presbyterian Church began in October, 2019. The minister is the Revd Benjamin Wontrop. In addition to two Sunday services, the church runs a mid-week Bible study. It is also open for self-guided tours weekly on Thursdays from 1-4pm and at various points in the year.
Newcastle upon Tyne, or simply Newcastle is a cathedral city and metropolitan borough in Tyne and Wear, England. It is located on the River Tyne's northern bank, opposite Gateshead to the south. It is the most populous settlement in the Tyneside conurbation and North East England.
Newcastle developed around a Roman settlement called Pons Aelius, the settlement became known as Monkchester before taking on the name of a castle built in 1080 by William the Conqueror's eldest son, Robert Curthose. It was one of the world's largest ship building and repair centres during the industrial revolution. Newcastle was part of the county of Northumberland until 1400, when it separated and formed a county of itself. In 1974, Newcastle became part of Tyne and Wear. Since 2018, the city council has been part of the North of Tyne Combined Authority.
The history of Newcastle upon Tyne dates back almost 2,000 years, during which it has been controlled by the Romans, the Angles and the Norsemen amongst others. Newcastle upon Tyne was originally known by its Roman name Pons Aelius. The name "Newcastle" has been used since the Norman conquest of England. Due to its prime location on the River Tyne, the town developed greatly during the Middle Ages and it was to play a major role in the Industrial Revolution, being granted city status in 1882. Today, the city is a major retail, commercial and cultural centre.
Roman settlement
The history of Newcastle dates from AD 122, when the Romans built the first bridge to cross the River Tyne at that point. The bridge was called Pons Aelius or 'Bridge of Aelius', Aelius being the family name of Roman Emperor Hadrian, who was responsible for the Roman wall built across northern England along the Tyne–Solway gap. Hadrian's Wall ran through present-day Newcastle, with stretches of wall and turrets visible along the West Road, and at a temple in Benwell. Traces of a milecastle were found on Westgate Road, midway between Clayton Street and Grainger Street, and it is likely that the course of the wall corresponded to present-day Westgate Road. The course of the wall can be traced eastwards to the Segedunum Roman fort at Wallsend, with the fort of Arbeia down-river at the mouth of the Tyne, on the south bank in what is now South Shields. The Tyne was then a wider, shallower river at this point and it is thought that the bridge was probably about 700 feet (210 m) long, made of wood and supported on stone piers. It is probable that it was sited near the current Swing Bridge, due to the fact that Roman artefacts were found there during the building of the latter bridge. Hadrian himself probably visited the site in 122. A shrine was set up on the completed bridge in 123 by the 6th Legion, with two altars to Neptune and Oceanus respectively. The two altars were subsequently found in the river and are on display in the Great North Museum in Newcastle.
The Romans built a stone-walled fort in 150 to protect the river crossing which was at the foot of the Tyne Gorge, and this took the name of the bridge so that the whole settlement was known as Pons Aelius. The fort was situated on a rocky outcrop overlooking the new bridge, on the site of the present Castle Keep. Pons Aelius is last mentioned in 400, in a Roman document listing all of the Roman military outposts. It is likely that nestling in the shadow of the fort would have been a small vicus, or village. Unfortunately, no buildings have been detected; only a few pieces of flagging. It is clear that there was a Roman cemetery near Clavering Place, behind the Central station, as a number of Roman coffins and sarcophagi have been unearthed there.
Despite the presence of the bridge, the settlement of Pons Aelius was not particularly important among the northern Roman settlements. The most important stations were those on the highway of Dere Street running from Eboracum (York) through Corstopitum (Corbridge) and to the lands north of the Wall. Corstopitum, being a major arsenal and supply centre, was much larger and more populous than Pons Aelius.
Anglo-Saxon development
The Angles arrived in the North-East of England in about 500 and may have landed on the Tyne. There is no evidence of an Anglo-Saxon settlement on or near the site of Pons Aelius during the Anglo-Saxon age. The bridge probably survived and there may well have been a small village at the northern end, but no evidence survives. At that time the region was dominated by two kingdoms, Bernicia, north of the Tees and ruled from Bamburgh, and Deira, south of the Tees and ruled from York. Bernicia and Deira combined to form the kingdom of Northanhymbra (Northumbria) early in the 7th century. There were three local kings who held the title of Bretwalda – 'Lord of Britain', Edwin of Deira (627–632), Oswald of Bernicia (633–641) and Oswy of Northumbria (641–658). The 7th century became known as the 'Golden Age of Northumbria', when the area was a beacon of culture and learning in Europe. The greatness of this period was based on its generally Christian culture and resulted in the Lindisfarne Gospels amongst other treasures. The Tyne valley was dotted with monasteries, with those at Monkwearmouth, Hexham and Jarrow being the most famous. Bede, who was based at Jarrow, wrote of a royal estate, known as Ad Murum, 'at the Wall', 12 miles (19 km) from the sea. It is thought that this estate may have been in what is now Newcastle. At some unknown time, the site of Newcastle came to be known as Monkchester. The reason for this title is unknown, as we are unaware of any specific monasteries at the site, and Bede made no reference to it. In 875 Halfdan Ragnarsson, the Danish Viking conqueror of York, led an army that attacked and pillaged various monasteries in the area, and it is thought that Monkchester was also pillaged at this time. Little more was heard of it until the coming of the Normans.
Norman period
After the arrival of William the Conqueror in England in 1066, the whole of England was quickly subjected to Norman rule. However, in Northumbria there was great resistance to the Normans, and in 1069 the newly appointed Norman Earl of Northumbria, Robert de Comines and 700 of his men were killed by the local population at Durham. The Northumbrians then marched on York, but William was able to suppress the uprising. That same year, a second uprising occurred when a Danish fleet landed in the Humber. The Northumbrians again attacked York and destroyed the garrison there. William was again able to suppress the uprising, but this time he took revenge. He laid waste to the whole of the Midlands and the land from York to the Tees. In 1080, William Walcher, the Norman bishop of Durham and his followers were brutally murdered at Gateshead. This time Odo, bishop of Bayeux, William's half brother, devastated the land between the Tees and the Tweed. This was known as the 'Harrying of the North'. This devastation is reflected in the Domesday Book. The destruction had such an effect that the North remained poor and backward at least until Tudor times and perhaps until the Industrial Revolution. Newcastle suffered in this respect with the rest of the North.
In 1080 William sent his eldest son, Robert Curthose, north to defend the kingdom against the Scots. After his campaign, he moved to Monkchester and began the building of a 'New Castle'. This was of the "motte-and-bailey" type of construction, a wooden tower on top of an earthen mound (motte), surrounded by a moat and wooden stockade (bailey). It was this castle that gave Newcastle its name. In 1095 the Earl of Northumbria, Robert de Mowbray, rose up against the king, William Rufus, and Rufus sent an army north to recapture the castle. From then on the castle became crown property and was an important base from which the king could control the northern barons. The Northumbrian earldom was abolished and a Sheriff of Northumberland was appointed to administer the region. In 1091 the parish church of St Nicholas was consecrated on the site of the present Anglican cathedral, close by the bailey of the new castle. The church is believed to have been a wooden building on stone footings.
Not a trace of the tower or mound of the motte and bailey castle remains now. Henry II replaced it with a rectangular stone keep, which was built between 1172 and 1177 at a cost of £1,444. A stone bailey, in the form of a triangle, replaced the previous wooden one. The great outer gateway to the castle, called 'the Black Gate', was built later, between 1247 and 1250, in the reign of Henry III. There were at that time no town walls and when attacked by the Scots, the townspeople had to crowd into the bailey for safety. It is probable that the new castle acted as a magnet for local merchants because of the safety it provided. This in turn would help to expand trade in the town. At this time wool, skins and lead were being exported, whilst alum, pepper and ginger were being imported from France and Flanders.
Middle Ages
Throughout the Middle Ages, Newcastle was England's northern fortress, the centre for assembled armies. The Border war against Scotland lasted intermittently for several centuries – possibly the longest border war ever waged. During the civil war between Stephen and Matilda, David 1st of Scotland and his son were granted Cumbria and Northumberland respectively, so that for a period from 1139 to 1157, Newcastle was effectively in Scottish hands. It is believed that during this period, King David may have built the church of St Andrew and the Benedictine nunnery in Newcastle. However, King Stephen's successor, Henry II was strong enough to take back the Earldom of Northumbria from Malcolm IV.
The Scots king William the Lion was imprisoned in Newcastle, in 1174, after being captured at the Battle of Alnwick. Edward I brought the Stone of Scone and William Wallace south through the town and Newcastle was successfully defended against the Scots three times during the 14th century.
Around 1200, stone-faced, clay-filled jetties were starting to project into the river, an indication that trade was increasing in Newcastle. As the Roman roads continued to deteriorate, sea travel was gaining in importance. By 1275 Newcastle was the sixth largest wool exporting port in England. The principal exports at this time were wool, timber, coal, millstones, dairy produce, fish, salt and hides. Much of the developing trade was with the Baltic countries and Germany. Most of the Newcastle merchants were situated near the river, below the Castle. The earliest known charter was dated 1175 in the reign of Henry II, giving the townspeople some control over their town. In 1216 King John granted Newcastle a mayor[8] and also allowed the formation of guilds (known as Mysteries). These were cartels formed within different trades, which restricted trade to guild members. There were initially twelve guilds. Coal was being exported from Newcastle by 1250, and by 1350 the burgesses received a royal licence to export coal. This licence to export coal was jealously guarded by the Newcastle burgesses, and they tried to prevent any one else on the Tyne from exporting coal except through Newcastle. The burgesses similarly tried to prevent fish from being sold anywhere else on the Tyne except Newcastle. This led to conflicts with Gateshead and South Shields.
In 1265, the town was granted permission to impose a 'Wall Tax' or Murage, to pay for the construction of a fortified wall to enclose the town and protect it from Scottish invaders. The town walls were not completed until early in the 14th century. They were two miles (3 km) long, 9 feet (2.7 m) thick and 25 feet (7.6 m) high. They had six main gates, as well as some smaller gates, and had 17 towers. The land within the walls was divided almost equally by the Lort Burn, which flowed southwards and joined the Tyne to the east of the Castle. The town began to expand north of the Castle and west of the Lort Burn with various markets being set up within the walls.
In 1400 Henry IV granted a new charter, creating a County corporate which separated the town, but not the Castle, from the county of Northumberland and recognised it as a "county of itself" with a right to have a sheriff of its own. The burgesses were now allowed to choose six aldermen who, with the mayor would be justices of the peace. The mayor and sheriff were allowed to hold borough courts in the Guildhall.
Religious houses
During the Middle Ages a number of religious houses were established within the walls: the first of these was the Benedictine nunnery of St Bartholomew founded in 1086 near the present-day Nun Street. Both David I of Scotland and Henry I of England were benefactors of the religious house. Nothing of the nunnery remains now.
The friary of Blackfriars, Newcastle (Dominican) was established in 1239. These were also known as the Preaching Friars or Shod Friars, because they wore sandals, as opposed to other orders. The friary was situated in the present-day Friars Street. In 1280 the order was granted royal permission to make a postern in the town walls to communicate with their gardens outside the walls. On 19 June 1334, Edward Balliol, claimant to be King of Scotland, did homage to King Edward III, on behalf of the kingdom of Scotland, in the church of the friary. Much of the original buildings of the friary still exist, mainly because, after the Dissolution of the Monasteries the friary of Blackfriars was rented out by the corporation to nine of the local trade guilds.
The friary of Whitefriars (Carmelite) was established in 1262. The order was originally housed on the Wall Knoll in Pandon, but in 1307 it took over the buildings of another order, which went out of existence, the Friars of the Sac. The land, which had originally been given by Robert the Bruce, was situated in the present-day Hanover Square, behind the Central station. Nothing of the friary remains now.
The friary of Austinfriars (Augustinian) was established in 1290. The friary was on the site where the Holy Jesus Hospital was built in 1682. The friary was traditionally the lodging place of English kings whenever they visited or passed through Newcastle. In 1503 Princess Margaret, eldest daughter of Henry VII of England, stayed two days at the friary on her way to join her new husband James IV of Scotland.
The friary of Greyfriars (Franciscans) was established in 1274. The friary was in the present-day area between Pilgrim Street, Grey Street, Market Street and High Chare. Nothing of the original buildings remains.
