Replacing an earlier scanned photo with a better version 08-Oct-20.

 

Fleet No: "7AA".

 

This aircraft was delivered to American Airlines as N770AN in Jan-99. It was withdrawn from service and stored at Mobile - Downtown (BFM), AL, USA in Mar-20 as a result of the COVID-19 Pandemic. It was moved to Roswell, NM, USA in Aug-20 (I'm not sure if that's a permanent retirement as Roswell is normally where American's aircraft go at the end their lives...). Stored, updated (Oct-20).

Off peaks 2 or 3 are parked at this northern terminus ôrkelljunga outstation

[explore]

 

TAKE OFF the OLD one

and let GET the NEW one

 

! ~

 

[Tam Đảo 1 ngày bình yên :X ]

 

Tặng thối um !!!

mềnh cũng thick cái ẻng nài lắm , nhìn 1 fát là ra cái des lun :-> hị

Recent purchase from Lothian to replace vehicles lost in the depot fire out on hire to First on Bath U1.

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

 

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

 

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

 

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

Replacing an earlier scanned photo with a better version 26-Mar-17, plus DeNoise AI 28-Nov-22.

 

Right side. The fuselage livery incorporates the 'JAS' titles although on this side they appear as a 'mirror image'.

 

This aircraft was delivered to JAS Japan Air System as JA8004 in Jun-97. JAS was merged into Japan Airlines Domestic in Apr-04. In Oct-06 Japan Airlines Domestic was merged into 'the other half', Japan Airlines International.

 

The 'International' was dropped in Apr-11 when the airline became Japan Airlines again. The aircraft was sold to Delta Air Lines as N940DN in May-12 and initially stored at Marana, AZ, USA.

 

It was ferried to Jacksonville-Cecil Field, FL, USA in Jan-13 for heavy maintenance, painting and cabin reconfiguration and entered service in Apr-13. The aircraft was permanently retired at San Bernardino, CA, USA in Jan-19 with 46,186 hours and 37,519 flight cycles 'on the clock'.

Prayers to the Almighty for the souls of the faithful departed.

...thanks Shadow, for your feedback :)..have replaced the photo.

-

Hail Mary full of grace

Throw some light upon this race

-Testament

“When the sun has set no candle can replace it” . Twin Peaks, San Francisco . #twinpeaks #sanfrancisco #california #westcoast #clickingmann #view #sunset #mountains #topoftheworld #landscape #photography #travel #travelphotography #photooftheday #holiday #lightroom #500px, via Instagram ift.tt/2BG4O4A

Cliff Lift from the Pier.

 

The Saltburn Cliff Lift is a funicular railway in Saltburn-by-the-Sea, Redcar and Cleveland in the ceremonial county of North Yorkshire, England. It provides access to Saltburn Pier and the seafront from the town. The cliff lift is the oldest operating water-balance cliff funicular in the United Kingdom.

 

The Lift, constructed between 1883 and 1884, replaced an 1870 vertical cliff hoist. It has a height of 120 feet (37 m) and a track length of 207 feet (63 m), resulting in a 71 per cent incline. A pair of 12-person cars, each fitted with a 240-imperial-gallon (1,100 L; 290 US gal) water tank, run on parallel tracks; by removing or adding the water to their tanks, movement is achieved, regulated by a brakeman at the top.

 

The original cars have been replaced with aluminium counterparts and the top station restored, but little of the underlying mechanism has been changed since it was installed. Owned since the Second World War by the unitary authority of Redcar and Cleveland and its predecessors, the lift remains in regular use between March and October each year. It is one of Saltburn's most popular tourist attractions. Reportedly, the service was being used by an estimated 150,000 passengers per year by the twenty-first century.

 

The lift was extensively damaged by fire in January 2024 and reopened in September of the same year.

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

 

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

 

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

 

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

 

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

 

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

Replacing an earlier scanned print with a better version 29-Jan-19.

 

Originally delivered to Aeroflot Russian Airlines as CCCP-42527 (date unknown), this aircraft was sold to Air Ukraine as UR-42527 (date unknown). It was sold to Air Lviv in Jun-65. It was permanently retired at Lviv, Ukraine around 2005/06. Last noted at Lviv in Aug-08, derelect. Thought to have been broken up in 2012.

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

 

Taken from the Templeton Bridge,

 

Fleet No: "722".

 

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

SITUATED NEAR THE NORTH-WEST TIP OF WALES, THE TINY ISLET KNOWN AS SOUTH STACK ROCK LIES SEPARATED FROM HOLYHEAD ISLAND BY 30 METRES OF TURBULENT SEA, SURGING TO AND FRO IN CONTINUOUS MOTION. THE COASTLINE FROM THE BREAKWATER AND AROUND THE SOUTH WESTERN SHORE IS MADE OF LARGE GRANITE CLIFFS RISING SHEER FROM THE SEA TO 60 METRES. THE LIGHTHOUSE TOWER IS 28METRES TALL. THE LIGHTHOUSE FLASHES A WHITE LIGHT ONCE EVERY 10 SECONDS AND CAN BE SEEN FOR 24 NAUTICAL MILES.

SOUTH STACK LIGHTHOUSE WAS FIRST ENVISAGED IN 1665 WHEN A PETITION FOR A PATENT TO ERECT THE LIGHTHOUSE WAS PRESENTED TO CHARLES II. THE PATENT WAS NOT GRANTED AND IT WAS NOT UNTIL 9TH FEBRUARY 1809 THAT THE FIRST LIGHT APPEARED TO MARK THE ROCK. THE LIGHTHOUSE, ERECTED AT A COST OF £12,000, WAS DESIGNED BY DANIEL ALEXANDER AND ORIGINALLY FITTED WITH ARGAND OIL LAMPS AND REFLECTORS. AROUND 1840 A RAILWAY WAS INSTALLED BY MEANS OF WHICH A LANTERN WITH A SUBSIDIARY LIGHT COULD BE LOWERED DOWN THE CLIFF TO SEA LEVEL, WHEN FOG OBSCURED THE MAIN LIGHT.

IN THE MID 1870'S THE LANTERN AND LIGHTING APPARATUS WAS REPLACED BY A NEW LANTERN. NO RECORDS ARE AVAILABLE OF THE LIGHT SOURCE AT THIS TIME BUT IT WAS PROBABLY A PRESSURISED MULTIWICK OIL LAMP. IN 1909 AN EARLY FORM OF INCANDESCENT LIGHT WAS INSTALLED AND IN 1927 THIS WAS REPLACED BY A MORE MODERN FORM OF INCANDESCENT MANTLE BURNER. THE STATION WAS ELECTRIFIED IN 1938.

ON 12TH SEPTEMBER, 1984, THE LIGHTHOUSE WAS AUTOMATED AND THE KEEPERS WITHDRAWN. THE LIGHT AND FOG SIGNAL ARE NOW REMOTELY CONTROLLED AND MONITORED FROM THE TRINITY HOUSE OPERATIONAL CONTROL CENTRE IN HARWICH, ESSEX.

THE CHASM BETWEEN THE MAINLAND AND THE ROCK WAS AT FIRST TRAVERSED BY A HEMPEN CABLE 21 METRES ABOVE SEA LEVEL, ALONG WHICH A SLIDING BASKET WAS DRAWN CARRYING A PASSENGER OR STORES. THIS SYSTEM WAS REPLACED IN 1828 BY AN IRON SUSPENSION BRIDGE 1.5 METRES WIDE AND AGAIN IN 1964 BY AN ALUMINIUM BRIDGE. THE PRESENT FOOTBRIDGE WAS COMPLETED IN MID-1997. GRANTS TOTALLING £182,000 WERE RECEIVED FROM THE WELSH DEVELOPMENT AGENCY TO FUND THE STRUCTURE WHICH WAS DESIGNED AND BUILT BY LAINGS/MOTT MACDONALD. THE LANDWARD APPROACH TO THE BRIDGE IS BY DESCENDING 400 STEPS CUT INTO THE CLIFF FACE.

WITH THE COMPLETION OF THE FOOTBRIDGE THE ISLAND AND THE LIGHTHOUSE WERE REOPENED TO VISITORS.

 

Cambois: heading over Freemans Crossing with an empty MGR set from Blyth West Yard 11/10/1987.

 

56131 had recently received it's name "Ellington Colliery" but the large numbers were removed & replaced by normal sized numbers still on the bodyside.

Replacing an earlier scanned photo with a better version 01-Jan-22 (DeNoise AI).

 

First flown with the Boeing test registration N1786B, this aircraft was delivered to Air Algerie as 7T-VJR in May-02. It was sold to a lessor in Sep-06 and leased back to Air Algerie. Current, updated 01-Jan-22.

Replacing an earlier scanned photo with a better version 20-Apr-16.

 

First flown with the Airbus test registration D-AVYD, this aircraft was delivered to Tunis Air in Sep-98. Now almost 18 years old (as of Apr-16), it continues in service.

Amroth is a village, parish and community 7 miles (11 km) northeast of Tenby, Pembrokeshire, Wales. Located on Carmarthen Bay, Amroth is noted for its long sandy beach which stretches the length of the village. It regularly earns a Blue Flag award. and is the south-to-north start of the Pembrokeshire Coast Path. Amroth is within the Pembrokeshire Coast National Park.

 

The name is Welsh, and probably means "on (the brook called) Rhath".

 

The beach stretches the whole length of the village and at extreme low tide, the petrified forest, destroyed when sea levels rose 7,000 years ago, can still be seen. Fossilised antlers, nuts and animal bones and Neolithic flints have been discovered.

 

The parish, which appeared as Amrath on a 1578 parish map of Pembrokeshire, was an important anthracite coal mining area until the end of the 19th century. Slight remains of mines and tramways are still visible. Ruins of Amroth Castle still remain, and one mile inland is the Anglican parish church of St Elidyr, which is a grade II* listed building.

 

Amroth Castle stands on the north side of the unclassified coast road east of the village of Amroth. It is surrounded by a high wall with an entrance archway at the south-western corner. The present building is a 19th-century country house built in the style of a mock castle which possibly replaced a small stone castle dating from the 12th century. The gatehouse is much restored. The ruinous remains of the house are a grade I listed building.

 

After passing through several hands the castle was used as a lunatic asylum in the 1850s. Converted back to a private house in the 1880s it was later owned and occupied by Owen Colby Philipps, the shipping magnate who bought the White Star Line and was created Baron Kylsant of Carmarthen and Amroth in 1923. It passed to his daughter Nesta, who had married George Coventry, grandson of the 9th Earl of Coventry. They moved out in 1930 when George inherited the Coventry title and estates.

 

The Pembrokeshire Coast Path runs west along the coast from its start at Amroth. This national trail has since 2012 also formed a part of the Wales Coast Path which continues eastwards from Amroth over the headland of Telpyn Point towards Pendine. Amroth is also the southern terminus of the Knights' Way, which runs north to St Davids Cathedral. A section of the Cistercian Way also passes through.

 

Amroth is an electoral ward and a community in Pembrokeshire, which includes Amroth, Crunwere, Summerhill, Stepaside, Pleasant Valley, Wisemans Bridge, Llanteg and Llanteglos. The ward elects a councillor to Pembrokeshire County Council and up to twelve community councillors to Amroth Community Council.

 

The beach which stretches the length of the village earned a Blue Flag award in 2020 and the eastern end has had a lifeguard for part of the summer. Public toilets are available at either ends of the village. The main car park is managed by Pembrokeshire Coast National Park Authority.

 

Pembrokeshire is a county in the south-west of Wales. It is bordered by Carmarthenshire to the east, Ceredigion to the northeast, and is otherwise surrounded by the sea. Haverfordwest is the largest town and administrative headquarters of Pembrokeshire County Council.

 

The county is generally sparsely populated and rural, with an area of 200 square miles (520 km2) and a population of 123,400. After Haverfordwest, the largest settlements are Milford Haven (13,907), Pembroke Dock (9,753), and Pembroke (7,552). St Davids (1,841) is a city, the smallest by population in the UK. Welsh is spoken by 17.2 percent of the population, and for historic reasons is more widely spoken in the north of the county than in the south.

 

Pembrokeshire's coast is its most dramatic geographic feature, created by the complex geology of the area. It is a varied landscape which includes high sea cliffs, wide sandy beaches, the large natural harbour of Milford Haven, and several offshore islands which are home to seabird colonies. Most of it is protected by Pembrokeshire Coast National Park, and can be hiked on the 190-mile (310 km) Pembrokeshire Coast Path. The interior of Pembrokeshire is relatively flat and gently undulating, with the exception of the Preseli Mountains in the north.