The friary of the Order of the Holy Trinity, also known as the Trinitarians, was established in 1360. The order devoted a third of its income to buying back captives of the Saracens, during the Crusades. Their house was on the Wall Knoll, in Pandon, to the east of the city, but within the walls. Wall Knoll had previously been occupied by the White Friars until they moved to new premises in 1307.
All of the above religious houses were closed in about 1540, when Henry VIII dissolved the monasteries.
An important street running through Newcastle at the time was Pilgrim Street, running northwards inside the walls and leading to the Pilgrim Gate on the north wall. The street still exists today as arguably Newcastle's main shopping street.
Tudor period
The Scottish border wars continued for much of the 16th century, so that during that time, Newcastle was often threatened with invasion by the Scots, but also remained important as a border stronghold against them.
During the Reformation begun by Henry VIII in 1536, the five Newcastle friaries and the single nunnery were dissolved and the land was sold to the Corporation and to rich merchants. At this time there were fewer than 60 inmates of the religious houses in Newcastle. The convent of Blackfriars was leased to nine craft guilds to be used as their headquarters. This probably explains why it is the only one of the religious houses whose building survives to the present day. The priories at Tynemouth and Durham were also dissolved, thus ending the long-running rivalry between Newcastle and the church for control of trade on the Tyne. A little later, the property of the nunnery of St Bartholomew and of Grey Friars were bought by Robert Anderson, who had the buildings demolished to build his grand Newe House (also known as Anderson Place).
With the gradual decline of the Scottish border wars the town walls were allowed to decline as well as the castle. By 1547, about 10,000 people were living in Newcastle. At the beginning of the 16th century exports of wool from Newcastle were more than twice the value of exports of coal, but during the century coal exports continued to increase.
Under Edward VI, John Dudley, Duke of Northumberland, sponsored an act allowing Newcastle to annexe Gateshead as its suburb. The main reason for this was to allow the Newcastle Hostmen, who controlled the export of Tyne coal, to get their hands on the Gateshead coal mines, previously controlled by the Bishop of Durham. However, when Mary I came to power, Dudley met his downfall and the decision was reversed. The Reformation allowed private access to coal mines previously owned by Tynemouth and Durham priories and as a result coal exports increase dramatically, from 15,000 tons in 1500 to 35,000 tons in 1565, and to 400,000 tons in 1625.
The plague visited Newcastle four times during the 16th century, in 1579 when 2,000 people died, in 1589 when 1700 died, in 1595 and finally in 1597.
In 1600 Elizabeth I granted Newcastle a charter for an exclusive body of electors, the right to elect the mayor and burgesses. The charter also gave the Hostmen exclusive rights to load coal at any point on the Tyne. The Hostmen developed as an exclusive group within the Merchant Adventurers who had been incorporated by a charter in 1547.
Stuart period
In 1636 there was a serious outbreak of bubonic plague in Newcastle. There had been several previous outbreaks of the disease over the years, but this was the most serious. It is thought to have arrived from the Netherlands via ships that were trading between the Tyne and that country. It first appeared in the lower part of the town near the docks but gradually spread to all parts of the town. As the disease gained hold the authorities took measures to control it by boarding up any properties that contained infected persons, meaning that whole families were locked up together with the infected family members. Other infected persons were put in huts outside the town walls and left to die. Plague pits were dug next to the town's four churches and outside the town walls to receive the bodies in mass burials. Over the course of the outbreak 5,631 deaths were recorded out of an estimated population of 12,000, a death rate of 47%.
In 1637 Charles I tried to raise money by doubling the 'voluntary' tax on coal in return for allowing the Newcastle Hostmen to regulate production and fix prices. This caused outrage amongst the London importers and the East Anglian shippers. Both groups decided to boycott Tyne coal and as a result forced Charles to reverse his decision in 1638.
In 1640 during the Second Bishops' War, the Scots successfully invaded Newcastle. The occupying army demanded £850 per day from the Corporation to billet the Scottish troops. Trade from the Tyne ground to a halt during the occupation. The Scots left in 1641 after receiving a Parliamentary pardon and a £4,000,000 loan from the town.
In 1642 the English Civil War began. King Charles realised the value of the Tyne coal trade and therefore garrisoned Newcastle. A Royalist was appointed as governor. At that time, Newcastle and King's Lynn were the only important seaports to support the crown. In 1644 Parliament blockaded the Tyne to prevent the king from receiving revenue from the Tyne coal trade. Coal exports fell from 450,000 to 3,000 tons and London suffered a hard winter without fuel. Parliament encouraged the coal trade from the Wear to try to replace that lost from Newcastle but that was not enough to make up for the lost Tyneside tonnage.
In 1644 the Scots crossed the border. Newcastle strengthened its defences in preparation. The Scottish army, with 40,000 troops, besieged Newcastle for three months until the garrison of 1,500 surrendered. During the siege, the Scots bombarded the walls with their artillery, situated in Gateshead and Castle Leazes. The Scottish commander threatened to destroy the steeple of St Nicholas's Church by gunfire if the mayor, Sir John Marley, did not surrender the town. The mayor responded by placing Scottish prisoners that they had captured in the steeple, so saving it from destruction. The town walls were finally breached by a combination of artillery and sapping. In gratitude for this defence, Charles gave Newcastle the motto 'Fortiter Defendit Triumphans' to be added to its coat of arms. The Scottish army occupied Northumberland and Durham for two years. The coal taxes had to pay for the Scottish occupation. In 1645 Charles surrendered to the Scots and was imprisoned in Newcastle for nine months. After the Civil War the coal trade on the Tyne soon picked up and exceeded its pre-war levels.
A new Guildhall was completed on the Sandhill next to the river in 1655, replacing an earlier facility damaged by fire in 1639, and became the meeting place of Newcastle Town Council. In 1681 the Hospital of the Holy Jesus was built partly on the site of the Austin Friars. The Guildhall and Holy Jesus Hospital still exist.
Charles II tried to impose a charter on Newcastle to give the king the right to appoint the mayor, sheriff, recorder and town clerk. Charles died before the charter came into effect. In 1685, James II tried to replace Corporation members with named Catholics. However, James' mandate was suspended in 1689 after the Glorious Revolution welcoming William of Orange. In 1689, after the fall of James II, the people of Newcastle tore down his bronze equestrian statue in Sandhill and tossed it into the Tyne. The bronze was later used to make bells for All Saints Church.
In 1689 the Lort Burn was covered over. At this time it was an open sewer. The channel followed by the Lort Burn became the present day Dean Street. At that time, the centre of Newcastle was still the Sandhill area, with many merchants living along the Close or on the Side. The path of the main road through Newcastle ran from the single Tyne bridge, through Sandhill to the Side, a narrow street which climbed steeply on the north-east side of the castle hill until it reached the higher ground alongside St Nicholas' Church. As Newcastle developed, the Side became lined with buildings with projecting upper stories, so that the main street through Newcastle was a narrow, congested, steep thoroughfare.
In 1701 the Keelmen's Hospital was built in the Sandgate area of the city, using funds provided by the keelmen. The building still stands today.
Eighteenth century
In the 18th century, Newcastle was the country's largest print centre after London, Oxford and Cambridge, and the Literary and Philosophical Society of 1793, with its erudite debates and large stock of books in several languages predated the London Library by half a century.
In 1715, during the Jacobite rising in favour of the Old Pretender, an army of Jacobite supporters marched on Newcastle. Many of the Northumbrian gentry joined the rebels. The citizens prepared for its arrival by arresting Jacobite supporters and accepting 700 extra recruits into the local militia. The gates of the city were closed against the rebels. This proved enough to delay an attack until reinforcements arrived forcing the rebel army to move across to the west coast. The rebels finally surrendered at Preston.
In 1745, during a second Jacobite rising in favour of the Young Pretender, a Scottish army crossed the border led by Bonnie Prince Charlie. Once again Newcastle prepared by arresting Jacobite supporters and inducting 800 volunteers into the local militia. The town walls were strengthened, most of the gates were blocked up and some 200 cannon were deployed. 20,000 regulars were billeted on the Town Moor. These preparations were enough to force the rebel army to travel south via the west coast. They were eventually defeated at Culloden in 1746.
Newcastle's actions during the 1715 rising in resisting the rebels and declaring for George I, in contrast to the rest of the region, is the most likely source of the nickname 'Geordie', applied to people from Tyneside, or more accurately Newcastle. Another theory, however, is that the name 'Geordie' came from the inventor of the Geordie lamp, George Stephenson. It was a type of safety lamp used in mining, but was not invented until 1815. Apparently the term 'German Geordie' was in common use during the 18th century.
The city's first hospital, Newcastle Infirmary opened in 1753; it was funded by public subscription. A lying-in hospital was established in Newcastle in 1760. The city's first public hospital for mentally ill patients, Wardens Close Lunatic Hospital was opened in October 1767.
In 1771 a flood swept away much of the bridge at Newcastle. The bridge had been built in 1250 and repaired after a flood in 1339. The bridge supported various houses and three towers and an old chapel. A blue stone was placed in the middle of the bridge to mark the boundary between Newcastle and the Palatinate of Durham. A temporary wooden bridge had to be built, and this remained in use until 1781, when a new stone bridge was completed. The new bridge consisted of nine arches. In 1801, because of the pressure of traffic, the bridge had to be widened.
A permanent military presence was established in the city with the completion of Fenham Barracks in 1806. The facilities at the Castle for holding assizes, which had been condemned for their inconvenience and unhealthiness, were replaced when the Moot Hall opened in August 1812.
Victorian period
Present-day Newcastle owes much of its architecture to the work of the builder Richard Grainger, aided by architects John Dobson, Thomas Oliver, John and Benjamin Green and others. In 1834 Grainger won a competition to produce a new plan for central Newcastle. He put this plan into effect using the above architects as well as architects employed in his own office. Grainger and Oliver had already built Leazes Terrace, Leazes Crescent and Leazes Place between 1829 and 1834. Grainger and Dobson had also built the Royal Arcade at the foot of Pilgrim Street between 1830 and 1832. The most ambitious project covered 12 acres 12 acres (49,000 m2) in central Newcastle, on the site of Newe House (also called Anderson Place). Grainger built three new thoroughfares, Grey Street, Grainger Street and Clayton Street with many connecting streets, as well as the Central Exchange and the Grainger Market. John Wardle and George Walker, working in Grainger's office, designed Clayton Street, Grainger Street and most of Grey Street. Dobson designed the Grainger Market and much of the east side of Grey Street. John and Benjamin Green designed the Theatre Royal at the top of Grey Street, where Grainger placed the column of Grey's Monument as a focus for the whole scheme. Grey Street is considered to be one of the finest streets in the country, with its elegant curve. Unfortunately most of old Eldon Square was demolished in the 1960s in the name of progress. The Royal Arcade met a similar fate.
In 1849 a new bridge was built across the river at Newcastle. This was the High Level Bridge, designed by Robert Stephenson, and slightly up river from the existing bridge. The bridge was designed to carry road and rail traffic across the Tyne Gorge on two decks with rail traffic on the upper deck and road traffic on the lower. The new bridge meant that traffic could pass through Newcastle without having to negotiate the steep, narrow Side, as had been necessary for centuries. The bridge was opened by Queen Victoria, who one year later opened the new Central Station, designed by John Dobson. Trains were now able to cross the river, directly into the centre of Newcastle and carry on up to Scotland. The Army Riding School was also completed in 1849.
In 1854 a large fire started on the Gateshead quayside and an explosion caused it to spread across the river to the Newcastle quayside. A huge conflagration amongst the narrow alleys, or 'chares', destroyed the homes of 800 families as well as many business premises. The narrow alleys that had been destroyed were replaced by streets containing blocks of modern offices.
In 1863 the Town Hall in St Nicholas Square replaced the Guildhall as the meeting place of Newcastle Town Council.
In 1876 the low level bridge was replaced by a new bridge known as the Swing Bridge, so called because the bridge was able to swing horizontally on a central axis and allow ships to pass on either side. This meant that for the first time sizeable ships could pass up-river beyond Newcastle. The bridge was built and paid for by William Armstrong, a local arms manufacturer, who needed to have warships access his Elswick arms factory to fit armaments to them. The Swing Bridge's rotating mechanism is adapted from the cannon mounts developed in Armstrong's arms works. In 1882 the Elswick works began to build ships as well as to arm them. The Barrack Road drill hall was completed in 1890.
Industrialisation
In the 19th century, shipbuilding and heavy engineering were central to the city's prosperity; and the city was a powerhouse of the Industrial Revolution. Newcastle's development as a major city owed most to its central role in the production and export of coal. The phrase "taking coals to Newcastle" was first recorded in 1538; it proverbially denotes bringing a particular commodity to a place that has more than enough of it already.
Innovation in Newcastle and surrounding areas included the following:
George Stephenson developed a miner's safety lamp at the same time that Humphry Davy developed a rival design. The lamp made possible the opening up of ever deeper mines to provide the coal that powered the industrial revolution.
George and his son Robert Stephenson were hugely influential figures in the development of the early railways. George developed Blücher, a locomotive working at Killingworth colliery in 1814, whilst Robert was instrumental in the design of Rocket, a revolutionary design that was the forerunner of modern locomotives. Both men were involved in planning and building railway lines, all over this country and abroad.
Joseph Swan demonstrated a working electric light bulb about a year before Thomas Edison did the same in the USA. This led to a dispute as to who had actually invented the light bulb. Eventually the two rivals agreed to form a mutual company between them, the Edison and Swan Electric Light Company, known as Ediswan.
Charles Algernon Parsons invented the steam turbine, for marine use and for power generation. He used Turbinia, a small, turbine-powered ship, to demonstrate the speed that a steam turbine could generate. Turbinia literally ran rings around the British Fleet at a review at Spithead in 1897.
William Armstrong invented a hydraulic crane that was installed in dockyards up and down the country. He then began to design light, accurate field guns for the British army. These were a vast improvement on the existing guns that were then in use.
The following major industries developed in Newcastle or its surrounding area:
Glassmaking
A small glass industry existed in Newcastle from the mid-15th century. In 1615 restrictions were put on the use of wood for manufacturing glass. It was found that glass could be manufactured using the local coal, and so a glassmaking industry grew up on Tyneside. Huguenot glassmakers came over from France as refugees from persecution and set up glasshouses in the Skinnerburn area of Newcastle. Eventually, glass production moved to the Ouseburn area of Newcastle. In 1684 the Dagnia family, Sephardic Jewish emigrants from Altare, arrived in Newcastle from Stourbridge and established glasshouses along the Close, to manufacture high quality flint glass. The glass manufacturers used sand ballast from the boats arriving in the river as the main raw material. The glassware was then exported in collier brigs. The period from 1730 to 1785 was the highpoint of Newcastle glass manufacture, when the local glassmakers produced the 'Newcastle Light Baluster'. The glassmaking industry still exists in the west end of the city with local Artist and Glassmaker Jane Charles carrying on over four hundred years of hot glass blowing in Newcastle upon Tyne.
Locomotive manufacture
In 1823 George Stephenson and his son Robert established the world's first locomotive factory near Forth Street in Newcastle. Here they built locomotives for the Stockton and Darlington Railway and the Liverpool and Manchester Railway, as well as many others. It was here that the famous locomotive Rocket was designed and manufactured in preparation for the Rainhill Trials. Apart from building locomotives for the British market, the Newcastle works also produced locomotives for Europe and America. The Forth Street works continued to build locomotives until 1960.
Shipbuilding
In 1296 a wooden, 135 ft (41 m) long galley was constructed at the mouth of the Lort Burn in Newcastle, as part of a twenty-ship order from the king. The ship cost £205, and is the earliest record of shipbuilding in Newcastle. However the rise of the Tyne as a shipbuilding area was due to the need for collier brigs for the coal export trade. These wooden sailing ships were usually built locally, establishing local expertise in building ships. As ships changed from wood to steel, and from sail to steam, the local shipbuilding industry changed to build the new ships. Although shipbuilding was carried out up and down both sides of the river, the two main areas for building ships in Newcastle were Elswick, to the west, and Walker, to the east. By 1800 Tyneside was the third largest producer of ships in Britain. Unfortunately, after the Second World War, lack of modernisation and competition from abroad gradually caused the local industry to decline and die.
Armaments
In 1847 William Armstrong established a huge factory in Elswick, west of Newcastle. This was initially used to produce hydraulic cranes but subsequently began also to produce guns for both the army and the navy. After the Swing Bridge was built in 1876 allowing ships to pass up river, warships could have their armaments fitted alongside the Elswick works. Armstrong's company took over its industrial rival, Joseph Whitworth of Manchester in 1897.
Steam turbines
Charles Algernon Parsons invented the steam turbine and, in 1889, founded his own company C. A. Parsons and Company in Heaton, Newcastle to make steam turbines. Shortly after this, he realised that steam turbines could be used to propel ships and, in 1897, he founded a second company, Parsons Marine Steam Turbine Company in Wallsend. It is there that he designed and manufactured Turbinia. Parsons turbines were initially used in warships but soon came to be used in merchant and passenger vessels, including the liner Mauretania which held the blue riband for the Atlantic crossing until 1929. Parsons' company in Heaton began to make turbo-generators for power stations and supplied power stations all over the world. The Heaton works, reduced in size, remains as part of the Siemens AG industrial giant.
Pottery
In 1762 the Maling pottery was founded in Sunderland by French Huguenots, but transferred to Newcastle in 1817. A factory was built in the Ouseburn area of the city. The factory was rebuilt twice, finally occupying a 14-acre (57,000 m2) site that was claimed to be the biggest pottery in the world and which had its own railway station. The pottery pioneered use of machines in making potteries as opposed to hand production. In the 1890s the company went up-market and employed in-house designers. The period up to the Second World War was the most profitable with a constant stream of new designs being introduced. However, after the war, production gradually declined and the company closed in 1963.
Expansion of the city
Newcastle was one of the boroughs reformed by the Municipal Corporations Act 1835: the reformed municipal borough included the parishes of Byker, Elswick, Heaton, Jesmond, Newcastle All Saints, Newcastle St Andrew, Newcastle St John, Newcastle St Nicholas, and Westgate. The urban districts of Benwell and Fenham and Walker were added in 1904. In 1935, Newcastle gained Kenton and parts of the parishes of West Brunton, East Denton, Fawdon, Longbenton. The most recent expansion in Newcastle's boundaries took place under the Local Government Act 1972 on 1 April 1974, when Newcastle became a metropolitan borough, also including the urban districts of Gosforth and Newburn, and the parishes of Brunswick, Dinnington, Hazlerigg, North Gosforth and Woolsington from the Castle Ward Rural District, and the village of Westerhope.
Meanwhile Northumberland County Council was formed under the Local Government Act 1888 and benefited from a dedicated meeting place when County Hall was completed in the Castle Garth area of Newcastle in 1910. Following the Local Government Act 1972 County Hall relocated to Morpeth in April 1981.
Twentieth century
In 1925 work began on a new high-level road bridge to span the Tyne Gorge between Newcastle and Gateshead. The capacity of the existing High-Level Bridge and Swing Bridge were being strained to the limit, and an additional bridge had been discussed for a long time. The contract was awarded to the Dorman Long Company and the bridge was finally opened by King George V in 1928. The road deck was 84 feet (26 m) above the river and was supported by a 531 feet (162 m) steel arch. The new Tyne Bridge quickly became a symbol for Newcastle and Tyneside, and remains so today.
During the Second World War, Newcastle was largely spared the horrors inflicted upon other British cities bombed during the Blitz. Although the armaments factories and shipyards along the River Tyne were targeted by the Luftwaffe, they largely escaped unscathed. Manors goods yard and railway terminal, to the east of the city centre, and the suburbs of Jesmond and Heaton suffered bombing during 1941. There were 141 deaths and 587 injuries, a relatively small figure compared to the casualties in other industrial centres of Britain.
In 1963 the city gained its own university, the University of Newcastle upon Tyne, by act of parliament. A School of Medicine and Surgery had been established in Newcastle in 1834. This eventually developed into a college of medicine attached to Durham University. A college of physical science was also founded and became Armstrong College in 1904. In 1934 the two colleges merged to become King's College, Durham. This remained as part of Durham University until the new university was created in 1963. In 1992 the city gained its second university when Newcastle Polytechnic was granted university status as Northumbria University.
Newcastle City Council moved to the new Newcastle Civic Centre in 1968.
As heavy industries declined in the second half of the 20th century, large sections of the city centre were demolished along with many areas of slum housing. The leading political figure in the city during the 1960s was T. Dan Smith who oversaw a massive building programme of highrise housing estates and authorised the demolition of a quarter of the Georgian Grainger Town to make way for Eldon Square Shopping Centre. Smith's control in Newcastle collapsed when it was exposed that he had used public contracts to advantage himself and his business associates and for a time Newcastle became a byword for civic corruption as depicted in the films Get Carter and Stormy Monday and in the television series Our Friends in the North. However, much of the historic Grainger Town area survived and was, for the most part, fully restored in the late 1990s. Northumberland Street, initially the A1, was gradually closed to traffic from the 1970s and completely pedestrianised by 1998.
In 1978 a new rapid transport system, the Metro, was built, linking the Tyneside area. The system opened in August 1980. A new bridge was built to carry the Metro across the river between Gateshead and Newcastle. This was the Queen Elizabeth II Bridge, commonly known as the Metro Bridge. Eventually the Metro system was extended to reach Newcastle Airport in 1991, and in 2002 the Metro system was extended to the nearby city of Sunderland.
As the 20th century progressed, trade on the Newcastle and Gateshead quaysides gradually declined, until by the 1980s both sides of the river were looking rather derelict. Shipping company offices had closed along with offices of firms related to shipping. There were also derelict warehouses lining the riverbank. Local government produced a master plan to re-develop the Newcastle quayside and this was begun in the 1990s. New offices, restaurants, bars and residential accommodation were built and the area has changed in the space of a few years into a vibrant area, partially returning the focus of Newcastle to the riverside, where it was in medieval times.
The Gateshead Millennium Bridge, a foot and cycle bridge, 26 feet (7.9 m) wide and 413 feet (126 m) long, was completed in 2001. The road deck is in the form of a curve and is supported by a steel arch. To allow ships to pass, the whole structure, both arch and road-deck, rotates on huge bearings at either end so that the road deck is lifted. The bridge can be said to open and shut like a human eye. It is an important addition to the re-developed quayside area, providing a vital link between the Newcastle and Gateshead quaysides.
Recent developments
Today the city is a vibrant centre for office and retail employment, but just a short distance away there are impoverished inner-city housing estates, in areas originally built to provide affordable housing for employees of the shipyards and other heavy industries that lined the River Tyne. In the 2010s Newcastle City Council began implementing plans to regenerate these depressed areas, such as those along the Ouseburn Valley.
Convert your old wood burning, inefficient fireplace to a beautiful new Direct Vent Gas Fireplace for less than you might think. You'll save enough that you may want to spring for a new mantle and fireplace surround, too!
Developed to replace the 75 and based on the parent company Fiat Group's Tipo Tre platform, the 155 was somewhat larger in dimension than the 75 and had evolved styling from that of its predecessor. The 155 was designed by Italian design house I.DE.A Institute. An exceptional drag coefficient of 0.29 was achieved with the body design. The boxy design of the 155 allowed for a big boot space of 525 L.
The most significant technical change from the 75 was the switch to a front-wheel drive layout. A four-wheel-drive model called the 155 Q4 was also available, which had a 2.0-litre turbocharged engine and a permanent four-wheel drive powertrain, both derived from the Lancia Delta Integrale; it was essentially considered to be a Lancia Delta Integrale with a different body.
The new model came in "Sport" and "Super" trims. The Sport had a slightly lowered ride height and more aggressive dampers while the Super had the option of wood trim and electronically controlled dampers and seat controls.
The reception of the 155 was generally lukewarm. The 75 had been conceived prior to Fiat's acquisition of Alfa Romeo, so as the last automobile independently developed by Alfa Romeo made it cast a shadow over the 155; the loss of rear-wheel drive was frequently cited as the main cause of disappointment. Nevertheless, the 155 was entered in Touring Car racing and was very successful in every major championship it entered, which gradually improved its image.