 

There are many prehistoric sites in Pembrokeshire, particularly in the Preseli Mountains. During the Middle Ages several castles were built by the Normans, such as Pembroke and Cilgerran, and St David's Cathedral became an important pilgrimage site. During the Industrial Revolution the county remained relatively rural, with the exception of Milford Haven, which was developed as a port and Royal Navy dockyard. It is now the UK's third-largest port, primarily because of its two liquefied natural gas terminals. The economy of the county is now focused on agriculture, oil and gas, and tourism.

 

Human habitation of the region that is now Pembrokeshire extends back to between 125,000 and 70,000 years  and there are numerous prehistoric sites such as Pentre Ifan, and neolithic remains (12,000 to 6,500 years ago), more of which were revealed in an aerial survey during the 2018 heatwave; in the same year, a 1st-century Celtic chariot burial was discovered, the first such find in Wales. There may have been dairy farming in Neolithic times.

 

There is little evidence of Roman occupation in what is now Pembrokeshire. Ptolemy's Geography, written c. 150, mentioned some coastal places, two of which have been identified as the River Teifi and what is now St Davids Head, but most Roman writers did not mention the area; there may have been a Roman settlement near St Davids and a road from Bath, but this comes from a 14th-century writer. Any evidence for villas or Roman building materials reported by mediaeval or later writers has not been verified, though some remains near Dale were tentatively identified as Roman in character by topographer Richard Fenton in his Historical Tour of 1810. Fenton stated that he had "...reason to be of opinion that they had not colonized Pembrokeshire till near the decline of their empire in Britain".

 

Part of a possible Roman road is noted by CADW near Llanddewi Velfrey, and another near Wiston. Wiston is also the location of the first Roman fort discovered in Pembrokeshire, investigated in 2013.

 

Some artefacts, including coins and weapons, have been found, but it is not clear whether these belonged to Romans or to a Romanised population. Welsh tradition has it that Magnus Maximus founded Haverfordwest, and took a large force of local men on campaign in Gaul in 383 which, together with the reduction of Roman forces in south Wales, left a defensive vacuum which was filled by incomers from Ireland.

 

Between 350 and 400, an Irish tribe known as the Déisi settled in the region known to the Romans as Demetae.  The Déisi merged with the local Welsh, with the regional name underlying Demetae evolving into Dyfed, which existed as an independent petty kingdom from the 5th century.  In 904, Hywel Dda married Elen (died 943), daughter of the king of Dyfed Llywarch ap Hyfaidd, and merged Dyfed with his own maternal inheritance of Seisyllwg, forming the new realm of Deheubarth ("southern district"). Between the Roman and Norman periods, the region was subjected to raids from Vikings, who established settlements and trading posts at Haverfordwest, Fishguard, Caldey Island and elsewhere.

 

Dyfed remained an integral province of Deheubarth, but this was contested by invading Normans and Flemings who arrived between 1067 and 1111.  The region became known as Pembroke (sometimes archaic "Penbroke":), after the Norman castle built in the cantref of Penfro. In 1136, Prince Owain Gwynedd at Crug Mawr near Cardigan met and destroyed a 3,000-strong Norman/Flemish army and incorporated Deheubarth into Gwynedd.  Norman/Flemish influence never fully recovered in West Wales.  In 1138, the county of Pembrokeshire was named as a county palatine. Rhys ap Gruffydd, the son of Owain Gwynedd's daughter Gwenllian, re-established Welsh control over much of the region and threatened to retake all of Pembrokeshire, but died in 1197. After Deheubarth was split by a dynastic feud, Llywelyn the Great almost succeeded in retaking the region of Pembroke between 1216 and his death in 1240.  In 1284 the Statute of Rhuddlan was enacted to introduce the English common law system to Wales, heralding 100 years of peace, but had little effect on those areas already established under the Marcher Lords, such as Cemais in the north of the county.

 

Henry Tudor, born at Pembroke Castle in 1457, landed an army in Pembrokeshire in 1485 and marched to Cardigan.  Rallying support, he continued to Leicestershire and defeated the larger army of Richard III at the Battle of Bosworth Field. As Henry VII, he became the first monarch of the House of Tudor, which ruled England until 1603.

 

The Laws in Wales Act 1535 effectively abolished the powers of the Marcher Lords and divided the county into seven hundreds, roughly corresponding to the seven pre-Norman cantrefi of Dyfed. The hundreds were (clockwise from the northeast): Cilgerran, Cemais, Dewisland, Roose, Castlemartin, Narberth and Dungleddy and each was divided into civil parishes; a 1578 map in the British Library is the earliest known to show parishes and chapelries in Pembrokeshire. The Elizabethan era brought renewed prosperity to the county through an opening up of rural industries, including agriculture, mining and fishing, with exports to England and Ireland, though the formerly staple woollen industry had all but disappeared. 

 

During the First English Civil War (1642–1646) the county gave strong support to the Roundheads (Parliamentarians), in contrast to the rest of Wales, which was staunchly Royalist. In spite of this, an incident in Pembrokeshire triggered the opening shots of the Second English Civil War when local units of the New Model Army mutinied. Oliver Cromwell defeated the uprising at the Siege of Pembroke in July 1648.  On 13 August 1649, the Cromwellian conquest of Ireland began when New Model Army forces sailed from Milford Haven.

 

In 1720, Emmanuel Bowen described Pembrokeshire as having five market towns, 45 parishes and about 4,329 houses, with an area of 420,000 acres (1,700 km2). In 1791 a petition was presented to the House of Commons concerning the poor state of many of the county's roads, pointing out that repairs could not be made compulsory by the law as it stood. The petition was referred to committee.  People applying for poor relief were often put to work mending roads. Workhouses were poorly documented. Under the Poor Laws, costs and provisions were kept to a minimum, but the emphasis was often on helping people to be self-employed. While the Poor Laws provided a significant means of support, there were many charitable and benefit societies. After the Battle of Fishguard, the failed French invasion of 1797, 500 French prisoners were held at Golden Hill Farm, Pembroke. From 1820 to 1878 one of the county's prisons, with a capacity of 86, was in the grounds of Haverfordwest Castle. In 1831, the area of the county was calculated to be 345,600 acres (1,399 km2) with a population of 81,424.

 

It was not until nearly the end of the 19th century that mains water was provided to rural south Pembrokeshire by means of a reservoir at Rosebush and cast iron water pipes throughout the district.

 

Throughout much of the 20th century (1911 to 1961) the population density in the county remained stable while it rose in England and Wales as a whole. There was considerable military activity in Pembrokeshire and offshore in the 20th century: a naval base at Milford Haven because German U-boats were active off the coast in World War I and, in World War II, military exercises in the Preseli Mountains and a number of military airfields. The wartime increase in air activity saw a number of aircraft accidents and fatalities, often due to unfamiliarity with the terrain. From 1943 to 1944, 5,000 soldiers from the United States Army's 110th Infantry Regiment were based in the county, preparing for D-Day. Military and industrial targets in the county were subjected to bombing during World War II. After the end of the war, German prisoners of war were accommodated in Pembrokeshire, the largest prison being at Haverfordwest, housing 600. The County of Pembroke War Memorial in Haverfordwest carries the names of 1,200 of those that perished in World War I.

 

In 1972, a second reservoir for south Pembrokeshire, at Llys y Fran, was completed.

 

Pembrokeshire's tourism portal is Visit Pembrokeshire, run by Pembrokeshire County Council. In 2015 4.3 million tourists visited the county, staying for an average of 5.24 days, spending £585 million; the tourism industry supported 11,834 jobs. Many of Pembrokeshire's beaches have won awards, including Poppit Sands and Newport Sands. In 2018, Pembrokeshire received the most coast awards in Wales, with 56 Blue Flag, Green Coast or Seaside Awards. In the 2019 Wales Coast Awards, 39 Pembrokeshire beaches were recognised, including 11 awarded Blue Flag status.

 

The Pembrokeshire coastline is a major draw to tourists; in 2011 National Geographic Traveller magazine voted the Pembrokeshire Coast the second best in the world and in 2015 the Pembrokeshire Coast National Park was listed among the top five parks in the world by a travel writer for the Huffington Post. Countryfile Magazine readers voted the Pembrokeshire Coast the top UK holiday destination in 2018, and in 2019 Consumers' Association members placed Tenby and St Davids in the top three best value beach destinations in Britain. With few large urban areas, Pembrokeshire is a "dark sky" destination. The many wrecks off the Pembrokeshire coast attract divers. The decade from 2012 saw significant, increasing numbers of Atlantic bluefin tuna, not seen since the 1960s, and now seen by some as an opportunity to encourage tourist sport fishing.

 

The county has a number of theme and animal parks (examples are Folly Farm Adventure Park and Zoo, Manor House Wildlife Park, Blue Lagoon Water Park and Oakwood Theme Park), museums and other visitor attractions including Castell Henllys reconstructed Iron Age fort, Tenby Lifeboat Station and Milford Haven's Torch Theatre. There are 21 marked cycle trails around the county.

 

Pembrokeshire Destination Management Plan for 2020 to 2025 sets out the scope and priorities to grow tourism in Pembrokeshire by increasing its value by 10 per cent in the five years, and to make Pembrokeshire a top five UK destination.

 

As the national sport of Wales, rugby union is widely played throughout the county at both town and village level. Haverfordwest RFC, founded in 1875, is a feeder club for Llanelli Scarlets. Village team Crymych RFC in 2014 plays in WRU Division One West. There are numerous football clubs in the county, playing in five leagues with Haverfordwest County A.F.C. competing in the Cymru Premier.

 

Triathlon event Ironman Wales has been held in Pembrokeshire since 2011, contributing £3.7 million to the local economy, and the county committed in 2017 to host the event for a further five years. Ras Beca, a mixed road, fell and cross country race attracting UK-wide competitors, has been held in the Preselis annually since 1977. The record of 32 minutes 5 seconds has stood since 1995. Pembrokeshire Harriers athletics club was formed in 2001 by the amalgamation of Cleddau Athletic Club (established 1970) and Preseli Harriers (1989) and is based in Haverfordwest.

 

The annual Tour of Pembrokeshire road-cycling event takes place over routes of optional length. The 4th Tour, in April 2015, attracted 1,600 riders including Olympic gold medallist Chris Boardman and there were 1,500 entrants to the 2016 event. Part of Route 47 of the Celtic Trail cycle route is in Pembrokeshire. The Llys y Fran Hillclimb is an annual event run by Swansea Motor Club, and there are several other county motoring events held each year.

 

Abereiddy's Blue Lagoon was the venue for a round of the Red Bull Cliff Diving World Series in 2012, 2013, and 2016; the Welsh Surfing Federation has held the Welsh National Surfing Championships at Freshwater West for several years, and Llys y Fran Country Park hosted the Welsh Dragonboat Championships from 2014 to 2017.

 

While not at major league level, cricket is played throughout the county and many villages such as Lamphey, Creselly, Llangwm, Llechryd and Crymych field teams in minor leagues under the umbrella of the Cricket Board of Wales.

 

Notable people

From mediaeval times, Rhys ap Gruffydd (c. 1132-1197), ruler of the kingdom of Deheubarth, was buried in St Davids Cathedral. and Gerald of Wales was born c. 1146 at Manorbier Castle. Henry Tudor (later Henry VII) was born in 1457 at Pembroke Castle.

 

The pirate Bartholomew Roberts (Black Bart) (Welsh: Barti Ddu) was born in Casnewydd Bach, between Fishguard and Haverfordwest in 1682.

 

In later military history, Jemima Nicholas, heroine of the so-called "last invasion of Britain" in 1797, was from Fishguard, Lieutenant General Sir Thomas Picton GCB, born in Haverfordwest, was killed at the Battle of Waterloo in 1815 and Private Thomas Collins is believed to be the only Pembrokeshire man that fought in the Battle of Rorke's Drift in 1879.

 

In the arts, siblings Gwen and Augustus John were both born in Pembrokeshire, as was the novelist Sarah Waters; singer Connie Fisher grew up in Pembrokeshire. The actor Christian Bale was born in Haverfordwest.

 

Stephen Crabb, a former Secretary of State for Work and Pensions and Secretary of State for Wales, was brought up in Pembrokeshire and is one of the county's two Members of Parliament, the other being Simon Hart,[90] who served as Secretary of State for Wales from 2019 to 2022.