Doncaster Railway Station Virgin East Coast VTEC 40 year old trains from 1977 diesel locomotive Class 43/3 HST MTU engines # 43208 Lincolnshire Echo - Great British Engineering to be replaced in 2018 by JAPANESE Trains Leeds/Kings Cross
In a way, art has always been part of my life but under various different forms. When I was as little as three years old my mother threw me into the world of art. Instead of staying home, I spent most of my days in a dance studio surrounded by all sorts of dancers, taking class after class until I was 7. After that I continued dancing when I moved to London in 2001. I passed all 8 grades and took ballet, character and contemporary classes. Thanks to this intense ballet training, I acquired a sense of determination and discipline that abled me to work hard, concentrate and most of all taught me the importance of patience. Artistically, the different types of dance I studied taught me that a human body can move and articulate in so many different ways and can express variable emotions and even convey a story. I am fascinated by the beauty of the human body and how far it can be pushed to try and resemble perfection, which has always been an important issue even today in my ballet classes.I furthered this interest in art and humanity when I took theatre classes with the Cours Florent in Paris for 3 years. It amazed me, again, to study the human body but this time looking at how feelings created from the inside of the body reflected from the outside. Theatre is one of my great passions as it is a place where I can be free and invent a whole new person to do things I wouldn’t dream of doing if I were me.
Even though I was unable to study art at school because the hours coincided with those of my international studies, I did follow art classes with two artists when I lived in London. With Tess Barnes, I worked a lot with charcoal and chalk/pastels and concentrated on figurative studies. With Karen Keogh, I was able to experiment more abstract pieces and was introduced to printmaking as it is what she concentrates on. After leaving London, I carried on drawing in my free time and with my uncle who attend the Beaux Arts in Paris. As I grew up, I also started experimenting with photography and took several classes where I learned basic skills. The reason why I enjoy photography so much is because it can capture a precise and unique moment in time but when looked back upon, it will still convey the atmosphere it was taken in. Thanks to photography, my life has really slowed down and became much more aware of things around me as I took the time to notice those little things in life.
My interest if fashion is very recent but nonetheless my favorite artistic domain. I take great pleasure in designing and making clothe designs myself, even though I have never taken a proper sewing class. It takes quite a long time to sew each piece by hand, as I have no sewing patterns of sewing machine, and then make them fit on my model but it is something I do with passion and patience. It stuns me how I can start off with a basic sketch or a vague idea in my head and at the end have a completely different design as most of my ideas come to me while I am designing and sewing. Fashion is something I am truly dedicated to, perhaps because I perceive it as an escape from my life where I can dream of having all the fancy clothes I could not afford in real life.
Art is so important to me because I can create things that don’t exist and go as far as I can into my imagination without being limited. It is also a way of expressing my feelings when I can’t express them with words. Art has helped me through several difficult times in my life and has taught me so much: perseverance, attention to detail, concentration, rigor and patience.
For me, London is an ideal place to study art because it’s such a diverse environment, a sort of melting pot of cultures. What I love the most about London is the fact that every neighborhood has something new to offer. I like the who different range of museums, from the Tate Britain to the Tate Modern, the rich and colorful markets like Camden or Portobello, Covent Garden and Brick Lane, the architecture, the numerous parks and rose gardens… To me, London is like a little universe where everything meets. London is also the place I feel I most belong to, having spent most of my childhood there.
Replacing 56090 which went to Colwick after yesterday's run . A pleasant change to see a relatively clean loco. Just 2 runs left before the end of the RHTT diagram. (Weather permitting !)
Review LG LED IPS Monitor 23MP65HQ (LG 23EA63V replaced) An Phat PC by dtien87 ductien daoductien - www.anphatpc.com.vn
The 1899-vintage bridge looks on from a distance as a northbound rolls over the replacement span in the first few hours after it was opened for traffic. Work continues on making the bascule open for boat traffic, you can see them pumping the concrete into the large counterweight in this photo. The old bridge will soon meet the cutting torch...
Oshkosh, WI August 20, 2013.
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A Philips MI36 which was replaced a long while ago now, but I only just dug out a photo recently. It was dayburning for ages although sometimes it was off, but not often. One day it was randomly replaced by a VMAX.
It was situated at the very bottom of Sandby Court in Chilwell, but no longer exists.
I assumed that all Chilwell's 55w SOX lighting had been Thorn Beta 2s and GEC Z9538s on the roads (and the odd Simplex here and there) but a look on some old bus photos I had revealed that Field Lane was actually lit by Philips lanterns like this one.
At the time I took this photo I didn't know the difference between lanterns and is the only photo I took specifically of one of the old MI36s, as every single one has gone now from Chilwell. This is odd seeing as there are still GECs and Simplexes kicking around which look much older!
Replacing 37401 and stock, which had failed earlier in the day, 142050 crosses Ravenglass viaduct working 11.38 Barrow in Furness to Carlisle. Would've been better with a 37!
Longridge won this game having dominated possession , and creating enough early chances to win 3 games, against a very well organised and hardworking Whitehaven side.
Town started strongly and should have scored at least the opening goal as the Whitehaven keeper saved well from Brad Carsley, McDonald crashed a volley against the bar, Carsley hit the post and McKenna was denied what looked a clear penalty by the referee on 20 minutes.
Chances came and went, as Longridge played their best football for several weeks without getting the breakthrough they deserved and the inconsistency of the referee, bizarrely chosen for this game despite his performance in Towns recent defeat to Garstang, hindered both sides.
Half time came at 0-0, but the Town faithful remained confident as Asheys side were dominating the game, and the vital first goal would surely come in the second half.
Carsley had a free kick well saved 10 minutes into the half, and Ged Smith had a decent penalty shout waved away a minute later.
Ashcroft then replaced Ryan McKenna on the hour as the Manager looked for the vital 3 points, going straight up front with Carsley, and Longridge looked more threatening immediately.
Dovey in the Town goal was having a quiet day, and remained untroubled, as Whitehaven sat deep and were quite content to defend their clean sheet, albeit they were doing it very well.
The goal came on 70 minutes as an inswinging Ged Smith corner looked destined to go straight in, before Carsley made sure with a deft flick of the head, to make it 1-0 to Longridge. No more than 'The Ridge' deserved and the feeling now amongst a celebrating home crowd of 108 was that Town would go on to add to their lead.
Jordan Bowen and Luke McKenna were having excellent games for Longridge, and kept the ball at will before finding Carsley wide right with just 5 minutes remaining. The powerful striker drove at the visiting defence before being brought down for Towns 3rd penalty shout of the game. He got himself to his feet to take the kick, but was thwarted as the young Whitehaven keeper made an excellent save diving to his right. Stil 1-0 to Longridge.
Both Jack Preston and youngster Elliot Breakell were brought on for cameo appearances, before the referee added six additional minutes to the dismay of the players, crowd, team Managers and Linesmen, the last of his bewildering decisions of the day.
The result was never put in doubt however, as Town kept possession and played out time to take the 3 points that keeps them at the top of the West Lancashire League Premier Division with just two games remaining.
Three upper front teeth replaced many years ago by a removable denture, the loose denture has now been replaced by two dental implants and porcelain bridgework. You would never know which teeth were involved. The implants look and feel as if they were the original teeth. A little pink porcelain has been used to level the gums to achieve an ideal profile.
Replace your boring stock radiator stays and let your engine bay stand out with these Password JDM Aluminum Radiators Stays. Radiator Stays are available in an anodized silver, gold, red, purple, blue, black, green, gunmetal, pink or orange finish and includes a color matched Password JDM Fender Washer, and stainless steel bolt. Fits all 1992-1995 Honda Civic models.
Achievement Unlocked: Bought $750 suit to replace $500 suit bought in 1997. But the sleeves were ridiculously short -- I felt like a clown hiding my shame all through some interviews, as a hid my normal-shirt sleeves which were often sticking out as far as 6-8 inches. Not good. To their credit, after sending this picture, the company in Hong Kong paid a local tailor $35 to fix the problem. They even said they would pay up to $30, but when they saw the bill, paid $35 anyway. So, at least they were gracious about it. The suit is great. The guy who measured me was too incompetent to be flying across oceans just to measure people.
(These were Hong Kong tailors with a relationship with a VP of a partner comanpany of my company at the time, and were set up to come over and make a bunch of money selling expensive suits over here -- When you paid, you actually paid in Hong Kong dollars, so it was over $5000, haha.)
Also, not wanting to waste anything, I will point out: The piece of wood in the window was my boss's old desk. The blue carpet squares on the floor were from the floor of the office across from mine, thrown away after a remodel. I dumpster dove.
bad tailoring, expensive suit, short sleeves.
upstairs, Clint and Carolyn's house, Alexandria, Virginia.
February 24, 2015.
... Read my blog at ClintJCL at wordpress.com
... Read Carolyn's blog at CarolynCASL at wordpress.com
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St. Stephen's Cathedral (actually the cathedral and metropolitan church of St. Stephen and All Saints ) on Vienna's Stephansplatz ( Inner City district ) has been a cathedral church (seat of a cathedral chapter ) since 1365, a cathedral (bishop's seat) since 1469/1479 and the metropolitan church of the Archbishop of Vienna since 1723 . It is also the parish church of the cathedral parish of St. Stephan in downtown Vienna. The Roman Catholic cathedral , which the Viennese call Steffl for short, is considered a landmark of Vienna and is sometimes referred to as the Austrian national shrine . It is named after Saint Stephen , who is considered the first Christian martyr. The second patronage year is All Saints Day.
The structure is 109 meters long and 72 meters wide. The cathedral is one of the most important Gothic buildings in Austria . Parts of the late Romanesque previous building from 1230/40 to 1263 are still preserved and form the west facade, flanked by the two heath towers , which are around 65 meters high. St. Stephen's Cathedral has a total of four towers: at 136.4 meters, the south tower is the highest, the north tower was not completed and is only 68 meters high. In the former Austria-Hungary, no church was allowed to be built higher than the south tower of St. Stephen's Cathedral. For example, the Cathedral of the Virgin Mary Conception in Linz was built two meters lower.
The south tower is an architectural masterpiece of the time; Despite its remarkable height, the foundation is less than four meters deep. When it was completed, the tower was the tallest free-standing structure in Europe for over 50 years. There are a total of 13 bells in the south tower, eleven of which form the main bell of St. Stephen's Cathedral. The Pummerin , the third largest free-swinging church bell in Europe, has been located in the north tower under a Renaissance tower dome since 1957.
The area that was later occupied by St. Stephen's Cathedral was located east of the Roman legionary camp of Vindobona in the area of the canabae legiones , the camp suburb. The camp was surrounded by buildings and streets from the first to the third century, but these were replaced by tombs and burial structures in the third and fourth centuries. Grave discoveries have been made in the area of Stock-im-Eisen-Platz since 1690.
The beginnings of the cathedral date back to 1137, from which the Mautern exchange agreement between Margrave Leopold IV of Austria and Bishop Reginmar of Passau has been handed down. Goods and parish rights were exchanged in order to enable the bishop to build a church outside the city at the time, which would be placed under the patronage of St. Stephen , the patron of the Episcopal Church of Passau . The parish rights of the existing St. Peter's Church should fall under the responsibility of the new Viennese pastor. The other churches in Vienna at the time (in addition to the Maria am Gestade church ), the Ruprechtskirche and the Peterskirche , were named after Salzburg saints; The patronage of the church was therefore a political signal. The first church was completed in 1147 and consecrated in the same year around or just before Pentecost (June 8, 1147) by Passau Bishop Reginbert von Hagenau (patronage after the mother church Passau); the first pastor is the Passau cleric Eberger from the bishop's entourage . The church was completely oversized for the city at the time - so there could have been efforts to convert it into an episcopal church at that time. The church is dated to sunrise on December 26, 1137.
Lightning struck the south tower in 1149 and caused it to burn out. [8th]
From 1230 to 1245 , another late Romanesque building was built under Duke Frederick II the Quarrelsome of Austria, some of which is still preserved on the western facade. It consists of the two Heathen Towers and the Giant's Gate . The origin of both names is not completely clear. The name: Heathen Towers possibly comes from the stones that came from ancient Roman ruins, but possibly also from the two representations of the non-Christian fertility symbols phallus and vulva (pictures below), which crown the two blind columns in the west wall below the towers. The association with minarets comes from a later period. However, the term “pagan” could simply be a synonym for “ancient.” According to legend, the name Giant Gate goes back to a huge mammoth bone suspended above the gate or a giant who helped with its construction; In fact, the name probably goes back to the Middle High German word risen (to sink, to fall) and refers to the funnel shape of the portal. Above the gate was a ducal gallery , similar to Charlemagne's imperial chair in Aachen and the western galleries of the imperial cathedrals.