Replacing an earlier digital photo with a better version 18-Apr-24.

 

Named: "Al-Wuseil".

 

First flown as an A330-203 with the Airbus test registration F-WWKU, this aircraft was delivered to Qatar Airways as A7-ACD at the end of Mar-03. It was sold to Doha Leasing (A330) Ltd on delivery and leased back to Qatar Airways.

 

It was converted to A330-202 standard in Sep-04 to bring it in line with the rest of the Qatar A330-200 fleet. It was returned to the lessor in May-18 and sold to Wilmington Trust SP Services (Dublin) Ltd as EI-GGP in Jun-18.

 

The aircraft was leased to Air Italy (Italy) a few days later. Air Italy ceased operations on 11-Feb-20, just at the start of the COVID-19 Pandemic (Italy suffered very badly early on).

 

It was returned to the lessor and stored at Doha, Qatar. The aircraft was 'leased' to Qatar Airways as A7-ACR in Nov-20, although it never entered service. It was ferried to Teruel, Spain in Dec-20 and permanently retired. It was broken up at Teruel in Sep-21. Updated 01-Apr-24.

The troopers are taking over. Caught them fixing my icon! Happy toy-in-the-frame Thursday.

Replacing an earlier photo taken 21-Jun-16 with a better shot 25-Jun-16.

 

Recently repainted in the Thomas Cook Group's new corporate livery.

 

First flown with the Airbus test registration F-WWYG, this aircraft was delivered to Airtours International Airways and leased to their Danish subsidiary, Premiair, as OY-VKG in Jul-00. The Airtours Group was renamed MyTravel Airways in May-02 and Premiair was renamed MyTravel Airways A/S.

 

The aircraft was wet-leased to Garuda Indonesia Airlines for Haj Pilgrimage operations between Dec-03/Mar-04 and again between Dec-04/Feb-05. In May-05 it was leased back to MyTravel Airways UK for the summer season, returning to MyTravel A/S at the end of Oct-05.

 

The aircraft was wet-leased to Garuda Indonesia Airlines again for a Haj Pilgrimage operation between Dec-05/Feb-06, and between Nov-06/Feb-07 and Nov-07/Jan-08. In May-08 the MyTravel Group was merged into the Thomas Cook Travel Group and MyTravel Denmark was renamed Thomas Cook Airlines Scandinavia. More Haj Pilgrimage leases for Garuda Indonesia were operated between Nov-08/Jan-09 and Oct/Dec-10.

 

The Thomas Cook Group UK ceased operations on 23-Sep-19, taking Thomas Cook Airlines UK with it. Thomas Cook Scandinavia continued operating at a reduced capacity and was sold to Norwegian Consortium at the end of Oct-19. It was renamed Sunclass Airlines on 01-Nov-19.

 

This aircraft was withdrawn from service and stored at Copenhagen in Mar-20 when the COVID-19 Pandemic hit the world. In Feb-21 it was sold to TVPX Aircraft Solutions as N349UK and ferried to Istanbul-ISL, Turkiye for maintenance with Turkish Airlines.

 

In May-21 it was sold to Turkish company ULS Airlines Cargo and registered in San Marino as T7-ULS. It was immediately leased to San Merino Executive and operated as a 'Preighter' with seats and carpets removed. The aircraft was wet-leased to Garuda Indonesia Airlines for a Haj Pilgrimage operation between May and early Aug-23 (with seats & carpets refitted!).

 

It was returned to ULS Airlines Cargo in Oct-23 and sold to CAM Cargo Aircraft Management as N803CM. It was stored at Istanbul-ISL awaiting 'P2F' freighter conversion. The aircraft was converted to full freighter configuration with a main deck cargo door in Mar-25 and leased to ULS Airlines Cargo, Turkiye as TC-GOU in Jul-25, it operates cargo services on behalf of Turkish Airlines Cargo. Current, updated 24-Dec-25.

The Tornado ADV had its origins in an RAF Air Staff Requirement 395 (or ASR.395), which called for a long-range interceptor to replace the Lightning F6 and Phantom FGR2. The requirement for a modern interceptor was driven by the threat posed by the large Soviet long-range bomber fleet, in particular the supersonic Tupolev Tu-22M. From the beginning of the Tornado IDS's development in 1968, the possibility of a variant dedicated to air defence had been quietly considered; several American aircraft had been evaluated, but found to be unsuitable. However, the concept proved unattractive to the other European partners on the Tornado project, thus the UK elected to proceed in its development alone. On 4 March 1976, the development of the Tornado ADV was formally approved; it was announced on this day that 165 of the 385 Tornados that were on order for the RAF would be of the Tornado ADV variant.

 

In 1976, British Aerospace was contracted to provide three prototype aircraft. The first prototype was rolled out at Warton on 9 August 1979, before making its maiden flight on 27 October 1979 with David Eagles. The second and third development aircraft made their first flights on 18 July and 18 November 1980, respectively. During the flight testing, the ADV demonstrated noticeably superior supersonic acceleration to the IDS, even while carrying a full weapons loadout. The testing of the prototypes was greatly aided by the use of real-time telemetry being broadcast back to ground technicians from aircraft in flight. The third prototype was primarily used in the testing of the new Marconi/Ferranti AI.24 Foxhunter airborne interception radar.

 

The Tornado ADV's differences compared to the IDS include a greater sweep angle on the wing gloves, and the deletion of their kruger flaps, deletion of the port cannon, a longer radome for the Foxhunter radar, slightly longer airbrakes and a fuselage stretch of 1.36 m to allow the carriage of four Skyflash semi-active radar homing missiles. The stretch was applied to the Tornado front fuselage being built by the UK, with a plug being added immediately behind the cockpit, which had the unexpected benefit of reducing drag and making space for an additional fuel tank (Tank '0') carrying 200 imperial gallons (909 L; 240 U.S. gal) of fuel. The artificial feel of the flight controls was lighter on the ADV than on the IDS. Various internal avionics, pilot displays, guidance systems and software also differed; including an automatic wing sweep selector not fitted to the strike aircraft.

 

The Tornado F2 was the initial version of the Tornado ADV in Royal Air Force service, with 18 being built. It first flew on 5 March 1984 and was powered by the same RB.199 Mk 103 engines used by the IDS Tornado, capable of four wing sweep settings, and fitted to carry only two underwing Sidewinder missiles. Serious problems were discovered with the Foxhunter radar, which meant that the aircraft were delivered with concrete and lead ballast installed in the nose as an interim measure until they could be fitted with the radar sets. The ballast was nicknamed Blue Circle, which was a play on the Rainbow Codes nomenclature, and a British brand of cement called Blue Circle.

 

Production of the Tornado ADV was performed between 1980 and 1993, the last such aircraft being delivered that same year. A total of 165 Tornado ADVs were ordered by Britain, the majority being the Tornado F3.

Replacing an earlier scanned photo with a better version 28-Oct-17, plus Topaz DeNoise AI 01-Jun-23.

 

This aircraft was delivered to US Air as N624AU in Jul-94. US Air was renamed US Airways in Feb-97. It was sold to a lessor in Dec-03 and leased back to US Airways.

 

In Jan-07 the aircraft was re-registered N937UW and was fitted with blended winglets in May-09. US Airways was merged into American Airlines in Apr-15 (official merger date).

 

American Airlines retired the aircraft at Goodyear, AZ, USA in Nov-17. It was thought to be permanently retired but was sold to SF Airlines (Shun Feng Airlines) in Jun-18 and ferried to Singapore-Seletar for freighter conversion.

 

It was converted to full freighter configuration with a main deck cargo door in Dec-18 and re-registered B-207Y prior to service entry. Current, updated 01-Jun-23.

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

 

Operating on behalf of CMTA Compagnie Mauritanienne de Transport Aerien

Replacing an earlier scanned slide with a better version 12-May-15, plus Topaz DeNoise AI 03-Dec-23.

 

Built as a Beech AT-11 Kansan, this aircraft was delivered to the US Army Air Forces serialled 42-36966 in 1942 and used for aircrew basic training.

 

It was converted to Beech C-45H Expeditor standard in 1953 and re-serialled 52-10610. It was sold into the civil aviation market as N9597Z (date unknown),

 

The aircraft was sold to LAVCO, the Libyan Aviation Company as N176L around 1968 and operated on oil well support, based in Tripoli, Libya.

 

It was sold to ATC Inc (USA) in Mar-75. The registration was cancelled in Oct-86, presumably it was permanently retired.

The National Railway Museum’s former London Midland & Scottish Railway Company Stanier 5P5F 4-6-0 ‘Black Five’ class locomotive number 5000 passes Sutton Bridge Junction signal box 58 signal (Home 1 Down Main) with the additional 08:00 Carlisle to Newport ‘Welsh Marches Pullman’ charter which it worked between Shrewsbury (where it replaced British Railways English Electric Company Limited Type 4 1Co-Co1 class 40 diesel-electric locomotive number 40025 of Longsight Diesel Traction Maintenance Depot) and Hereford where it was replaced by the Princess Elizabeth Locomotive Society’s former London Midland & Scottish Railway Company Stanier 7P 4-6-2 ‘Princess Royal’ class locomotive number 6201 PRINCESS ELIZABETH of Hereford Motive Power Depot. 11:52, Saturday 30th January 1982

 

Note, 5000 was built at the London Midland & Scottish Railway Company’s Crewe works (works number 216) in February 1935 as number 5000. It was transferred to British Railways upon nationalisation of the railways on 1st January 1948, being renumbered 45000. It was withdrawn from Lostock Hall Motive Power Depot in week ending 28th October 1967 and stored. Having been selected for official preservation by the British Transport Commission it was moved to Preston Park works in Brighton in January 1968 and remained in store until late 1977 when placed on loan to the Severn Valley Railway where it was restored to working order in spring 1979. It was allocated the TOPS number 98500

 

58 signal is carried, along with (left to right) Sutton Bridge Junction signal box 54 signal (Home Down Main To W’pool) and Sutton Bridge Junction signal box 49 signal (Home Down Main To Loop), on a tube steel three-doll equal-sided unbalanced bracket that was commissioned on 16th April 1967

 

On the left, carried on a tubular steel post is Sutton Bridge Junction signal box 5 signal (Starting Up Main) with Severn Bridge Junction signal box’s Up Hereford fixed distant signal and Sutton Bridge Junction signal box 6 signal (Shunt Ahead Up Main) below it. On the post is a white diamond which indicates to the driver that his train is occupying a track circuit that indicates his presence to the signalman and the signal was renewed with upper quadrant arms eight yards closer to the signal box on 30th September 1984

 

Ref no 02926

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 27-May-24.

 

Named: "Parrot".

 

This aircraft was delivered to GECAS and leased to China Airlines as B-18673 in Nov-96. It didn't stay long and was returned to the lessor in Dec-98. It was leased to Istanbul Airlines as TC-IAG the following day.

 

It didn't stay in Türkiye long either and returned to the lessor in Apr-00 (Istanbul ceased operations in Aug-00). The aircraft was leased to City Bird Airlines (Belgium) in May-00. It was transferred to City Bird France as F-GLTG in Apr-01. City Bird and City Bird France were declared bankrupt in Oct-01 and the aircraft was returned to the lessor as N120AF in Nov-01 and stored.

 

In Apr-02 it was leased to SATA International (Azores/Portugal) as CS-TGZ in Apr-02 and returned to the lessor in Aug-05. In Sep-05 it was re-registered VT-SJC and leased to Air Sahara (India). Air Sahara was sold to Jet Airways (India) and was eventually renamed Jet Lite as Jet Airways 'low-cost' division.

 

The aircraft was returned to the lessor as N491MT in Apr-09 and stored at Kuala Lumpur-Subang. In Sep-09 it was leased to Skynet Asia Airways (Japan) as JA737G. Skynet was renamed Solaseed Air in Jul-11. It was sold to Solaseed Air in Jul-14 and a week later the aircraft permanently retired at Chateauroux, France.

 

In Jul-15 the aircraft was preserved at Chateauroux as a crash rescue mock-up for Fire Service training. Updated 26-May-24.

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Replaced in 2015 from the Airlink service 100 between Waverley Bridge and Edinburgh Airport by new buses, the original vehicles were transferred to East Coast Buses. Seen at Abbeymount is 20940 - SN10DKK.

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

Replacing an earlier scanned photo with a better version 27-Oct-17, plus Topaz DeNoise AI 30-May-23.

 

Fleet No: '5648'.

 

This aircraft was delivered to Northwest Airlines as N548US in Aug-96. Blended winglets were added in May-07. Northwest was merged into Delta Airlines in Oct-08.

 

After 29.5 years in service the aircraft was permanently retired at Victorville, CA, USA in Nov-25. Updated 18-Feb-26.

This was taken in the grounds of the Dover Transport Museum, which you can walk into and look around the grounds if the museum and gates are open, and this vehicle had been moved outside for some sort of event that appeard to be hosted by some Model Boat Collectors!

 

And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw last week!!

 

Yes I'm back again.

However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.

 

I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.

 

I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.

 

So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!

Replacing an earlier digital photo with a better version.

 

First flown with the Airbus test registration F-WZFF, this aircraft was delivered to Qatar Airways as A7-ALF in Oct-15. Current (Jun-20).

Replacing an earlier digital photo with a better shot without heat shimmer!

 

WAMOS Air, operating services on behalf of Jet2.com.

 

First flown in Mar-09 with the Airbus test registration F-WWKN, this aircraft was ordered by ILFC for lease to XL Airlines UK as G-XLXC. However, XL Airways UK had ceased operations in Sep-08. The lease was to be transferred to XL Airways France, but that wasn't taken up.

 

The aircraft was parked at Toulouse until it was leased to Gulf Air as A9C-KJ in Jun-09. It was withdrawn from service and stored at Bahrain in Jan-13 before being returned to the lessor in Mar-13 and stored at Lake Charles, LA, USA.

 

It was leased to Air Europa as EC-MAJ in Mar-14. The aircraft was withdrawn from service and initially stored at Chateauroux, France in Jan-20 before being returned to the lessor and stored at Perpignan, France in early Feb-20. It was moved to Barcelona, Spain in Jul-20 for further storage.

 

The aircraft was leased to WAMOS Air in Sep-20 and was stored at Madrid, Spain on delivery. It moved to Ciudad Real Central Airport, Spain in Nov-20 for further storage and entered service as a 'Preighter' in Feb-21. The aircraft returned to passenger service in a Y366 configuration in Feb-22.

 

In Jun-22 it was wet-leased to Jet2.com for the summer season. Current, 01-Aug-22.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 11-Sep-24.

 

Named: "Esra".

 

A late build MD-88, this aircraft was delivered to Onur Air as TC-ONP in May-97. It was sold to Bukovyna Aviation (Ukraine) in Apr-11 as UR-CIZ.

 

By the following month it had found it's way to Iran and was wet-leased to Taban Air. Taban Air bought it in Jun-12 and it was re-registered EP-TBB. Current, updated 11-Sep-24.

New briefly to First Northern Ireland, Volvo B7RLE / Wright 69042 (SF55 UBB) is pictured in Killermont Street in its strange blue livery, being the spare bus for the airport service. These were the last days of route 119, before it was replaced by the 60A, the 119 being the last vestige of the Alexander (Midland) Milngavie-area route numbering system introduced in 1972.

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

 

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

 

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

 

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

 

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

 

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

Replacing an earlier scanned photo with a better version 17-Mar-17, plus DeNoise AI 28-Nov-22.

 

This aircraft was a standard DC-10-40, known as a DC-10-40i (International) by Japan Airlines to differentiate it from the DC-10-40D (Domestic). The DC-10-40D operated with the centre undercarriage leg locked in the retracted position and using lower maximum take-off and landing weights, similar to the DC-10-10.

 

First flown in Jul-75 with the Douglas test registration N54652, this aircraft was the first DC-10-40 for JAL and was used as a test airframe. It was delivered as a DC-10-40i to JAL Japan Airlines as JA8534 in Nov-76.

 

It was sold to JAA Japan Asia Airways in Nov-86. The aircraft was leased back to Japan Airlines in Apr-91, returning to JAA in Apr-92. It was leased to JAL again between Jul-93 and May-94 and was sold back to JAL in May-97.

 

When Japan Airlines separated into Domestic and International divisions in Apr-04, this aircraft was transferred to Japan Airlines International. After 28 years in service, the aircraft was sold to Vivaldi Overseas as N913VV in Nov-04.

 

The aircraft was stored at Marana, AZ, USA the same month and was permanently retired, it was last noted still there in Jul-11 and was subsequently broken up.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 07-Sep-23

 

'Tipperary Crystal' logojet

 

This aircraft was delivered to Lufthansa as D-ABFW in Apr-81. It was sold to Jetz Ventures in Jun-97 and sold on to Ryanair the same day as EI-CNX.

 

In Nov-05 the aircraft was sold to AutoDirect Aviation LLC as N127AD and stored at Prestwick, Scotland, UK. It was transferred to ADL Leasing LLC in Dec-05 and was leased to LAN Airlines (Chile) as CC-CQS in Feb-06.

 

The aircraft returned to the lessor as N227AG in May-08 and was stored. In Nov-08 it was leased to RUTACA (Venezuela) as YV380T. Now 42 years old it's still in service. Current, updated 07-Sep-23.

Replacing an earlier scanned photo with a better version, plus Topaz DeNoise AI 03-Aug-24.

 

Named: "City of Hazrat Shah Jalal (R.A)".

 

This aircraft was delivered to Singapore Airlines as 9V-SDF in Nov-79. It was leased to VARIG Brasil as PP-VMR in Dec-79 and returned to Singapore Airlines as 9V-SDF in Nov-80.

 

It was sold to Biman Bangladesh Airlines as S2-ACQ in Nov-83 and was permanently retired at Dhaka, Bangladesh in Sep-11 after 32 years in service. Used as a spares source, it was eventually broken up at Dhaka in Feb-17.

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

 

UK Football Association 'Emirates FA Cup' logojet (right side).

 

First flown in Jul-13 with the Airbus test registration F-WWAD, this aircraft was ferried to the Airbus Factory airfield at Hamburg-Finkenwerder for cabin fitout and painting. it was delivered to Emirates Airline as A6-EES in Dec-13.

 

The aircraft was withdrawn from service in Mar-20 and stored at Dubai-World Central due to the COVID-19 Pandemic. It was moved back to Dubai-International in Oct-21 and returned to service in late Nov-21 after repainting in the 'DUBAI EXPO' special livery. Current, updated 05-Jan-22.

Replaced 14/07/2024

 

IMG_0762-02-B

(Replaced with a slightly rotated version.)

The bridge in the picture was built to replace a ford at a shallow part of the River Roding. But when around the year 1800, a new watermill was built just downstream from the bridge, damming the river to create a head of water enough to drive the waterwheel. The Roding now formed a lake, swamping the original ford.. And so this bridge was constructed.

It lasted up to the end of the 1960s, when due to the rapid increase in traffic the bridge was replaced with a plain, uninteresting, modern bridge.,The road layout was altered and a large roundabout replaced the old tee junction just to ithe south.

To see the scene as it is today, click the link to Google Street view.

www.google.co.uk/maps/@51.6552583,0.1722646,3a,90y,357.84...

 

This is a picture of me during a local inter-club time trial. ( in which I came nowhere ) It was a medium gear 25 mile event as an introduction to the start of the racing season proper. And it was a freezing cold spring morning. Hence the somewhat unusual "racing" clothes.

  

Replacing an earlier scanned photo with a better version 12-Oct-16, plus Topaz DeNoise AI 30-May-25.

 

Fleet No: "HHJ".

 

First flown with the deHavilland Canada test registration C-GFYI, this aircraft was delivered to Piedmont Airlines as N994HA in Dec-96 and operated on behalf of USAir Express. It was renamed US Airways Express in Feb-97.

 

The aircraft was withdrawn from service and stored at Springfield, MO, USA in Jan-03. It was returned to the lessor in Jun-06 and remained in storage. It was sold to The Avmax Group in May-07 as C-FNOP and modified to Dash 8-201 standard in Jul-07.

 

It was leased to Sakhalin Aviation (SAT Airlines), Russia as RA-67259 in Sep-07 and operated on behalf of Exxon Neftegaz. The aircraft was transferred to Aurora Airlines in Oct-13. It was returned to Avmax Aircraft Leasing Inc in Feb-15 as C-FCIQ and was stored at Calgary, AB, Canada.

 

In Aug-15 it was leased to Aurora Airlines, again becoming RA-67259. It returned to Avmax in Oct-20, this time as C-GRKQ. The aircraft was leased to Auora Airlines again, as RA-67259, in Feb-21.

 

Most databases say it's still active, however Flight Radar 24 shows its last 'live' flight was in Jul-24 although it appears to have been regularly test flown at Yuzhno Sakhalinsk up to late Nov-24. Updated 30-May-25

Replacing the 22

 

When eventually completed, the new tram extension will replace several Lothian Buses service. One of the routes impacted is the 22, on which 358 (SN11EBG) is seen here. The squiggle on the destination indicates a bus service that has to divert from it’s normal route due to roadworks.

 

The advert on the side of the bus may need reviewing in the current circumstances….:

Replacing an earlier scanned photo with a better version 17-Sep-21 (DeNoise AI).

 

Sub-leased by AirWorld to Ryan International for the winter season in the USA, it was sub-sub-lsd back to AirWorld and operated by Ryan International during the 1998 summer months.

 

A lessor owned aircraft with a long history!

 

First flown with the Airbus test registration F-WWIX, this aircraft was delivered to GECAS and leased to Air World as G-BXKA in Nov-97. It was sub-leased to Ryan International Airlines as N714AW on delivery and operated for Apple Vacations (USA).

 

It returned to Air World in Apr-98, sub-sub-leased from and operated by Ryan International. Air World was merged into Flying Colours Airlines on 01-Nov-98 and the aircraft returned to Ryan International two weeks later for the winter season. It was returned to Flying Colours at in Apr-99 as G-BXKA.

 

It was sub-leased to Ryan International/Apple Vacations again in Nov-99, this time operated by Flying Colours. In Mar-00, Flying Colours was merged with Caledonian Airways to form jmc AIR and the aircraft returned to jmc Air in Apr-00.

 

It was sub-leased to Ryan International/Apple Vacations again between Dec-00/Apr-01 and again between Oct-01/Apr-02. It was leased to Ryan International again in Nov-02. jmc Air was renamed Thomas Cook Airlines UK at the end of Mar-03 and the aircraft returned to Thomas Cook at the end of Apr-03.

 

In Dec-03 It was leased to USA 3000 Airlines (Bredan Airways) and returned to Thomas Cook in Apr-04. It was leased to USA 3000 again between Dec-04/Apr-05. The aircraft returned to GECAS in Jan-08 and was immediately leased to Vladivostok Avia as VP-BFY.

 

In Feb-14 the aircraft was returned to GECAS and stored at Shannon, Ireland before being leased to Hamburg Airways as D-AHHH in Jun-14. In Dec-14 Hamburg Airways AOC was temporarily suspended by the German Authorities and the aircraft was returned to GECAS and again stored at Shannon, Ireland.

 

It was sold to Sunrise Asset Management and leased to Allegiant Air as N227NV in Apr-15. The aircraft was stored at Tampa, FL, USA on delivery. It was moved to Grissom AFB, Peru, IN, USA in Jul-15 (maintenance?) and back to Tampa in early Aug-15. It eventually entered service on 22-Oct-15.

 

The aircraft was permanently retired at Orlando-Sanford in Nov-20. It was sold to Alaris Aerospace in Apr-22 and broken up at Sanford in 2024. Updated 16-Aug-25.

 

en.wikipedia.org/wiki/Beamish_Museum

 

Beamish Museum is the first regional open-air museum, in England, located at Beamish, near the town of Stanley, in County Durham, England. Beamish pioneered the concept of a living museum. By displaying duplicates or replaceable items, it was also an early example of the now commonplace practice of museums allowing visitors to touch objects.

 

The museum's guiding principle is to preserve an example of everyday life in urban and rural North East England at the climax of industrialisation in the early 20th century. Much of the restoration and interpretation is specific to the late Victorian and Edwardian eras, together with portions of countryside under the influence of industrial revolution from 1825. On its 350 acres (140 ha) estate it uses a mixture of translocated, original and replica buildings, a large collection of artefacts, working vehicles and equipment, as well as livestock and costumed interpreters.

 

The museum has received a number of awards since it opened to visitors in 1972 and has influenced other living museums. It is an educational resource, and also helps to preserve some traditional and rare north-country livestock breeds.