After a fire in 1258, construction was completed under the new sovereign Ottokar II Přemysl and re-consecrated in 1263 under pastor Gerhard. The upper floors of the heathen towers were only built afterwards. The two towers are connected by a late Gothic candle arch , which has the task of supporting the two towers against each other. This medieval renovation measure prevents settlement and shifting in the area of the westwork. The candle arch is usually hidden by the organ, but was visible in 2018 as part of the organ renovation. In 1276 a fire broke out again, which damaged the choir, but did not affect the western facade and the western gallery or the adjoining rooms in the heath towers.
The Gothic building period began under the Habsburgs , Dukes of Austria since 1282 . Under the Dukes Albrecht I and Albrecht II of Austria, not only was the fire damage repaired, but an enlarged choir in the Gothic style was built between 1304 and 1340, which is called the Albertine Choir after them . The choir was consecrated on April 23, 1340, and the hall choir was largely completed. After 1340, as the documents on the liturgy, the rood screen and the altars show, the choir could already be used for liturgical activities.
The reign of Duke Rudolf IV , called "the founder", was significant for the church: on April 7, 1359 he laid the foundation stone for the south tower and the Gothic extension of the church - one source specifically speaks of the choir, for which there is evidence of a new consecration in 1365. With the intention of upgrading the main church of his residential city, Rudolf - who had claimed the title of "Arch Duke of the Palatinate" since 1358/59 - moved the collegiate monastery he had built in 1358 in the All Saints' Chapel in the Hofburg as a "cathedral chapter" to St. Stephen's Church in 1365 and lent it to it Provost gave him the title “Archchancellor of Austria” and appointed him chancellor (rector) of the new university in Vienna . Since then, the All Saints' Day patronage for the choir has been the cathedral's second patronage. The important collection of relics and the founding of the ducal crypt also go back to Rudolf IV. [10] When Rudolf died unexpectedly in 1365, he was buried in the choir. The construction of the two western nave chapels as well as the two princely portals that are obviously connected to them also go back to Rudolf.
Rudolf's most important construction project at St. Stephen's Cathedral was the start of construction on the southern high tower, even if little more than parts of the St. Catherine's Chapel, which was only consecrated in 1391, was completed during the seven years of his rule. [15] The question of who was responsible for the conception and planning of the Gothic building is open. It was not until 1368 that a Magister operum ad St. Stephanum (master builder of St. Stephan) named Seyfried was mentioned for the first time. A significant influence on the planning was attributed in older research to the Dukes' master builder Michael Knab , but his activity as a master builder in Vienna's cathedral can be specifically ruled out.
By 1407, the tower substructure had advanced to the height of the church roof, when decisive corrections were made because, as Thomas Ebendorfer reports, “master builders experienced in the art and famous in our day had deviated so much from the original plan in the construction of the said tower that everything, What had been built on it at great expense over several years was, conversely, demolished back to where the first builder left it.” This obviously refers to the former Prague cathedral builder Wenzel Parler , who was the cathedral builder in Vienna from 1403 to 1404. The tower was then completed with modifications in 1433 by Peter and Hans von Prachatitz , [10] with this tower being the tallest tower in Europe at 136 meters until the Strasbourg Cathedral tower was completed in 1439.
Immediately after the tower substructure, the construction of the Gothic nave, decorated with rich tracery shapes, began on its south side and was progressed to such an extent by 1430 that the last remnants of the early Gothic nave, which stood in the way of expansion, could be demolished. Under cathedral builder Mathes Helbling , the western part of the north wall was completed by 1440 (inscription on the cornice), after which work began on the construction of the cantilever pillars of the hall church . Under Hans Puchsbaum, the cathedral nave was expanded into a relay hall and the vault was also prepared, although its rich design with arched ribs was only completed under his successor Laurenz Spenning . In the Middle Ages, the only tracery gable of the exterior building was that of Emperor Friedrich III. Referring Friedrich gable was built over the southwest yoke. An inscription tablet from 1474 (now lost) marked the completion date of the church building, although without the north tower, which had just begun. Shortly before, in 1469, Vienna had been elevated to a diocese and thus St. Stephen's Cathedral had been elevated to a cathedral , so that the collegiate foundation founded by Rudolf IV also became a cathedral chapter . During this time, St. Stephen's Cathedral was also used for public speeches to the Viennese community, as was the case with Archduke Albrecht VI. shows.
In 1450 Frederick III. the foundation stone for the north tower (previously also incorrectly called the Albertine Tower ) and the foundation of the north tower was built under the cathedral builder Hans Puchsbaum, whereby, on imperial orders, the wine of this vintage, which was classified as inedible, was used as a binding agent. After a long interruption caused by the political tensions between the city and the emperor, it was not until 1467 that construction of the north tower actually began according to new plans under cathedral architect Laurenz Spenning. [20] Of the two alternative tower plans he presented, the first represented a revision of the existing high tower, the second a new plan that was around 20 meters higher, which was also intended to surpass the tower construction projects of the Strasbourg and Ulm Minsters . Under him the portal floor was completed by 1477, under his successor Simon Achleitner the double window floor, under Jörg Kling and Jörg Öchsl the subsequent open floor, until further construction was stopped in 1513 after almost half a century of construction activity. The decision to complete the tower was made in 1523, but was no longer implemented. Continuing to be built at the same pace, the north tower could have been completed around 1560, but the warlike circumstances of the time, which made the renovation of the fortifications necessary, prevented further construction. In 1578, a simple bell storey with a Renaissance hood was placed on the tower stump , which is called Saphoy'sche Haube after the builder Hans Saphoy .
From 1511 to 1515, the sculptor and master builder Anton Pilgram took over the management of the construction works , he completed the organ base and, among other things, was involved in the execution of the cathedral pulpit ; the window peep there was traditionally mistaken for his self-portrait . Under Hans Herstorffer , who worked as the cathedral builder from 1637 to 1650, the interior was given a Baroque design in 1647 ; in particular, the high altar by the sculptor Johann Jacob Pock and his brother, the painter Tobias Pock , dates from this period. During the Turkish siege in 1683, the cathedral was damaged by Turkish cannonballs. The large bell (the Pummerin ) was then cast from the besiegers' cannons. In 1713, right at the beginning of the term of office of cathedral builder Johann Carl Trumler , Emperor Charles VI. in the cathedral a vow to found a church when the plague ends. Around three years later, construction of the Karlskirche began.
Since the renovations in the 19th century, the imperial eagle of the Austrian Empire has been laid out in colorful tiles on the southern roof of St. Stephen's Cathedral. The breastplate of this eagle contains the monogram of Emperor Franz I. When the roof structure was rebuilt after the fire at the end of the Second World War, the Austrian federal eagle , which, however heraldically , faces the wrong direction, and the Viennese eagle were also added to the north side of the roof Coat of arms attached.
Destruction in the Second World War and reconstruction
St. Stephen's Cathedral survived the bombing raids during the Second World War and the fighting in the city without any major damage. However, on April 6th, a bomb penetrated the vault of the south aisle. When a white flag was hoisted from the tower on April 10, 1945, the Wehrmacht captain Gerhard Klinkicht (1915–2000) refused the order of the city commander Sepp Dietrich , to "... initially reduce the cathedral to rubble and ashes with 100 grenades “A memorial plaque on the cathedral commemorates Klinkicht’s refusal to obey orders.
On the night of April 12, 1945, the larch wood roof structure and the bell tower of St. Stephen's Cathedral burned down completely. While the story spread for decades afterwards that “ the Russians ” had set the cathedral on fire, and also that there had been German shelling , it is known from eyewitness reports that the fire came from surrounding buildings in which looters had set fire Dom attacked. The previous battles had created holes in the cathedral roof; The flying sparks could reach the roof structure through this and ignite it. The fighting during the Battle of Vienna prevented effective firefighting operations. In addition, the cathedral's two large water pipes were destroyed in an American bombing raid on March 12, 1945. On the night of April 12, 1945, the woman hanging in the north tower fell into the transept. The Wimpassinger cross located there burned.The burning belfry with the pummerin collapsed on the afternoon of April 12th. The bell shattered on the vault opening in the floor of the bell chamber, most of its fragments fell through the opening into the tower hall and smashed the Turks' Liberation Monument there . The Zwölferin or Prince's Bell and the Quarter Pummerin , the two bells in the southern Heidenturm, also crashed. The valuable Walcker organ from 1886 burned after embers from the roof fell into it through an opening in the vault. In the morning hours of April 13th, a 16 m high retaining wall in the roof structure collapsed, destroying several vaults in the central and south choir. The gallery with the choir organ, the imperial box and the valuable Gothic choir stalls were smashed by the rubble and ignited by the burning roof beams. The tomb of Frederick III. remained almost undamaged thanks to being walled in. In November 1947, the vaults of the southern choir that had been preserved until then collapsed.
The reconstruction of St. Stephen's Cathedral, which was financed, among other things, by numerous donations from the population (see St. Stephen's Groschen ), began immediately after the end of the war. The steel roof truss was completed in 1950. The ceremonial reopening took place in 1952 with the arrival of the newly cast Pummerin. A memorial plaque commemorates the donations received from all Austrian federal states:
“The one that calls you to this house of worship, THE BELL, was donated by the state of Upper Austria , that opens up the cathedral to you, THE GATE, the state of Styria , that carries your step, THE STONE FLOOR, the state of Lower Austria , in which you kneel in prayer, THE BENCH, the country of Vorarlberg , through which the light of heaven shines, THE WINDOWS, the country of Tyrol , which shine in peaceful brightness, THE CHANDELIERS, the country of Carinthia , where you receive the body of the Lord, THE COMMUNION BANK , the Burgenland , in front of which the soul is in devotion, THE TABERNACLE , the state of Salzburg , which protects the holiest place in the country, THE ROOF, donated the city of Vienna in association with many helpful hands.
century
Under cathedral priest Anton Faber, St. Stephen's Cathedral was repeatedly staged with artistic installations. In 2020, an oversized purple sweater, Erwin Wurm 's Lenten shawl , and Billi Thanner's illuminated ladder to heaven attracted media attention. In August 2021, during the COVID-19 pandemic in Austria , Cardinal Schönborn and Vienna Mayor Michael Ludwig inaugurated a vaccination line in the cathedral's Barbara Chapel, which was controversial within the church as Violation of the sacrality of the place of worship was felt.
On March 16, 2022, at 2:11 a.m., according to cathedral priest Toni Faber, a hacker attack started the computer-controlled festival bells. After about 20 minutes of ringing at night, he stopped the bells.
Exterior
West facade
The west facade contains the oldest visible elements of the cathedral and in this form dates back to the 14th and 15th centuries. [40] Older components from the 13th century (Giant Gate, Heathen Towers, West Gallery) were deliberately integrated into this Gothic western complex. In the 14th century the facade was expanded by adding the chapels behind it. Around 1420, the Gothic central window was broken into the Romanesque west wall, and around the same time the heath towers were connected by a front wall as the top façade. This is bordered by a parapet with tracery, on which gargoyles and three pinnacles with figures below that connect to the front wall are attached ( St. Lawrence , St. Stephen , Archangel Michael ). The current figures are copies from the 1870s, the originals (now in the Vienna Museum ) date from around 1430. The gate hall protrudes slightly and is separated from the central window by a narrow canopy. Otherwise, the facade is flat and only divided by vertical pilaster strips and horizontal cornices, creating five sections vertically. The porch of the giant gate has side window slits for the stairs behind it and rectangular wall niches for figures, which only vaguely follow a symmetry. The corner pilaster strips in the axes of the Heiden towers mark the edges of the previous church, below each of which there is a late Romanesque arched window with richly sculpted reveals. In these axes there are also two cornices with dentil and trefoil friezes, which correspond to the structure behind them (the three basement floors of the Heiden towers).
Heathen Towers
The two towers are early Gothic in their current form, the lower floors were built in the 12th century, the upper floors in the 13th century, probably after the fire in 1256. [41] The lower floors behind the facade are square, while the four upper floors are octagonal. They are distinguished from each other by all-round dentil friezes and dwarf arched cornices, which are cranked at the corner templates. On the pyramid helmets with crabs and gable crowns, which have a roof gallery decorated with tracery halfway up, there were originally glazed tiles, just like the roof of the cathedral. At the tops of the Heathen Towers there are depictions of St. Lawrence (with rust, southern Heathen Tower) and St. Stephen (northern Heathen Tower) as the tower crown.