 

History

Genesis

In 1958, days after starting as director of the Bowes Museum, inspired by Scandinavian folk museums, and realising the North East's traditional industries and communities were disappearing, Frank Atkinson presented a report to Durham County Council urging that a collection of items of everyday history on a large scale should begin as soon as possible, so that eventually an open air museum could be established. As well as objects, Atkinson was also aiming to preserve the region's customs and dialect. He stated the new museum should "attempt to make the history of the region live" and illustrate the way of life of ordinary people. He hoped the museum would be run by, be about and exist for the local populace, desiring them to see the museum as theirs, featuring items collected from them.

 

Fearing it was now almost too late, Atkinson adopted a policy of "unselective collecting" — "you offer it to us and we will collect it." Donations ranged in size from small items to locomotives and shops, and Atkinson initially took advantage of a surplus of space available in the 19th-century French chateau-style building housing the Bowes Museum to store items donated for the open air museum. With this space soon filled, a former British Army tank depot at Brancepeth was taken over, although in just a short time its entire complement of 22 huts and hangars had been filled, too.

 

In 1966, a working party was established to set up a museum "for the purpose of studying, collecting, preserving and exhibiting buildings, machinery, objects and information illustrating the development of industry and the way of life of the north of England", and it selected Beamish Hall, having been vacated by the National Coal Board, as a suitable location.

 

Establishment and expansion

In August 1970, with Atkinson appointed as its first full-time director together with three staff members, the museum was first established by moving some of the collections into the hall. In 1971, an introductory exhibition, "Museum in the Making" opened at the hall.

 

The museum was opened to visitors on its current site for the first time in 1972, with the first translocated buildings (the railway station and colliery winding engine) being erected the following year. The first trams began operating on a short demonstration line in 1973. The Town station was formally opened in 1976, the same year the reconstruction of the colliery winding engine house was completed, and the miners' cottages were relocated. Opening of the drift mine as an exhibit followed in 1979.

 

In 1975 the museum was visited by the Queen Elizabeth The Queen Mother, and by Anne, Princess Royal, in 2002. In 2006, as the Grand Master of the United Grand Lodge of England, The Duke of Kent visited, to open the town masonic lodge.

 

With the Co-op having opened in 1984, the town area was officially opened in 1985. The pub had opened in the same year, with Ravensworth Terrace having been reconstructed from 1980 to 1985. The newspaper branch office had also been built in the mid-1980s. Elsewhere, the farm on the west side of the site (which became Home Farm) opened in 1983. The present arrangement of visitors entering from the south was introduced in 1986.

 

At the beginning of the 1990s, further developments in the Pit Village were opened, the chapel in 1990, and the board school in 1992. The whole tram circle was in operation by 1993.[8] Further additions to the Town came in 1994 with the opening of the sweet shop and motor garage, followed by the bank in 1999. The first Georgian component of the museum arrived when Pockerley Old Hall opened in 1995, followed by the Pockerley Waggonway in 2001.

 

In the early 2000s two large modern buildings were added, to augment the museum's operations and storage capacity - the Regional Resource Centre on the west side opened in 2001, followed by the Regional Museums Store next to the railway station in 2002. Due to its proximity, the latter has been cosmetically presented as Beamish Waggon and Iron Works. Additions to display areas came in the form of the Masonic lodge (2006) and the Lamp Cabin in the Colliery (2009). In 2010, the entrance building and tea rooms were refurbished.

 

Into the 2010s, further buildings were added - the fish and chip shop (opened 2011)[28] band hall (opened 2013) and pit pony stables (built 2013/14) in the Pit Village, plus a bakery (opened 2013) and chemist and photographers (opened 2016) being added to the town. St Helen's Church, in the Georgian landscape, opened in November 2015.

 

Remaking Beamish

A major development, named 'Remaking Beamish', was approved by Durham County Council in April 2016, with £10.7m having been raised from the Heritage Lottery Fund and £3.3m from other sources.

 

As of September 2022, new exhibits as part of this project have included a quilter's cottage, a welfare hall, 1950s terrace, recreation park, bus depot, and 1950s farm (all discussed in the relevant sections of this article). The coming years will see replicas of aged miners' homes from South Shields, a cinema from Ryhope, and social housing will feature a block of four relocated Airey houses, prefabricated concrete homes originally designed by Sir Edwin Airey, which previously stood in Kibblesworth. Then-recently vacated and due for demolition, they were instead offered to the museum by The Gateshead Housing Company and accepted in 2012.

 

Museum site

The approximately 350-acre (1.4 km2) current site, once belonging to the Eden and Shafto families, is a basin-shaped steep-sided valley with woodland areas, a river, some level ground and a south-facing aspect.

 

Visitors enter the site through an entrance arch formed by a steam hammer, across a former opencast mining site and through a converted stable block (from Greencroft, near Lanchester, County Durham).

 

Visitors can navigate the site via assorted marked footpaths, including adjacent (or near to) the entire tramway oval. According to the museum, it takes 20 minutes to walk at a relaxed pace from the entrance to the town. The tramway oval serves as both an exhibit and as a free means of transport around the site for visitors, with stops at the entrance (south), Home Farm (west), Pockerley (east) and the Town (north). Visitors can also use the museum's buses as a free form of transport between various parts of the museum. Although visitors can also ride on the Town railway and Pockerley Waggonway, these do not form part of the site's transport system (as they start and finish from the same platforms).

 

Governance

Beamish was the first English museum to be financed and administered by a consortium of county councils (Cleveland, Durham, Northumberland and Tyne and Wear) The museum is now operated as a registered charity, but continues to receive support from local authorities - Durham County Council, Sunderland City Council, Gateshead Council, South Tyneside Council and North Tyneside Council. The supporting Friends of Beamish organisation was established in 1968. Frank Atkinson retired as director in 1987. The museum has been 96% self-funding for some years (mainly from admission charges).

 

Sections of the museum

1913

The town area, officially opened in 1985, depicts chiefly Victorian buildings in an evolved urban setting of 1913.

 

Tramway

The Beamish Tramway is 1.5 miles (2.4 km) long, with four passing loops. The line makes a circuit of the museum site forming an important element of the visitor transportation system.

 

The first trams began operating on a short demonstration line in 1973, with the whole circle in operation by 1993.[8] It represents the era of electric powered trams, which were being introduced to meet the needs of growing towns and cities across the North East from the late 1890s, replacing earlier horse drawn systems.

 

Bakery

Presented as Joseph Herron, Baker & Confectioner, the bakery was opened in 2013 and features working ovens which produce food for sale to visitors. A two-storey curved building, only the ground floor is used as the exhibit. A bakery has been included to represent the new businesses which sprang up to cater for the growing middle classes - the ovens being of the modern electric type which were growing in use. The building was sourced from Anfield Plain (which had a bakery trading as Joseph Herron), and was moved to Beamish in the late 1970s and early 1980s. The frontage features a stained glass from a baker's shop in South Shields. It also uses fittings from Stockton-on-Tees.

 

Motor garage

Presented as Beamish Motor & Cycle Works, the motor garage opened in 1994. Reflecting the custom nature of the early motor trade, where only one in 232 people owned a car in 1913, the shop features a showroom to the front (not accessible to visitors), with a garage area to the rear, accessed via the adjacent archway. The works is a replica of a typical garage of the era. Much of the museum's car, motorcycle and bicycle collection, both working and static, is stored in the garage. The frontage has two storeys, but the upper floor is only a small mezzanine and is not used as part of the display.

 

Department Store

Presented as the Annfield Plain Industrial Co-operative Society Ltd, (but more commonly referred to as the Anfield Plain Co-op Store) this department store opened in 1984, and was relocated to Beamish from Annfield Plain in County Durham. The Annfield Plain co-operative society was originally established in 1870, with the museum store stocking various products from the Co-operative Wholesale Society (CWS), established 1863. A two-storey building, the ground floor comprises the three departments - grocery, drapery and hardware; the upper floor is taken up by the tea rooms (accessed from Redman Park via a ramp to the rear). Most of the items are for display only, but a small amount of goods are sold to visitors. The store features an operational cash carrier system, of the Lamson Cash Ball design - common in many large stores of the era, but especially essential to Co-ops, where customer's dividends had to be logged.

 

Ravensworth Terrace

Ravensworth Terrace is a row of terraced houses, presented as the premises and living areas of various professionals. Representing the expanding housing stock of the era, it was relocated from its original site on Bensham Bank, having been built for professionals and tradesmen between 1830 and 1845. Original former residents included painter John Wilson Carmichael and Gateshead mayor Alexander Gillies. Originally featuring 25 homes, the terrace was to be demolished when the museum saved it in the 1970s, reconstructing six of them on the Town site between 1980 and 1985. They are two storey buildings, with most featuring display rooms on both floors - originally the houses would have also housed a servant in the attic. The front gardens are presented in a mix of the formal style, and the natural style that was becoming increasingly popular.

 

No. 2 is presented as the home of Miss Florence Smith, a music teacher, with old fashioned mid-Victorian furnishings as if inherited from her parents. No. 3 & 4 is presented as the practice and home respectively (with a knocked through door) of dentist J. Jones - the exterior nameplate having come from the surgery of Mr. J. Jones in Hartlepool. Representing the state of dental health at the time, it features both a check-up room and surgery for extraction, and a technicians room for creating dentures - a common practice at the time being the giving to daughters a set on their 21st birthday, to save any future husband the cost at a later date. His home is presented as more modern than No.2, furnished in the Edwardian style the modern day utilities of an enamelled bathroom with flushing toilet, a controllable heat kitchen range and gas cooker. No. 5 is presented as a solicitor's office, based on that of Robert Spence Watson, a Quaker from Newcastle. Reflecting the trade of the era, downstairs is laid out as the partner's or principal office, and the general or clerk's office in the rear. Included is a set of books sourced from ER Hanby Holmes, who practised in Barnard Castle.

 

Pub

Presented as The Sun Inn, the pub opened in the town in 1985. It had originally stood in Bondgate in Bishop Auckland, and was donated to the museum by its final owners, the Scottish and Newcastle Breweries. Originally a "one-up one down" cottage, the earliest ownership has been traced to James Thompson, on 21 January 1806. Known as The Tiger Inn until the 1850s, from 1857 to 1899 under the ownership of the Leng family, it flourished under the patronage of miners from Newton Cap and other collieries. Latterly run by Elsie Edes, it came under brewery ownership in the 20th Century when bought by S&N antecedent, James Deuchar Ltd. The pub is fully operational, and features both a front and back bar, the two stories above not being part of the exhibit. The interior decoration features the stuffed racing greyhound Jake's Bonny Mary, which won nine trophies before being put on display in The Gerry in White le Head near Tantobie.

 

Town stables

Reflecting the reliance on horses for a variety of transport needs in the era, the town features a centrally located stables, situated behind the sweet shop, with its courtyard being accessed from the archway next to the pub. It is presented as a typical jobmaster's yard, with stables and a tack room in the building on its north side. A small, brick built open air, carriage shed is sited on the back of the printworks building. On the east side of the courtyard is a much larger metal shed (utilising iron roof trusses from Fleetwood), arranged mainly as carriage storage, but with a blacksmith's shop in the corner. The building on the west side of the yard is not part of any display. The interior fittings for the harness room came from Callaly Caste. Many of the horses and horse-drawn vehicles used by the museum are housed in the stables and sheds.

 

Printer, stationer and newspaper branch office

Presented as the Beamish Branch Office of the Northern Daily Mail and the Sunderland Daily Echo, the two storey replica building was built in the mid-1980s and represents the trade practices of the era. Downstairs, on the right, is the branch office, where newspapers would be sold directly and distributed to local newsagents and street vendors, and where orders for advertising copy would be taken. Supplementing it is a stationer's shop on the left hand side, with both display items and a small number of gift items on public sale. Upstairs is a jobbing printers workshop, which would not produce the newspapers, but would instead print leaflets, posters and office stationery. Split into a composing area and a print shop, the shop itself has a number of presses - a Columbian built in 1837 by Clymer and Dixon, an Albion dating back to 1863, an Arab Platen of c. 1900, and a Wharfedale flat bed press, built by Dawson & Son in around 1870. Much of the machinery was sourced from the print works of Jack Ascough's of Barnard Castle. Many of the posters seen around the museum are printed in the works, with the operation of the machinery being part of the display.