South Tower
As the main tower, the south tower is 136.4 meters high and has a square floor plan , which is gradually transformed into an octagon by a sophisticated arrangement of gables. Twelve pinnacle turrets rise below the top . It is open to the public up to a height of 72 meters, where the so-called Türmerstube is located. Climbing the top of the tower is exclusively reserved for employees of the cathedral building authority. To do this, you leave the inside of the tower at a height of around 110 m. From there you can climb an iron ladder on the outside and through the finial to the top.
The southern high tower of St. Stephan can be considered one of the most monumental solutions completed in the Middle Ages. It does not connect with the church building (as in the Cologne Cathedral as a two-tower facade , at the Ulm Minster as the West Einturm or at the Milan Cathedral as the crossing tower ) in order to let its building mass culminate in a central tower, but rather is at its side as an additional element attached. The special position of the Vienna Tower is still evident today in the fact that its northern counterpart was only partially completed and therefore does not contribute to the overall appearance of the building, without giving the impression of being unfinished. The top of the tower is now formed by a double cross ( archbishop's cross ) carried by a double -headed eagle . Originally the spire had a crown that represented the sun and moon (representing spiritual and secular power). After the Turkish siege in 1529, citizens of Vienna demanded that these symbols be replaced in 1530 because they were too reminiscent of the Turkish symbols (star and crescent). However, an exchange did not take place until the Feast of the Exaltation of the Cross (September 14) in 1686.
The total duration of the almost seventy-five-year construction period of the tower, which makes changes to the plan likely in the meantime, is determined by the key dates handed down, which include the laying of the foundation stone on July 12, 1359 by Duke Rudolf IV and his wife Catherine of Luxembourg and the placement of the final finial for 1433.
In between there was a change in plan, which first led to the introduction of the double window storey and then its reduction. In the first concept, this was raised significantly above the height of the eaves, but was then reduced again to just above the top of the window, so that the wall decoration with pinnacle canopies that had already been carried out for the statues intended here was lost. The entire tower area above the eaves of the church building was built entirely according to Peter von Prachatitz 's concept and did not represent a return to a supposed initial plan. But even here, further plan corrections can still be seen between the individual floor sections , especially in the transition to the helmet area coincide with the traditional change of master from Peter to Hans von Prachatitz.
The decisive change in plan between the substructure and the open floors also affected the purpose of the tower as a symbol of community. Started by Rudolf IV and continued by his brothers, the tower was intended to serve exclusively as a commemorative monument to the founder, but when it was taken over by the city at the beginning of the 15th century, it no longer stood for particular interests , but rather for the cohesion of all groups Society under the Habsburg crown . At the same time that the southern high tower of Prague's St. Vitus Cathedral remained unfinished due to the Hussite unrest in Bohemia , a tower with ever-increasing standards was completed in Vienna. The completed tower construction made it clear through its dominant position that Vienna had now taken the place of Prague in architectural terms, but was also ready to take over its function as “the empire's main state”.
The south tower had a mechanical chiming clock since the beginning of the 15th century. The south tower has been without a tower clock since 1861 after it was removed without replacement during the tower restoration.
From 1534 onwards, a tower keeper at a height of 72 m performed the function of a fire observer. In 1551, eight deer antlers were attached to the south tower in the superstition that they would protect the cathedral from lightning. [8th]
1800 to present
From 1810 to 1815, under the court architect Johann Nepomuk Amann, significant repairs were made to the war damage that had occurred under Napoleon in 1809.
Vertical
In the years 1839–1842, the top 17 meters of the dilapidated top of the south tower, which leaned towards the north, was removed by Paul Sprenger ; the stone ornaments were attached to an iron core. However, the iron did not prove to be rust-resistant, so many stones broke due to rust cracking. From 1850 onwards, cathedral builder Leopold Ernst used stone dowels cast with cement and “replaced one error with two others”, as the cement drift also led to serious damage. Therefore, the top 40 meters were demolished again in 1861 by Leopold Ernst and rebuilt as faithfully as possible to the original from 1862 to 1864 by Friedrich von Schmidt, who was appointed cathedral builder in 1863, using medieval stone technology. Several phases of this process can be seen in watercolors by Rudolf von Alt .
Schmidt led the restoration of the cathedral for decades, with “improving” interventions in the spirit of the neo-Gothic and Viollet-le-Ducs being undertaken (for example in the gable area of the south windows of the cathedral). On August 18, 1864, the emperor 's birthday , as part of the tower renovation, a new cross and an eagle weighing three hundredweight were placed on the completed spire. In 1870, the figures of Rudolf the founder's parents and parents-in-law from around 1365 (thus older than the tower itself), which were on the corner pillars of the south tower, were replaced by copies. The originals are in the Vienna Museum.
Since April 2014, the parameters of the lightning striking there have been recorded on the two lightning rods by sensors installed 20 m above the tower room and are to be scientifically evaluated via the Austria-wide ALDIS project.
In 2014, a portrait bust of the entrepreneur Carl Manner was installed in the tracery of the west facade of the south tower as a thank you for the decades of support of the cathedral bauhütte . For over 40 years, an employee of the Bauhütte worked at the cathedral in overalls in the company colors at the expense of the Manner company . This bust looks towards the Hernalser Manner factory.
The ongoing renovation work on the south tower began in 1997 when a large pinnacle threatened to collapse. This component was approximately 90 m high and weighed approximately 14 t. In the years that followed, the south facade of the cathedral (with the gables) and the west facade of the south tower were also worked on; from 2021 the east side of the tower will be worked on. Since this side is protected from the weather, there are many details from the 14th and 15th centuries on it, and an area with the dark gray paint from the Middle Ages is still there. During the course of the renovation work, steel rods are drilled into heavily stressed areas to absorb the tensile and pressing forces. They are intended to prevent the stone from cracking under the high load; the load is thereby distributed over the entire cross-section of the pillar construction.
North Tower
The north tower was intended to complete the external appearance of the cathedral. Construction work on this tower began in 1467 and lasted until 1511. However, it was stopped due to economic difficulties and religious turmoil - Vienna had become a Protestant city around 1520, while the Lower Austrian estates took action against the Protestants and Lutheran services were banned in town houses - and was not continued because of the approaching Turkish threat, so that the north tower remained unfinished.
Under Hans Saphoy von Salmansweiler († 1578 in Vienna), who was the cathedral builder of St. Stephan from 1556 to 1578, there were considerations about expanding the stone stump, but these were abandoned. The brothers Hans and Caspar Saphoy built a tower roof in the Renaissance style . It is a small octagonal bell tower, the so-called “Saphoysche” or “ Welsche Haube ”, on the top of which the double-headed eagle of the House of Austria is enthroned, which is why the north tower is also called the “Eagle Tower”. The north tower is 68.3 meters high in total.
Legends surrounding the unfinished north tower
There are many stories and legends that try to explain the unfinishedness of the north tower of St. Stephen's Cathedral. The best-known legend says that the builder Puchsbaum was just an assistant to the builder at the time it was built and made a pact with the devil to complete the north tower within a year. In this way, Puchsbaum would fulfill the builder's condition that he be allowed to take his daughter out. However, Puchsbaum was unable to keep his pact with the devil because - due to the naming of his daughter Maria - he was unable to utter the name of the Lord or another saint for a year.
Roof
The most striking thing next to the towers is the roof. It rises 37.5 meters above the nave and 25.3 meters above the choir with a length of 110 meters. It is covered with around 250,000 roof tiles, which are arranged in a zigzag pattern in the nave area and were produced in a total of ten colors by the brick kilns in Unterthemenau ( Poštorná ). Each of these tiles weighs 2.5 kg, is nailed to the rafters with two copper nails and is also embedded in mortar.
The roof structure of the cathedral in the area of the choir/nave transition with a view towards the gallery
Above the choir on the south side is the coat of arms of the Austrian Empire with the monogram of Emperor Franz I and the year 1831 (re-covering of the roof), on the north side the coat of arms of the city of Vienna and the coat of arms of the Republic of Austria , below with the year 1950 (completion of the roofing after the destruction in WWII).
The roof truss is a steel structure weighing around 600 tons, which replaced the larch wood roof truss from the 15th century, which burned down completely in 1945. During its restoration, a concrete ceiling was also installed over the vaults in advance (in 1946 over the nave with the slightly raised central nave and in 1948 over the choir) in order to protect the interior of the cathedral until the roof was completed and to provide a work and storage area for to have the roof rebuilt. This reconstruction, which was carried out largely in the same shape as the original roof, was completed in November 1950.
The first delivery of roof tiles took place on April 6, 1949. The cathedral construction management had special transport boxes made for the deliveries, each holding around 540 pieces of tiles. These boxes were lifted by crane directly to the track system in the roof and moved there by hand as required. After a transport accident on November 7, 1949, a rumor arose that a barn roof in Poysdorf had been covered with the remains of the damaged roof tile delivery for St. Stephen's Cathedral. That wasn't right. In 2023 it was confirmed that the tiles on this roof came from the same tile factory, but did not match the dimensions and colors of the cathedral's roof tiles and that the barn roof had already been covered around 1942.
In the mid-summer months, in the late afternoon hours, a reflection of the roof can be seen from the vineyards around Grinzing , which is vaguely reminiscent of a female figure and is nicknamed Jausenfee
Giant Gate
The main portal, the so-called “Giant Gate”, is located on the west side of the cathedral between the two “Heathen Towers”. It was built between 1230 and 1250 in Romanesque style and was redesigned into a richly structured funnel portal on the occasion of a visit by Emperor Friedrich II (from the House of Staufer , † 1250). Along with the entire westwork, it is one of the oldest and most important parts of the cathedral. The origin of the name is uncertain; it either derives from the fact that a mammoth bone was placed above the gate for a long time, which was viewed as the bone of a giant, or it goes back to the Middle High German word risen (to sink, to fall), which could refer to the funnel shape of the portal. In the outer wall, several stone figures can be seen in small niches, including two lions; a griffin and a seated figure in a strange posture, probably representing a judge, but popularly referred to as the thorn extractor . The portal itself is bordered on each side by seven funnel-shaped columns decorated with winding plant patterns. On the capitals there are figures of apostles and saints, but there are also scenes that are difficult to interpret. Richly structured arches rise above the capitals and surround the tympanum field , on which Christ is depicted as Pantocrator (Christ as ruler of the world) in a mandorla, whose head is surrounded by a cross nimbus , with one of the statue's knees free. The meaning of this symbolism is unclear; it is associated with acceptance ceremonies in construction huts .
Singertor
To the right of Riesentor, on the southern side of the cathedral at the beginning of the nave, is the Singertor, which is considered the most important Gothic work of art in the cathedral. It gets its name from the fact that it served as an entrance gate for the choir's singers. At the same time it was also the usual entrance for the men. It was created around 1360 and is arranged in the form of a pointed arch , with figures of apostles in the vestments . The magnificent tympanum shows the life story of Saint Paul . Also significant is the depiction of the founders of the new Gothic building, Duke Rudolf IV of Austria on the right and his wife Catherine of Bohemia on the left in robes, each accompanied by coats of arms. The gate was restored in 2022, with bones from the old St. Stephen's Cemetery found under the floor, and the gates opened. In order not to disturb those praying at the Maria Pötsch Altar, the gate will only be available as a possible escape route. The Singertor room is used for information and sales purposes and remains accessible from the outside. In July 2023, a new glass gate opened up a view of the interior of the Singer Gate. This glass gate was severely damaged in an act of vandalism on August 27, 2023, but has been restored.
Outside, right next to the Singertor, there is a Gothic tomb that is believed to be the alleged burial place of the minstrel Neidhart .
Bishop's Gate
The Bishop's Gate is located symmetrically to the Singertor to the left of the Giant's Gate at the beginning of the northern side of the nave. Its name reminds us that it served as an entrance gate for the bishops, whose palace is directly opposite. It was also the entrance gate for women. It was constructed around the same time as the Singertor around 1360 and corresponds to it in terms of construction and structure. The tympanum contains depictions from the life story of St. Mary , although in contrast to the male saints in the Singertor, female saints are depicted here in the robes. Here too you can find the statues of the donors, Duke Rudolf IV of Austria on the right and his wife Catherine of Bohemia on the left, which are largely identical to those in the Singertor.