 

Sweet shop

Presented as Jubilee Confectioners, the two storey sweet shop opened in 1994 and is meant to represent the typical family run shops of the era, with living quarters above the shop (the second storey not being part of the display). To the front of the ground floor is a shop, where traditional sweets and chocolate (which was still relatively expensive at the time) are sold to visitors, while in the rear of the ground floor is a manufacturing area where visitors can view the techniques of the time (accessed via the arched walkway on the side of the building). The sweet rollers were sourced from a variety of shops and factories.

 

Bank

Presented as a branch of Barclays Bank (Barclay & Company Ltd) using period currency, the bank opened in 1999. It represents the trend of the era when regional banks were being acquired and merged into national banks such as Barclays, formed in 1896. Built to a three-storey design typical of the era, and featuring bricks in the upper storeys sourced from Park House, Gateshead, the Swedish imperial red shade used on the ground floor frontage is intended to represent stability and security. On the ground floor are windows for bank tellers, plus the bank manager's office. Included in a basement level are two vaults. The upper two storeys are not part of the display. It features components sourced from Southport and Gateshead

 

Masonic Hall

The Masonic Hall opened in 2006, and features the frontage from a former masonic hall sited in Park Terrace, Sunderland. Reflecting the popularity of the masons in North East England, as well as the main hall, which takes up the full height of the structure, in a small two story arrangement to the front of the hall is also a Robing Room and the Tyler's Room on the ground floor, and a Museum Room upstairs, featuring display cabinets of masonic regalia donated from various lodges. Upstairs is also a class room, with large stained glass window.

 

Chemist and photographer

Presented as W Smith's Chemist and JR & D Edis Photographers, a two-storey building housing both a chemist and photographers shops under one roof opened on 7 May 2016 and represents the growing popularity of photography in the era, with shops often growing out of or alongside chemists, who had the necessary supplies for developing photographs. The chemist features a dispensary, and equipment from various shops including John Walker, inventor of the friction match. The photographers features a studio, where visitors can dress in period costume and have a photograph taken. The corner building is based on a real building on Elvet Bridge in Durham City, opposite the Durham Marriot Hotel (the Royal County), although the second storey is not part of the display. The chemist also sells aerated water (an early form of carbonated soft drinks) to visitors, sold in marble-stopper sealed Codd bottles (although made to a modern design to prevent the safety issue that saw the original bottles banned). Aerated waters grew in popularity in the era, due to the need for a safe alternative to water, and the temperance movement - being sold in chemists due to the perception they were healthy in the same way mineral waters were.

 

Costing around £600,000 and begun on 18 August 2014, the building's brickwork and timber was built by the museum's own staff and apprentices, using Georgian bricks salvaged from demolition works to widen the A1. Unlike previous buildings built on the site, the museum had to replicate rather than relocate this one due to the fact that fewer buildings are being demolished compared to the 1970s, and in any case it was deemed unlikely one could be found to fit the curved shape of the plot. The studio is named after a real business run by John Reed Edis and his daughter Daisy. Mr Edis, originally at 27 Sherburn Road, Durham, in 1895, then 52 Saddler Street from 1897. The museum collection features several photographs, signs and equipment from the Edis studio. The name for the chemist is a reference to the business run by William Smith, who relocated to Silver Street, near the original building, in 1902. According to records, the original Edis company had been supplied by chemicals from the original (and still extant) Smith business.

 

Redman Park

Redman Park is a small lawned space with flower borders, opposite Ravensworth Terrace. Its centrepiece is a Victorian bandstand sourced from Saltwell Park, where it stood on an island in the middle of a lake. It represents the recognised need of the time for areas where people could relax away from the growing industrial landscape.

 

Other

Included in the Town are drinking fountains and other period examples of street furniture. In between the bank and the sweet shop is a combined tram and bus waiting room and public convenience.

 

Unbuilt

When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.

 

Railway station

East of the Town is the Railway Station, depicting a typical small passenger and goods facility operated by the main railway company in the region at the time, the North Eastern Railway (NER). A short running line extends west in a cutting around the north side of the Town itself, with trains visible from the windows of the stables. It runs for a distance of 1⁄4 mile - the line used to connect to the colliery sidings until 1993 when it was lifted between the town and the colliery so that the tram line could be extended. During 2009 the running line was relaid so that passenger rides could recommence from the station during 2010.

 

Rowley station

Representing passenger services is Rowley Station, a station building on a single platform, opened in 1976, having been relocated to the museum from the village of Rowley near Consett, just a few miles from Beamish.

 

The original Rowley railway station was opened in 1845 (as Cold Rowley, renamed Rowley in 1868) by the NER antecedent, the Stockton and Darlington Railway, consisting of just a platform. Under NER ownership, as a result of increasing use, in 1873 the station building was added. As demand declined, passenger service was withdrawn in 1939, followed by the goods service in 1966. Trains continued to use the line for another three years before it closed, the track being lifted in 1970. Although in a state of disrepair, the museum acquired the building, dismantling it in 1972, being officially unveiled in its new location by railway campaigner and poet, Sir John Betjeman.

 

The station building is presented as an Edwardian station, lit by oil lamp, having never been connected to gas or electricity supplies in its lifetime. It features both an open waiting area and a visitor accessible waiting room (western half), and a booking and ticket office (eastern half), with the latter only visible from a small viewing entrance. Adorning the waiting room is a large tiled NER route map.

 

Signal box

The signal box dates from 1896, and was relocated from Carr House East near Consett. It features assorted signalling equipment, basic furnishings for the signaller, and a lever frame, controlling the stations numerous points, interlocks and semaphore signals. The frame is not an operational part of the railway, the points being hand operated using track side levers. Visitors can only view the interior from a small area inside the door.

 

Goods shed

The goods shed is originally from Alnwick. The goods area represents how general cargo would have been moved on the railway, and for onward transport. The goods shed features a covered platform where road vehicles (wagons and carriages) can be loaded with the items unloaded from railway vans. The shed sits on a triangular platform serving two sidings, with a platform mounted hand-crane, which would have been used for transhipment activity (transfer of goods from one wagon to another, only being stored for a short time on the platform, if at all).

 

Coal yard

The coal yard represents how coal would have been distributed from incoming trains to local merchants - it features a coal drop which unloads railway wagons into road going wagons below. At the road entrance to the yard is a weighbridge (with office) and coal merchant's office - both being appropriately furnished with display items, but only viewable from outside.

 

The coal drop was sourced from West Boldon, and would have been a common sight on smaller stations. The weighbridge came from Glanton, while the coal office is from Hexham.

 

Bridges and level crossing

The station is equipped with two footbridges, a wrought iron example to the east having come from Howden-le-Wear, and a cast iron example to the west sourced from Dunston. Next to the western bridge, a roadway from the coal yard is presented as crossing the tracks via a gated level crossing (although in reality the road goes nowhere on the north side).

 

Waggon and Iron Works

Dominating the station is the large building externally presented as Beamish Waggon and Iron Works, estd 1857. In reality this is the Regional Museums Store (see below), although attached to the north side of the store are two covered sidings (not accessible to visitors), used to service and store the locomotives and stock used on the railway.

 

Other

A corrugated iron hut adjacent to the 'iron works' is presented as belonging to the local council, and houses associated road vehicles, wagons and other items.

 

Fairground

Adjacent to the station is an events field and fairground with a set of Frederick Savage built steam powered Gallopers dating from 1893.

 

Colliery

Presented as Beamish Colliery (owned by James Joicey & Co., and managed by William Severs), the colliery represents the coal mining industry which dominated the North East for generations - the museum site is in the former Durham coalfield, where 165,246 men and boys worked in 304 mines in 1913. By the time period represented by Beamish's 1900s era, the industry was booming - production in the Great Northern Coalfield had peaked in 1913, and miners were relatively well paid (double that of agriculture, the next largest employer), but the work was dangerous. Children could be employed from age 12 (the school leaving age), but could not go underground until 14.

 

Deep mine

Reconstructed pitworks buildings showing winding gear

Dominating the colliery site are the above ground structures of a deep (i.e. vertical shaft) mine - the brick built Winding Engine House, and the red painted wooden Heapstead. These were relocated to the museum (which never had its own vertical shaft), the winding house coming from Beamish Chophill Colliery, and the Heapstead from Ravensworth Park Mine in Gateshead. The winding engine and its enclosing house are both listed.

 

The winding engine was the source of power for hauling miners, equipment and coal up and down the shaft in a cage, the top of the shaft being in the adjacent heapstead, which encloses the frame holding the wheel around which the hoist cable travels. Inside the Heapstead, tubs of coal from the shaft were weighed on a weighbridge, then tipped onto jigging screens, which sifted the solid lumps from small particles and dust - these were then sent along the picking belt, where pickers, often women, elderly or disabled people or young boys (i.e. workers incapable of mining), would separate out unwanted stone, wood and rubbish. Finally, the coal was tipped onto waiting railway wagons below, while the unwanted waste sent to the adjacent heap by an external conveyor.

 

Chophill Colliery was closed by the National Coal Board in 1962, but the winding engine and tower were left in place. When the site was later leased, Beamish founder Frank Atkinson intervened to have both spot listed to prevent their demolition. After a protracted and difficult process to gain the necessary permissions to move a listed structure, the tower and engine were eventually relocated to the museum, work being completed in 1976. The winding engine itself is the only surviving example of the type which was once common, and was still in use at Chophill upon its closure. It was built in 1855 by J&G Joicey of Newcastle, to an 1800 design by Phineas Crowther.

 

Inside the winding engine house, supplementing the winding engine is a smaller jack engine, housed in the rear. These were used to lift heavy equipment, and in deep mines, act as a relief winding engine.

 

Outdoors, next to the Heapstead, is a sinking engine, mounted on red bricks. Brought to the museum from Silksworth Colliery in 1971, it was built by Burlington's of Sunderland in 1868 and is the sole surviving example of its kind. Sinking engines were used for the construction of shafts, after which the winding engine would become the source of hoist power. It is believed the Silksworth engine was retained because it was powerful enough to serve as a backup winding engine, and could be used to lift heavy equipment (i.e. the same role as the jack engine inside the winding house).

 

Drift mine

The Mahogany Drift Mine is original to Beamish, having opened in 1855 and after closing, was brought back into use in 1921 to transport coal from Beamish Park Drift to Beamish Cophill Colliery. It opened as a museum display in 1979. Included in the display is the winding engine and a short section of trackway used to transport tubs of coal to the surface, and a mine office. Visitor access into the mine shaft is by guided tour.

 

Lamp cabin

The Lamp Cabin opened in 2009, and is a recreation of a typical design used in collieries to house safety lamps, a necessary piece of equipment for miners although were not required in the Mahogany Drift Mine, due to it being gas-free. The building is split into two main rooms; in one half, the lamp cabin interior is recreated, with a collection of lamps on shelves, and the system of safety tokens used to track which miners were underground. Included in the display is a 1927 Hailwood and Ackroyd lamp-cleaning machine sourced from Morrison Busty Colliery in Annfield Plain. In the second room is an educational display, i.e., not a period interior.

 

Colliery railways

The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.

 

The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long-term storage only.

 

The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.

 

There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.

 

Other

On the south eastern corner of the colliery site is the Power House, brought to the museum from Houghton Colliery. These were used to store explosives.

 

Pit Village

Alongside the colliery is the pit village, representing life in the mining communities that grew alongside coal production sites in the North East, many having come into existence solely because of the industry, such as Seaham Harbour, West Hartlepool, Esh Winning and Bedlington.

 

Miner's Cottages

The row of six miner's cottages in Francis Street represent the tied-housing provided by colliery owners to mine workers. Relocated to the museum in 1976, they were originally built in the 1860s in Hetton-le-Hole by Hetton Coal Company. They feature the common layout of a single-storey with a kitchen to the rear, the main room of the house, and parlour to the front, rarely used (although it was common for both rooms to be used for sleeping, with disguised folding "dess" beds common), and with children sleeping in attic spaces upstairs. In front are long gardens, used for food production, with associated sheds. An outdoor toilet and coal bunker were in the rear yards, and beyond the cobbled back lane to their rear are assorted sheds used for cultivation, repairs and hobbies. Chalkboard slates attached to the rear wall were used by the occupier to tell the mine's "knocker up" when they wished to be woken for their next shift.

 

No.2 is presented as a Methodist family's home, featuring good quality "Pitman's mahogany" furniture; No.3 is presented as occupied by a second generation well off Irish Catholic immigrant family featuring many items of value (so they could be readily sold off in times of need) and an early 1890s range; No.3 is presented as more impoverished than the others with just a simple convector style Newcastle oven, being inhabited by a miner's widow allowed to remain as her son is also a miner, and supplementing her income doing laundry and making/mending for other families. All the cottages feature examples of the folk art objects typical of mining communities. Also included in the row is an office for the miner's paymaster.[11] In the rear alleyway of the cottages is a communal bread oven, which were commonplace until miner's cottages gradually obtained their own kitchen ranges. They were used to bake traditional breads such as the Stottie, as well as sweet items, such as tea cakes. With no extant examples, the museum's oven had to be created from photographs and oral history.

 

School

The school opened in 1992, and represents the typical board school in the educational system of the era (the stone built single storey structure being inscribed with the foundation date of 1891, Beamish School Board), by which time attendance at a state approved school was compulsory, but the leaving age was 12, and lessons featured learning by rote and corporal punishment. The building originally stood in East Stanley, having been set up by the local school board, and would have numbered around 150 pupils. Having been donated by Durham County Council, the museum now has a special relationship with the primary school that replaced it. With separate entrances and cloakrooms for boys and girls at either end, the main building is split into three class rooms (all accessible to visitors), connected by a corridor along the rear. To the rear is a red brick bike shed, and in the playground visitors can play traditional games of the era.

 

Chapel

Pit Hill Chapel opened in 1990, and represents the Wesleyan Methodist tradition which was growing in North East England, with the chapels used for both religious worship and as community venues, which continue in its role in the museum display. Opened in the 1850s, it originally stood not far from its present site, having been built in what would eventually become Beamish village, near the museum entrance. A stained glass window of The Light of The World by William Holman Hunt came from a chapel in Bedlington. A two handled Love Feast Mug dates from 1868, and came from a chapel in Shildon Colliery. On the eastern wall, above the elevated altar area, is an angled plain white surface used for magic lantern shows, generated using a replica of the double-lensed acetylene gas powered lanterns of the period, mounted in the aisle of the main seating area. Off the western end of the hall is the vestry, featuring a small library and communion sets from Trimdon Colliery and Catchgate.

 

Fish bar

Presented as Davey's Fried Fish & Chip Potato Restaurant, the fish and chip shop opened in 2011, and represents the typical style of shop found in the era as they were becoming rapidly popular in the region - the brick built Victorian style fryery would most often have previously been used for another trade, and the attached corrugated iron hut serves as a saloon with tables and benches, where customers would eat and socialise. Featuring coal fired ranges using beef-dripping, the shop is named in honour of the last coal fired shop in Tyneside, in Winlaton Mill, and which closed in 2007. Latterly run by brothers Brian and Ramsay Davy, it had been established by their grandfather in 1937. The serving counter and one of the shop's three fryers, a 1934 Nuttal, came from the original Davy shop. The other two fryers are a 1920s Mabbott used near Chester until the 1960s, and a GW Atkinson New Castle Range, donated from a shop in Prudhoe in 1973. The latter is one of only two known late Victorian examples to survive. The decorative wall tiles in the fryery came to the museum in 1979 from Cowes Fish and Game Shop in Berwick upon Tweed. The shop also features both an early electric and hand-powered potato rumblers (cleaners), and a gas powered chip chopper built around 1900. Built behind the chapel, the fryery is arranged so the counter faces the rear, stretching the full length of the building. Outside is a brick built row of outdoor toilets. Supplementing the fish bar is the restored Berriman's mobile chip van, used in Spennymoor until the early 1970s.

 

Band hall

The Hetton Silver Band Hall opened in 2013, and features displays reflecting the role colliery bands played in mining life. Built in 1912, it was relocated from its original location in South Market Street, Hetton-le-Hole, where it was used by the Hetton Silver Band, founded in 1887. They built the hall using prize money from a music competition, and the band decided to donate the hall to the museum after they merged with Broughtons Brass Band of South Hetton (to form the Durham Miners' Association Brass Band). It is believed to be the only purpose built band hall in the region. The structure consists of the main hall, plus a small kitchen to the rear; as part of the museum it is still used for performances.

 

Pit pony stables

The Pit Pony Stables were built in 2013/14, and house the museum's pit ponies. They replace a wooden stable a few metres away in the field opposite the school (the wooden structure remaining). It represents the sort of stables that were used in drift mines (ponies in deep mines living their whole lives underground), pit ponies having been in use in the north east as late as 1994, in Ellington Colliery. The structure is a recreation of an original building that stood at Rickless Drift Mine, between High Spen and Greenside; it was built using a yellow brick that was common across the Durham coalfield.

 

Other

Doubling as one of the museum's refreshment buildings, Sinker's Bait Cabin represents the temporary structures that would have served as living quarters, canteens and drying areas for sinkers, the itinerant workforce that would dig new vertical mine shafts.

 

Representing other traditional past-times, the village fields include a quoits pitch, with another refreshment hut alongside it, resembling a wooden clubhouse.

 

In one of the fields in the village stands the Cupola, a small round flat topped brick built tower; such structures were commonly placed on top of disused or ventilation shafts, also used as an emergency exit from the upper seams.

 

The Georgian North (1825)

A late Georgian landscape based around the original Pockerley farm represents the period of change in the region as transport links were improved and as agriculture changed as machinery and field management developed, and breeding stock was improved. It became part of the museum in 1990, having latterly been occupied by a tenant farmer, and was opened as an exhibit in 1995. The hill top position suggests the site was the location of an Iron Age fort - the first recorded mention of a dwelling is in the 1183 Buke of Boldon (the region's equivalent of the Domesday Book). The name Pockerley has Saxon origins - "Pock" or "Pokor" meaning "pimple of bag-like" hill, and "Ley" meaning woodland clearing.

 

The surrounding farmlands have been returned to a post-enclosure landscape with ridge and furrow topography, divided into smaller fields by traditional riven oak fencing. The land is worked and grazed by traditional methods and breeds.

 

Pockerley Old Hall

The estate of Pockerley Old Hall is presented as that of a well off tenant farmer, in a position to take advantage of the agricultural advances of the era. The hall itself consists of the Old House, which is adjoined (but not connected to) the New House, both south facing two storey sandstone built buildings, the Old House also having a small north–south aligned extension. Roof timbers in the sandstone built Old House have been dated to the 1440s, but the lower storey (the undercroft) may be from even earlier. The New House dates to the late 1700s, and replaced a medieval manor house to the east of the Old House as the main farm house - once replaced itself, the Old House is believed to have been let to the farm manager. Visitors can access all rooms in the New and Old House, except the north–south extension which is now a toilet block. Displays include traditional cooking, such as the drying of oatcakes over a wooden rack (flake) over the fireplace in the Old House.

 

Inside the New House the downstairs consists of a main kitchen and a secondary kitchen (scullery) with pantry. It also includes a living room, although as the main room of the house, most meals would have been eaten in the main kitchen, equipped with an early range, boiler and hot air oven. Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney).

 

Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet. The main bed is an oak box bed dating to 1712, obtained from Star House in Baldersdale in 1962. Originally a defensive house in its own right, the lower level of the Old House is an undercroft, or vaulted basement chamber, with 1.5 metre thick walls - in times of attack the original tenant family would have retreated here with their valuables, although in its later use as the farm managers house, it is now presented as a storage and work room, housing a large wooden cheese press.[68] More children would have slept in the attic of the Old House (not accessible as a display).

 

To the front of the hall is a terraced garden featuring an ornamental garden with herbs and flowers, a vegetable garden, and an orchard, all laid out and planted according to the designs of William Falla of Gateshead, who had the largest nursery in Britain from 1804 to 1830.

 

The buildings to the east of the hall, across a north–south track, are the original farmstead buildings dating from around 1800. These include stables and a cart shed arranged around a fold yard. The horses and carts on display are typical of North Eastern farms of the era, Fells or Dales ponies and Cleveland Bay horses, and two wheeled long carts for hilly terrain (as opposed to four wheel carts).

 

Pockerley Waggonway

The Pockerley Waggonway opened in 2001, and represents the year 1825, as the year the Stockton and Darlington Railway opened. Waggonways had appeared around 1600, and by the 1800s were common in mining areas - prior to 1800 they had been either horse or gravity powered, before the invention of steam engines (initially used as static winding engines), and later mobile steam locomotives.

 

Housing the locomotives and rolling stock is the Great Shed, which opened in 2001 and is based on Timothy Hackworth's erecting shop, Shildon railway works, and incorporating some material from Robert Stephenson and Company's Newcastle works. Visitors can walk around the locomotives in the shed, and when in steam, can take rides to the end of the track and back in the line's assorted rolling stock - situated next to the Great Shed is a single platform for passenger use. In the corner of the main shed is a corner office, presented as a locomotive designer's office (only visible to visitors through windows). Off the pedestrian entrance in the southern side is a room presented as the engine crew's break room. Atop the Great Shed is a weather vane depicting a waggonway train approaching a cow, a reference to a famous quote by George Stephenson when asked by parliament in 1825 what would happen in such an eventuality - "very awkward indeed - for the coo!".

 

At the far end of the waggonway is the (fictional) coal mine Pockerley Gin Pit, which the waggonway notionally exists to serve. The pit head features a horse powered wooden whim gin, which was the method used before steam engines for hauling men and material up and down mineshafts - coal was carried in corves (wicker baskets), while miners held onto the rope with their foot in an attached loop.

 

Wooden waggonway

Following creation of the Pockerley Waggonway, the museum went back a chapter in railway history to create a horse-worked wooden waggonway.

 

St Helen's Church

St Helen's Church represents a typical type of country church found in North Yorkshire, and was relocated from its original site in Eston, North Yorkshire. It is the oldest and most complex building moved to the museum. It opened in November 2015, but will not be consecrated as this would place restrictions on what could be done with the building under church law.

 

The church had existed on its original site since around 1100. As the congregation grew, it was replaced by two nearby churches, and latterly became a cemetery chapel. After closing in 1985, it fell into disrepair and by 1996 was burnt out and vandalised leading to the decision by the local authority in 1998 to demolish it. Working to a deadline of a threatened demolition within six months, the building was deconstructed and moved to Beamish, reconstruction being authorised in 2011, with the exterior build completed by 2012.

 

While the structure was found to contain some stones from the 1100 era, the building itself however dates from three distinct building phases - the chancel on the east end dates from around 1450, while the nave, which was built at the same time, was modernised in 1822 in the Churchwarden style, adding a vestry. The bell tower dates from the late 1600s - one of the two bells is a rare dated Tudor example. Gargoyles, originally hidden in the walls and believed to have been pranks by the original builders, have been made visible in the reconstruction.

 

Restored to its 1822 condition, the interior has been furnished with Georgian box pews sourced from a church in Somerset. Visitors can access all parts except the bell tower. The nave includes a small gallery level, at the tower end, while the chancel includes a church office.

 

Joe the Quilter's Cottage

The most recent addition to the area opened to the public in 2018 is a recreation of a heather-thatched cottage which features stones from the Georgian quilter Joseph Hedley's original home in Northumberland. It was uncovered during an archaeological dig by Beamish. His original cottage was demolished in 1872 and has been carefully recreated with the help of a drawing on a postcard. The exhibit tells the story of quilting and the growth of cottage industries in the early 1800s. Within there is often a volunteer or member of staff not only telling the story of how Joe was murdered in 1826, a crime that remains unsolved to this day, but also giving visitors the opportunity to learn more and even have a go at quilting.

 

Other

A pack pony track passes through the scene - pack horses having been the mode of transport for all manner of heavy goods where no waggonway exists, being also able to reach places where carriages and wagons could not access. Beside the waggonway is a gibbet.

 

Farm (1940s)

Presented as Home Farm, this represents the role of North East farms as part of the British Home Front during World War II, depicting life indoors, and outside on the land. Much of the farmstead is original, and opened as a museum display in 1983. The farm is laid out across a north–south public road; to the west is the farmhouse and most of the farm buildings, while on the east side are a pair of cottages, the British Kitchen, an outdoor toilet ("netty"), a bull field, duck pond and large shed.

 

The farm complex was rebuilt in the mid-19th century as a model farm incorporating a horse mill and a steam-powered threshing mill. It was not presented as a 1940s farm until early 2014.