At a specialist conference in November 2019, it was announced that the Dombauhütte, in cooperation with the Federal Monuments Office, had removed dirt from a monumental mural in the vestibule of the Bishop's Gate. The large-format wall painting dates from the early 16th century and depicts a winged altar painted on the wall. In the middle part you can see Saint Leopold, who is flanked by Saints Katharina and Margarethe. Images of the imperial coat of arms with the double-headed eagle and the Austrian shield are interpreted as an indication of an imperial connection. The preliminary drawings of the frame were classified as of the highest quality and were seen as an indication of a work by Albrecht Dürer based on various details in the lines, hands, curls, etc. A passage in the Dürer biography by Joachim von Sandrart , according to which Emperor Maximilian is said to have ordered the artist to create a large wall drawing, is seen in a new light against the background of the discovery.
The Kolomani Stone is walled up in the Bishop's Gate, part of the stone on which Saint Koloman is said to have been killed. The Bishop's Gate is only accessible from the inside as the cathedral shop is located there.
Eagle Gate
This broad Gothic gate, which is sparsely furnished with a crowned statue of the Virgin Mary from the 17th century, is located on the north side of the nave below the north tower, east of the Bishop's Gate. It owes its name to the north tower above it, which was also called the “Eagle Tower” because a double-headed eagle was previously depicted on its dome as a symbol of the House of Austria .
A crucifixion picture by Joachim von Sandrart from 1653 has been installed above the exit to the Adlertor since June 2019 . This picture originally belonged to the Passion Altar behind the tomb of Emperor Frederick III. was placed in the Apostles' Choir (right aisle of the cathedral). It is 6.97 × 4.12 m. This altar was dismantled in 1872/73 and the picture was in the north transept in the 1930s. In 1940 it was loaned to the garrison church , and after this church was destroyed by bombs , it hung outside for a few weeks in 1945, damaged, before it was saved, temporarily stored and restored by the then curator of the Schottenstift Robert Mucnjak. From 1957 it was the altarpiece of the parish church in Neulerchenfeld . After this parish was dissolved in 2013, the works of art that did not belong to the parish were removed. Since the picture belongs to the cathedral chapter of St. Stephan, it was returned to them and consideration was given to loaning the picture to the parish church of St. Michael . That didn't happen. The location in the entrance to the Adlerturmhalle is considered to be the optimal place for the picture in the cathedral. In front of the picture, there has been a copy of the Wimpassinger Cross from the Romanesque period, which was burned in 1945, at this point since 1995 .
Asylum ring at Adlertor
The asylum ring or the Leo on the left pillar of the Eagle Gate is a very old pulley , deflection pulley or belt pulley that can still be rotated today. By touching the asylum ring, persecuted people could place themselves under the protection of the church . The term Leo refers to Duke Leopold the Glorious , who introduced this form of asylum.
Primglöckleintor
This is located - symmetrically to the Adlertor - on the opposite southern side of the nave below the high south tower, is laid out in a very similar way to the Adlertor and is just as sparingly equipped. Only four console figures showing the four evangelists and an angel in the vault of the vestibule have been preserved from the original furnishings. On the middle pillar of the entrance there is a figure of Mary with the baby Jesus, created around 1420. It owes its name to the fact that a bell was once rung here at the first hour, i.e. at Prim .
Gable on the nave
Four gables rise above the southwestern part of the nave wall . Its westernmost lies above the wall above the Singertor and is called the Friedrichsgiebel. This gable was the only one that was completed in the 15th century; the other three gables (to the east) were initially only covered with brickwork. They were only supplemented with tracery in 1853–55 under cathedral builder Leopold Ernst in accordance with the state of the art of building technology at the time . The Friedrich gable was also dismantled and rebuilt, so that differences from the other gables are difficult to recognize. However, the cement used at the time introduced sulfur compounds into the limestone, which led to cracks, plastering and blasting . The gables had to be renewed in the 1860s under Friedrich von Schmidt . Further damage later resulted from the fact that the steel roof structure, which was replaced after 1945, did not fit exactly onto the walls. Deviations that were not originally present had to be compensated for; they also led to increased weathering on the gables. The combination of different building materials, brick and stone, also caused damage to the Friedrich gable. In 2015, the Friedrich gable and the gable adjoining it were renewed; the other two eastern gables were scheduled for restoration in 2016. The work on the western half of the south facade was completed, and the black sinter layers on the eastern part of the facade were removed in 2017. This black coating was largely made of gypsum, created from a chemical reaction of sulfur compounds in the air with the building's limestone. However , this process had already slowed down in previous years due to the lower proportion of sulfur compounds in the air ( acid rain ). The work on the eastern part of the south facade and on the west side of the south tower was estimated to take another two years in 2018, which was also due to the fact that a construction elevator had to be available up to the highest scaffolding levels. The work was completed in autumn 2020, and the scaffolding was dismantled at the beginning of 2021. This means that the main view of the cathedral (south side with tower) can be seen again without scaffolding after almost 25 years.
With the completion of this renovation work, the original color of the southern facade was traced, which was in various shades of ocher. However, around 1500 their stones were additionally covered with an ocher-colored lime slurry with black and white painted joints, which simulated large stones. On the one hand, this coating was a design tool and, on the other hand, it protected the stones from weathering. Remains of this painting were found under the canopy roof of the Neidhart grave, but there is no thought of replacing it. Further remains of a (dark gray) mud from the early 15th century were found on the east side of the south tower.
Capistran pulpit
The Capistran pulpit is a small Gothic pulpit made of sandstone, which is located on the outside corner of the north choir of St. Stephen's Cathedral. It was built between 1430 and 1450, but originally stood on a small hill near today's Churhaus at the “Stephansfreithof”, the cemetery at St. Stephan, and was used for funeral orations and speeches by priests.
Her name is reminiscent of the Franciscan John Capistrano , a once famous preacher against a luxurious and depraved lifestyle; He warned of the threat to Christianity posed by the advance of the Ottomans , but was also an inquisitor , military leader and initiated pogroms against Jews . On June 6, 1451, Capistrano arrived in Vienna and gave 32 sermons from this pulpit, which were apparently very well received. In 1453, after the fall of Constantinople , he called for a crusade against the Ottomans in Vienna , then moved with the troops he had collected to the enclosed city of Belgrade and thus contributed significantly to the lifting of its siege and the short-term general repulsion of the Ottoman army in 1456
After he was canonized by Pope Alexander VIII (1689-1691) in 1690 and his veneration spread, the pulpit was renovated in 1737, attached to the outside of the cathedral and with the addition of a baroque top - the statue of the saint stands on a fallen one Turks, surmounted by angels in radiant splendor - transformed into a monument.
Other features
On the west side you can see the listed signs of the resistance movement O5 , which resisted National Socialism from 1938 to 1945 . Originally they were painted white; when they faded, they were replaced by the engraving.
On the left side of the main gate there are two metal bars embedded in the wall, these are the cloth and linen corners . These cubits were once legal measures of length and could be used by every citizen to check the dimensions of goods. In the Middle Ages, craftsmen were threatened with punishment if their products did not have the correct measurements (keyword: Bäckerschupfen ); With the help of the Ellen, the craftsmen were able to protect themselves from punishment and the consumers from possible fraud. To the left above the cubits there is a circular depression in the masonry, which, according to legend, served as a measure of the size of a loaf of bread. In reality, this is simply a sign of wear and tear on a gate fastening, as until the second half of the 19th century the main gate of the cathedral was closed with a rococo grille that could be opened to the outside and was attached to the outer wall with hooks. On the right side of the gate there is a circle of the same size, in which you can see from the metal remains in the center that a hook was attached here.
Axle bend
The south wall of the choir is around 70 cm longer than its north wall. The choir swings approximately 1° from the long axis of the nave towards the north. The nave and choir are aligned with different sunrise points. This is not seen as the result of a measurement error, but rather as an intention: the axis of the nave is aligned with the sunrise on St. Stephen's Day (December 26th), while the axis of the choir points to the next Sunday, January 2nd. From the relationship of the building axes and the angle of the deviation, the time of the dimensions and thus the turn of the year 1137/1138 (today's calendar and year count) can be deduced. The (today's) roof ridge does not reflect this small deviation, it is straight across both parts of the building.
Longhouse
The four bays in the vault of the nave are square, which is a special feature of St. Stephen's Cathedral. It is assumed that an influence of the previous Romanesque building is still at work here. However, these yokes on the outer wall were reinforced by another intermediate pillar, so they rest on five supports and have ten vault caps.
The nave is also not built completely regularly: it becomes about 1.1 m narrower towards the east, and its gable walls are not exactly in line with the walls below. These deviations were one of the technical challenges when building the new steel roof structure after the fire in 1945.
Auer and Mannersdorfer stone for St. Stephen's Cathedral
The surviving invoices from the church master's office testify to the enormous Auer and Mannersdorfer stone deliveries for St. Stephan in the years 1404, 1407, 1415–1417, 1420, 1422, 1426, 1427, 1429, 1430 and 1476. According to the calculations, the quantities of stone that were obtained from the quarries between Mannersdorf and Au am Leithagebirge are very large, for example in 1415: 732 pieces, 1416: 629 pieces, 1417: 896 pieces, 1426: 963 loads, 1427: 947 loads and 1430: 761 loads.
The stone purchase was carried out by the church master's office under the technical advice and control of the cathedral builder or his representative, the Parlier . In any case, the work in the quarries was under the supervision of the cathedral construction works . Some names of the “Auer Steinbrecher” are known: Michelen Unger von Au, Peter stainprecher von Au and “Mannersdorfer Steinbrecher”: Chrempel, Amman, Niklas, Sallmann, Uchsenpaur, Velib, Hannsen von Menhersdorf (Mannersdorf), Trunkel and von dem Perendorffer . The stones were brought in by horse-drawn cart. The shipments from the Leitha Mountains from Mannersdorf and Au each comprised only one block (“stuk”), for which the price for breaking was constant, but that for freight fluctuated, apparently depending on weight.
The complete change to Mannersdorf stone occurred with the construction of the Albertine Choir (1304–1340). Like Auerstein, Mannersdorfer Stein is a fine to medium-grain sand-lime stone. The majority of the wall blocks and all the profiles , including the figure consoles in the choir, are made of it . The conditions are particularly clear in the high tower in the large bell chamber , where the more sophisticated stones and cornerstones and all the finer profiles, window frames , tracery , etc. were reserved for the Mannersdorfer/ Auerstein from the Leitha Mountains. In the nave, cuboids in the walls, as well as the yokes adjoining the Eligius Chapel and, above all, the northern wall pillars are made of “Mannersdorfer”.
In contrast, for the Servant Mother of God, it was determined through investigations in the central laboratory of the Federal Monuments Office that sand-lime stone from Atzgersdorf was used for this statue.
In addition to the Mannersdorf sandstone, the Mannersdorf algal lime was also used on the old cathedral. There is evidence of some gargoyles , for example on the vestibule of the Singer Gate (1440–1450).
Durability of the stones
In 1930, Alois Kieslinger , a geologist at the Vienna University of Technology, commented critically on the question of the durability of natural stone: “The six 'old' churches of Vienna? And how much of it is old? We are currently repairing the twelfth spire [!] at St. Stephen’s.”
The restoration work on the cathedral is proceeding according to a long-prepared plan: a restoration cycle lasts around 35 to 40 years. Regardless of this, the building is regularly checked by the stonemasons of the cathedral building works because damage occurs again and again due to rusted iron reinforcements (rust requires more space than iron and can therefore crack the stone).
Interior
The church interior of the cathedral has three naves, with two different cross-sections : the nave is a pseudo-basilica , the central nave vault lies almost entirely above the side aisle vaults, so that windowless high nave walls rise above the arcades . The choir, on the other hand, has the cross section of a hall church; the central nave and side aisles are almost the same height. As usual, the main nave is aligned with the main altar, the left aisle has a Marian program, and the right aisle is dedicated to the Apostles .
Although the interior acquired its appearance in the Middle Ages, the original artistic and liturgical ensemble from that time is only partially present, as the building was extensively changed again during the Baroque period. The figure of grace of the so-called Servant Mother of God from the period between 1280 and 1320 is an original from that time, the design of which is based on French models. It was extensively restored in 2020 and the original version is now easier to recognize.