 

The farmhouse is presented as having been modernised, following the installation of electric power and an Aga cooker in the scullery, although the main kitchen still has the typical coal-fired black range. Lino flooring allowed quicker cleaning times, while a radio set allowed the family to keep up to date with wartime news. An office next to the kitchen would have served both as the administration centre for the wartime farm, and as a local Home Guard office. Outside the farmhouse is an improvised Home Guard pillbox fashioned from half an egg-ended steam boiler, relocated from its original position near Durham.

 

The farm is equipped with three tractors which would have all seen service during the war: a Case, a Fordson N and a 1924 Fordson F. The farm also features horse-drawn traps, reflecting the effect wartime rationing of petrol would have had on car use. The farming equipment in the cart and machinery sheds reflects the transition of the time from horse-drawn to tractor-pulled implements, with some older equipment put back into use due to the war, as well as a large Foster thresher, vital for cereal crops, and built specifically for the war effort, sold at the Newcastle Show. Although the wartime focus was on crops, the farm also features breeds of sheep, cattle, pigs and poultry that would have been typical for the time. The farm also has a portable steam engine, not in use, but presented as having been left out for collection as part of a wartime scrap metal drive.

 

The cottages would have housed farm labourers, but are presented as having new uses for the war: Orchard Cottage housing a family of evacuees, and Garden Cottage serving as a billet for members of the Women's Land Army (Land Girls). Orchard Cottage is named for an orchard next to it, which also contains an Anderson shelter, reconstructed from partial pieces of ones recovered from around the region. Orchard Cottage, which has both front and back kitchens, is presented as having an up to date blue enameled kitchen range, with hot water supplied from a coke stove, as well as a modern accessible bathroom. Orchard Cottage is also used to stage recreations of wartime activities for schools, elderly groups and those living with dementia. Garden Cottage is sparsely furnished with a mix of items, reflecting the few possessions Land Girls were able to take with them, although unusually the cottage is depicted with a bathroom, and electricity (due to proximity to a colliery).

 

The British Kitchen is both a display and one of the museum's catering facilities; it represents an installation of one of the wartime British Restaurants, complete with propaganda posters and a suitably patriotic menu.

 

Town (1950s)

As part of the Remaking Beamish project, with significant funding from the National Lottery Heritage Fund, the museum is creating a 1950s town. Opened in July 2019, the Welfare Hall is an exact replica of the Leasingthorne Colliery Welfare Hall and Community Centre which was built in 1957 near Bishop Auckland. Visitors can 'take part in activities including dancing, crafts, Meccano, beetle drive, keep fit and amateur dramatics' while also taking a look at the National Health Service exhibition on display, recreating the environment of an NHS clinic. A recreation and play park, named Coronation Park was opened in May 2022 to coincide with the celebrations around the Platinum Jubilee of Elizabeth II.

 

The museum's first 1950s terrace opened in February 2022. This included a fish and chip shop from Middleton St George, a cafe, a replica of Norman Cornish's home, and a hairdressers. Future developments opposite the existing 1950s terrace will see a recreation of The Grand Cinema, from Ryhope, in Sunderland, and toy and electricians shops. Also underdevelopment are a 1950s bowling green and pavilion, police houses and aged miner's cottages. Also under construction are semi-detached houses; for this exhibit, a competition was held to recreate a particular home at Beamish, which was won by a family from Sunderland.

 

As well as the town, a 1950s Northern bus depot has been opened on the western side of the museum – the purpose of this is to provide additional capacity for bus, trolleybus and tram storage once the planned trolleybus extension and the new area are completed, providing extra capacity and meeting the need for modified routing.

 

Spain's Field Farm

In March 2022, the museum opened Spain's Field Farm. It had stood for centuries at Eastgate in Weardale, and was moved to Beamish stone-by-stone. It is exhibited as it would have been in the 1950s.

 

1820s Expansion

In the area surrounding the current Pockerley Old Hall and Steam Wagon Way more development is on the way. The first of these was planned to be a Georgian Coaching Inn that would be the museum's first venture into overnight accommodation. However following the COVID-19 pandemic this was abandoned, in favour of self-catering accommodation in existing cottages.

 

There are also plans for 1820s industries including a blacksmith's forge and a pottery.

 

Museum stores

There are two stores on the museum site, used to house donated objects. In contrast to the traditional rotation practice used in museums where items are exchanged regularly between store and display, it is Beamish policy that most of their exhibits are to be in use and on display - those items that must be stored are to be used in the museum's future developments.

 

Open Store

Housed in the Regional Resource Centre, the Open Store is accessible to visitors. Objects are housed on racks along one wall, while the bulk of items are in a rolling archive, with one set of shelves opened, with perspex across their fronts to permit viewing without touching.

 

Regional Museums Store

The real purposes of the building presented as Beamish Waggon and Iron Works next to Rowley Station is as the Regional Museums Store, completed in 2002, which Beamish shares with Tyne and Wear Museums. This houses, amongst other things, a large marine diesel engine by William Doxford & Sons of Pallion, Sunderland (1977); and several boats including the Tyne wherry (a traditional local type of lighter) Elswick No. 2 (1930). The store is only open at selected times, and for special tours which can be arranged through the museum; however, a number of viewing windows have been provided for use at other times.

 

Transport collection

Main article: Beamish Museum transport collection

The museum contains much of transport interest, and the size of its site makes good internal transportation for visitors and staff purposes a necessity.

 

The collection contains a variety of historical vehicles for road, rail and tramways. In addition there are some modern working replicas to enhance the various scenes in the museum.

 

Agriculture

The museum's two farms help to preserve traditional northcountry and in some cases rare livestock breeds such as Durham Shorthorn Cattle; Clydesdale and Cleveland Bay working horses; Dales ponies; Teeswater sheep; Saddleback pigs; and poultry.

 

Regional heritage

Other large exhibits collected by the museum include a tracked steam shovel, and a coal drop from Seaham Harbour.

 

In 2001 a new-build Regional Resource Centre (accessible to visitors by appointment) opened on the site to provide accommodation for the museum's core collections of smaller items. These include over 300,000 historic photographs, printed books and ephemera, and oral history recordings. The object collections cover the museum's specialities. These include quilts; "clippy mats" (rag rugs); Trade union banners; floor cloth; advertising (including archives from United Biscuits and Rowntree's); locally made pottery; folk art; and occupational costume. Much of the collection is viewable online and the arts of quilting, rug making and cookery in the local traditions are demonstrated at the museum.

 

Filming location

The site has been used as the backdrop for many film and television productions, particularly Catherine Cookson dramas, produced by Tyne Tees Television, and the final episode and the feature film version of Downton Abbey. Some of the children's television series Supergran was shot here.

 

Visitor numbers

On its opening day the museum set a record by attracting a two-hour queue. Visitor numbers rose rapidly to around 450,000 p.a. during the first decade of opening to the public, with the millionth visitor arriving in 1978.

 

Awards

Museum of the Year1986

European Museum of the Year Award1987

Living Museum of the Year2002

Large Visitor Attraction of the YearNorth East England Tourism awards2014 & 2015

Large Visitor Attraction of the Year (bronze)VisitEngland awards2016

It was designated by the Museums, Libraries and Archives Council in 1997 as a museum with outstanding collections.

 

Critical responses

In responding to criticism that it trades on nostalgia the museum is unapologetic. A former director has written: "As individuals and communities we have a deep need and desire to understand ourselves in time."

 

According to the BBC writing in its 40th anniversary year, Beamish was a mould-breaking museum that became a great success due to its collection policy, and what sets it apart from other museums is the use of costumed people to impart knowledge to visitors, rather than labels or interpretive panels (although some such panels do exist on the site), which means it "engages the visitor with history in a unique way".

 

Legacy

Beamish was influential on the Black Country Living Museum, Blists Hill Victorian Town and, in the view of museologist Kenneth Hudson, more widely in the museum community and is a significant educational resource locally. It can also demonstrate its benefit to the contemporary local economy.

 

The unselective collecting policy has created a lasting bond between museum and community.

Video of adventure here - youtu.be/kR9LcMaja3Q

 

Garbh Bheinn

The Cuillin in Skye have always captured my attention, whether Red or Black the combination of mountain and sea creates a magical spectacle and a visit to Sky always fills me with excitement! The northerly winds had brought snow to the northern half of Scotland and now a low pressure system was hovering over the northwest highlands! The day before on the drive through I had stopped in Glen Shiel and walked up Sgurr Mhic Bharraich, wading through drifts on the top and catching a little sun light between hefty showers!

I spent the night in Broadford contemplating what to do the following day… The forecast was varying between the different weather websites, with some stating the afternoon would be better and others indicating that the morning would be better! I had my eye on Garbh Bheinn, a Corbett in the Black Cuillin, not far from Clach Ghlas and Blabheinn, which I hadn’t been up before, however I didn’t fancy heading up in a white out!

 

A short evening walk along the shores of Broadford Bay revealed a starry sky and I looked skyward in the hope of catching some of the meteor shower… I saw two shooting stars and made my wish!

 

Breakfast as at 0730am at the hotel and I was up early to see which forecast was right! Stepping outside and everything sparkled- a deep frost had descended overnight and cloaked everything in ice! Anticipation was growing, although the stars shone here with the clear sky, it didn’t mean the mountains along the road would be clear! I set off and to my delight the skies remained clear as I drove the short distance to my start point near the waterfall at the head of Loch Ainort, the dawn light was revealing a white blanket coating the Cuillin Hills- to say I was happy would be the understatement of the year! I really couldn’t have asked for a better morning, the heavy snows of the prior days had left the Red and Black Cuillin decidedly white! The sky was blue, the mountains were white ad nobody else was on the hill, solitude seemed a little unfair however I was enjoying it all! The shooting star and wish the night before had held true;)

I made my way up the Druim Eadar Da Choire, all the while trying to make steady progress and not stopping every two steps to pick my jaw off the floor! Marsco was dominating the skyline ahead and to my right, the other Red Cuillin stood behind me watching my progress and all the while Garbh Bheinn was waiting to the southern horizon! These views were amazing but as I reached the top of the shoulder (489m), the Black Cuillin Ridge came into view- what a sight! I was lucky enough to summit camp on Sgurr na Stri when snow covered the Cuillin previously, however on that occasion the blanket was only half on – today the blanket was almost down to sea level. I spent a bit of time enjoying the view at the shoulder top and would’ve of been happy to turn and go home here – however I now had to cross from the Red to the Black and get my mountaineering head on! Garbh Bheinn, in comparison to other Black Cuillin peaks may be less technical and in the summer a easy scramble, however under a coating of deep, soft powdery, unconsolidated snow, I knew I was going to have to concentrate and perhaps not summit her today…. No one was on the mountain and a simple slip would have consequences- especially on the summit ridge where I knew the narrow ridge would test me….

Crampons on – ice axe out, I now headed up steep ground with some steepening sections

. The snow made everything look so festive but foot placements gave some surprises. The deep snow hid rock and scree and the fact that the snow was so powdery meant I had to take my time. Up I went and the views got better and better! Behind me and looking north I could see the weather was rapidly changing, the low sun to the south was still illuminating the white hills but the northern horizon behind grew darker and darker with the approaching weather!

 

Soon, I was about to gain the summit ridge! Pulling myself onto the final ridge before turning east and a new view came into sight as Blabheinn appeared in all its glory! I sat and enjoyed it, but not for too long – Galmaig and its neighbours had now been engulfed with the storm clouds and were disappearing from view- I needed to crack on! Probably a hop, skip and a jump in summer conditions, the final ridge was now a sharp snowy arête, the knife edge crest of snow hiding the rocks under the coating. Probing my way along slowly I had to circumvent a few small steps the axe a necessity ! Exhilarating and lofty it certainly was! Soon I reached the summit and the blue above was now replaced by grey as white flakes started to fall! Half way! The same amount of concentration was needed to retrace my steps and soon I stopped heading west and was headed north towards the car. The hills and mountains that had caught my gaze all the way up had now disappeared and a sheet of dark grey enveloped everything. The wind had increased dramatically and heavy snow now fell from the sky stinging my exposed skin! The blizzard raged around me as I descended! My plans (had the weather remained perfect) were to continue to Marsco, that was no binned as I fought my way back to the car! It wasn’t until I set foot back on the Red Cuillin that the snow started to ease so a couple of snaps and piece to camera before descent on the red part of the walk! The snow eventually turned to rain as I reached the car and a quick change into civilian uniform;)! On to the Sligachan and a soon I was tucking into a festive dinner in front of a roaring fire, trying to take in my day’s adventure – what a day, what a mountain – what a place….. Not sure I will have such a good day on the hill for some time……..