Almost 90 sculptures, mostly in groups of three, are attached to the pillars of the nave at a height of approx. 8 m. They were commissioned by private donors and are a characteristic feature of the cathedral. The sculptures on the west side were restored around 2020, and in 2021 the most important object in this context was the statue of St. Sebastian next to the organ base on the north wall of the nave. It comes from the school of Niklas Gerhaert , the sculptor of the gravestone of Frederick III. and is considered one of the cathedral's most valuable sculptures.
Altars
The first recorded reports about altars come from the time of the choir's consecration by Bishop Albert of Passau on April 23, 1340. The bishop not only consecrated the choir hall and anointed it at the Apostle signs, some of which are still preserved today, but also consecrated six other altars. Three were in the choir and three on the rood screen , the stone partition between the nave (also known as the lay church) and the choir (also known as the clergy church). The main altar was often called the “Vronaltar” in medieval sources because of its proximity to the sacrament house and was on the back wall of the central choir with St. Stephen as its patron. No further information about the main altar has been preserved, except that it was probably a winged altar . An invoice from 1437 shows how the sexton was paid for opening and closing the wings.
According to contemporary reports, the old winged altar became worm-eaten at some point and had to be removed. It was transferred to the monastery of St. Agnes on Himmelpfortgasse (hence also known as Himmelpfort Monastery ). This monastery was later abolished under the rule of Emperor Joseph II in the 18th century, at which point the trace of the winged altar was lost.
High altar
The cathedral's high altar is an early Baroque masterpiece made of marble and stone. Its structure is similar to a portal and is therefore a Porta-Coelis (sky gate) altar. The topic is the stoning of Saint Stephen, the cathedral's namesake. The altar is crowned by a statue of the Immaculata. It was commissioned by Prince-Bishop Philipp Friedrich Graf Breuner on March 1, 1641, because the Gothic wood-carved winged altar had already been completely eaten away by woodworms.
The altar was built by Johann Jacob Pock , who was a master stonemason, sculptor and architect, and by his brother Tobias Pock - who painted the altarpiece - and consecrated on May 19, 1647. The altarpiece, created on an area of 28 square meters on tin plates, shows the stoning of Saint Stephen outside the walls of Jerusalem. In the background you can see a crowd in which other saints are depicted, which also refers to the second patronage of the cathedral - the patronage of All Saints.
Side altars
There are numerous other altars on the pillars and side aisles. For the cathedral, Tobias Pock later created the altarpiece of the Peter and Paul Altar, which the stonemasons' guild built in 1677 and which has been preserved under the organ base as the second oldest baroque altar in the cathedral .
The most important is the Wiener Neustädter Altar from 1447 – a typical Gothic winged altar showing scenes from the life of the Blessed Virgin Mary. The Wiener Neustädter Altar only came to the cathedral in 1883; before that it was in the Neukloster Abbey in Wiener Neustadt . It is therefore not part of the original medieval furnishings of St. Stephen's Cathedral.
Under the late Gothic Öchsel canopy is the altar of the miraculous image of Maria Pócs or Pötsch . It is a copy of an Eastern Church icon made in today's Máriapócs (Hungary, then Pötsch ). The image was said to be a miracle of tears and, according to popular belief, it supported the imperial troops in the Turkish wars. It was brought to Vienna in 1697 on the orders of Emperor Leopold I and was originally placed on the high altar. It has been in its current location since 1945. In 2022, the two bishop figures above the altar were cleaned and restored, with the original coloring becoming recognizable again.
The Joseph Altar and the Women's Altar are located opposite each other at the eastern end of the nave. The Joseph Altar on the southern pillar was built in 1700. Like the women's altar on the northern side, it is surrounded by an elliptical communion bench . It was built by Matthias Stein(d)l . The saints represent the evangelists: below Matthew and Mark , above Luke and John . The altar is crowned by the depiction of the Annunciation of Mary , with the archangel Gabriel and the Holy Spirit dove . The altarpiece depicting the nurturing father Josef was donated by Ferdinand von Radek and painted on metal plates by the Viennese court painter Anton Schoonjans .
Tombs
The tomb of Frederick III is in the south choir. It was created by Niclas Gerhaert van Leyden from 1463 and is one of the most important sculptural works of art of the late Middle Ages. It was made from Adnet marble (an Austrian limestone), which is particularly difficult to work because of its mottled nature. The cover plate of the tomb comes from Master Niclas himself (he died in 1473). It alone weighs over 8 tons and shows a portrait-like depiction of the emperor in coronation regalia, surrounded by his coat of arms and attributes of power. After Master Niclas' death, work on the tomb continued according to his designs and was completed in 1513. The relief depictions on the sides of the tomb were made by Max Velmet and are reminiscent of the emperor's numerous monastery foundations. Michael Tichter created the balustrade with its 54 figures .
It was part of the cathedral builder's remit to build the tomb of Emperor Friedrich III every year. to clean in the cathedral. A letter from Matthias Winkler , master builder of St. Stephan's cathedral, dated August 26, 1734:
To a highly praiseworthy Imperial Court Chamber
Submissive – most obedient request. Your High Count Excellency and Grace.
The annual 6 fl .
Pulpit
Another masterpiece of late Gothic sculpture is the pulpit made of Breitenbrunner sand-lime brick . It was long attributed to Anton Pilgram , but today the design is more closely associated with the workshop of Niclaes Gerhaert van Leyden . The pulpit basket rises from the pulpit base like a stylized flower. On the pulpit are the portraits of the four church fathers , the handrail is populated by frogs and amphibians. In the lower part of the stairs is the window peep - the sculptural self-portrait of an unknown master. For the railing, see number symbolism .
Oratorio
Johann Jacob Pock's second major completed work in the cathedral was the Imperial Oratory , begun in 1644 and built on behalf of the City of Vienna. The first payment for the stonemasonry was made on April 16, 1644 with a total cost of 1,100 fl . The chief chamberlain recorded the completion of the work in the account book in March 1646. The city was satisfied with the work and presented Master Pock with a silver-gilt pitcher with an engraved crest because of his hard work .
From the canon sacristy you reach the emperor's prayer room via a curved staircase. The steps are made of the hardest imperial stone , from the quarry near the house (“Hausbruch”), the tenant was the imperial court sculptor Pietro Maino Maderno . The oratorio was founded by Emperor Ferdinand III. entered for the first time.
Chapels
The cathedral is equipped with several chapels that are important in terms of art history. On the west side of the cathedral there are four chapels that date back to the Gothic expansion under Duke Rudolf IV in the second half of the 14th century and were completed at the beginning of the 15th century. Two are on the northwest (left) and two on the southwest (right) corner of the cathedral, each arranged one above the other.
The Prinz Eugen Chapel and the Eligius Chapel are located on the ground floor .
On the first floor above these two chapels there are two more chapels, the St. Valentine's and St. Bartholomew's chapels.
Two important - equally symmetrically arranged - Gothic chapels are located outside the nave, each to the east of the cathedral's two main Gothic towers, the St. Catherine's and St. Barbara's chapels .
Kreuz or Prinz Eugen Chapel
The Kreuzkapelle with the Prinz Eugen crypt
The lower chapel, located in the northwest corner of the cathedral, is known by various names. As a Morandus chapel after the patronage, as a cross chapel after the late Gothic cross located there, as a Tirna chapel after the Tirna family who had the chapel built in the 14th century and immortalized their coat of arms three times on the outer front of the chapel, later as a Liechtenstein or Savoy chapel the families who exercised patronage there, or as the Prince Eugene Chapel, after the tomb of the probably most famous Austrian general, Prince Eugene of Savoy -Carignan (* 1663, † 1736). The place of his final resting place was not given to Emperor Charles VI. but to Princess Maria Theresia Anna Felizitas of Liechtenstein , the wife of his nephew Emanuel Thomas Duke of Savoy-Carignan, Count of Soissons . After her husband's early death in 1729, she had the burial place set up for him and other members of the House of Savoy , donated the stone slab embedded in the floor that closes the entrance to the crypt, and the baroque altar with the late Gothic cross above it, created in 1731. In 1754 she commissioned the marble epitaph for her husband and Prince Eugene on the southern side wall of the chapel. The executive artists were Joseph Wurschbauer as a sculptor and goldsmith and Gabriel Steinböck as a stonemason.
Eligius Chapel
The lower of the chapels on the southwest corner of the cathedral, which is to the right of the Giant Gate, has two interesting keystones from the 14th century: one shows Christ as the Man of Sorrows, the other Mary with child. There is also the only surviving Gothic winged altar, which was made for the cathedral church itself. This is the Valentine's Altar, which is dedicated to Saint Bishop Valentine and was therefore originally created for the St. Valentine's Chapel in the cathedral. There are also the “House Mother of God” (around 1330) from the abandoned Himmelpfort Monastery and various pillar figures from the 14th century. The chapel is only available to worshipers.
Valentine's Chapel
It is located to the left of the Giant Gate directly above the Prinz Eugen Chapel next to the northern Heidenturm and was completed around 1480. It houses the cathedral's important collection of relics , which dates back to Duke Rudolf IV. In the middle of the room is the sarcophagus with the bones of Saint Valentine. During restoration work in November 2012, consecration crosses were discovered in the chapel, as well as a number of scribbles ( graffiti ) that were attached at the same time (in the still wet plaster ) from the days before St. Nicholas Day 1479 (profestum nicolai). The consecration crosses indicate that this chapel was consecrated (or at least its preparation) in 1479; another consecration is documented for 1507. The graffiti show jesters' hats, coats of arms, parts of names and the phrase manus beanorum maculant loca sactorum ( Latin : "The hands of the Beani defile the holy places") and prove that a student initiation ritual , a deposition , took place in the chapel room at this time : The name of the person affected is Jeronymus Kisling, a son of a Viennese trading family, later a city council member and head of the Vienna Fugger factory.
Bartholomew's Chapel
The Bartholomew's Chapel, also called the "King's or Duke's Chapel", is a former Michael's Chapel and is located on the southern (right) side of the nave directly above the Eligius Chapel, next to the southern Heidenturm. Its most important pieces of equipment, the so-called “Habsburg windows” with medieval depictions of representatives of the Austrian ruling family, had been in the then newly built Historical Museum of the City of Vienna and the Museum of Applied Arts since 1887 . In 2011, the first of these windows was returned to the cathedral by the city administration, In 2022, the installation of the original windows in the Bartholomew Chapel continued. Special glasses were made to protect the windows and the climatic conditions are constantly monitored; The places where windows have not yet been installed or have been lost are temporarily covered with darkening foil to avoid glare from too much brightness. Worth mentioning are the two Gothic keystones, each of which shows the Archangel Michael , once with the soul scales and once as a dragon slayer .
St. Catherine's or baptismal chapel
The St. Catherine's or baptismal chapel, consecrated in 1395, is located on the southern side of the Apostle's nave directly next to the (high) south tower. It was probably named in honor of the wife of Duke Rudolf IV, Catherine of Luxembourg, is octagonal and has a hanging keystone . It also contains the baptismal font , which was completed in 1481. The baptismal font has an octagonal base, above which there is a fourteen-sided baptismal font, the crown is heptagonal. The Seven Sacraments , the Evangelists and scenes from the life of Christ are depicted in lively late Gothic depictions .
Opposite the entrance to the chapel are the remains of the Turkish monument.
Barbara Chapel
The Barbara Chapel, consecrated in 1447, is located on the northern side outside the nave of the cathedral on the east side of the north tower. It was originally under the patronage of St. Urbanus and has hanging keystones. A reliquary container with ashes from the Auschwitz concentration camp and another with earth from the Mauthausen concentration camp are inserted into the beams of the late Gothic cross there from around 1470, which comes from the parish church in Schönkirchen in Lower Austria . It contains a bust of the blessed martyr Sr. Maria Restituta Kafka , a victim of National Socialism , created by Alfred Hrdlicka .
Opposite St. Barbara's Chapel, in the tower hall, is the original of the Lord of Toothaches , a Gothic Man of Sorrows . The Gothic stone figure was originally located outside the cathedral at the front of the central choir. It has been replaced by a copy there since 1960. According to legend, students made fun of him because he looked like he had a toothache, whereupon they were struck with a toothache themselves and had to apologize.
Sacristies
The “Upper Sacristy” is located at the eastern end of the cathedral in the north, was expanded in the 17th century and furnished in the first quarter of the 18th century. The room is decorated with frescoes by the impor
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