The dopamine transporter (DAT) also (sodium-dependent dopamine transporter) is a membrane-spanning protein coded for in the human by the SLC6A3 gene, (also known as DAT1), that pumps the neurotransmitter dopamine out of the synaptic cleft back into cytosol. In the cytosol, other transporters sequester the dopamine into vesicles for storage and later release. Dopamine reuptake via DAT provides the primary mechanism through which dopamine is cleared from synapses, although there may be an exception in the prefrontal cortex, where evidence points to a possibly larger role of the norepinephrine transporter.

DAT is implicated in a number of dopamine-related disorders, including attention deficit hyperactivity disorder, bipolar disorder, clinical depression, eating disorders, and substance use disorders. The gene that encodes the DAT protein is located on chromosome 5, consists of 15 coding exons, and is roughly 64 kbp long. Evidence for the associations between DAT and dopamine related disorders has come from a type of genetic polymorphism, known as a variable number tandem repeat, in the SLC6A3 gene, which influences the amount of protein expressed.

Function
DAT is an integral membrane protein that removes dopamine from the synaptic cleft and deposits it into surrounding cells, thus terminating the signal of the neurotransmitter. Dopamine underlies several aspects of cognition, including reward, and DAT facilitates regulation of that signal.

Mechanism
DAT is a symporter that moves dopamine across the cell membrane by coupling the movement to the energetically-favorable movement of sodium ions moving from high to low concentration into the cell. DAT function requires the sequential binding and co-transport of two Na+ ions and one Cl− ion with the dopamine substrate. The driving force for DAT-mediated dopamine reuptake is the ion concentration gradient generated by the plasma membrane Na+/K+ ATPase.

In the most widely accepted model for monoamine transporter function, sodium ions must bind to the extracellular domain of the transporter before dopamine can bind. Once dopamine binds, the protein undergoes a conformational change, which allows both sodium and dopamine to unbind on the intracellular side of the membrane.

Studies using electrophysiology and radioactive-labeled dopamine have confirmed that the dopamine transporter is similar to other monoamine transporters in that one molecule of neurotransmitter can be transported across the membrane with one or two sodium ions. Chloride ions are also needed to prevent a buildup of positive charge. These studies have also shown that transport rate and direction is totally dependent on the sodium gradient.

Because of the tight coupling of the membrane potential and the sodium gradient, activity-induced changes in membrane polarity can dramatically influence transport rates. In addition, the transporter may contribute to dopamine release when the neuron depolarizes.

DAT–Cav coupling
Preliminary evidence suggests that the dopamine transporter couples to L-type voltage-gated calcium channels (particularly Cav1.2 and Cav1.3), which are expressed in virtually all dopamine neurons. As a result of DAT–Cav coupling, DAT substrates that produce depolarizing currents through the transporter are able to open calcium channels that are coupled to the transporter, resulting in a calcium influx in dopamine neurons. This calcium influx is believed to induce CAMKII-mediated phosphorylation of the dopamine transporter as a downstream effect; since DAT phosphorylation by CAMKII results in dopamine efflux in vivo, activation of transporter-coupled calcium channels is a potential mechanism by which certain drugs (e.g., amphetamine) trigger neurotransmitter release.

Protein structure
The initial determination of the membrane topology of DAT was based upon hydrophobic sequence analysis and sequence similarities with the GABA transporter. These methods predicted twelve transmembrane domains (TMD) with a large extracellular loop between the third and fourth TMDs. Further characterization of this protein used proteases, which digest proteins into smaller fragments, and glycosylation, which occurs only on extracellular loops, and largely verified the initial predictions of membrane topology. The exact structure of the Drosophila melanogaster dopamine transporter (dDAT) was elucidated in 2013 by X-ray crystallography.

Location and distribution

Regional distribution of DAT has been found in areas of the brain with established dopaminergic circuitry, including the nigrostriatal, mesolimbic, and mesocortical pathways. The nuclei that make up these pathways have distinct patterns of expression. Gene expression patterns in the adult mouse show high expression in the substantia nigra pars compacta.

DAT in the mesocortical pathway, labeled with radioactive antibodies, was found to be enriched in dendrites and cell bodies of neurons in the substantia nigra pars compacta and ventral tegmental area. This pattern makes sense for a protein that regulates dopamine levels in the synapse.

Staining in the striatum and nucleus accumbens of the mesolimbic pathway was dense and heterogeneous. In the striatum, DAT is localized in the plasma membrane of axon terminals. Double immunocytochemistry demonstrated DAT colocalization with two other markers of nigrostriatal terminals, tyrosine hydroxylase and D2 dopamine receptors. The latter was thus demonstrated to be an autoreceptor on cells that release dopamine. TAAR1 is a presynaptic intracellular receptor that is also colocalized with DAT and which has the opposite effect of the D2 autoreceptor when activated; i.e., it internalizes dopamine transporters and induces efflux through reversed transporter function via PKA and PKC signaling.

Surprisingly, DAT was not identified within any synaptic active zones. These results suggest that striatal dopamine reuptake may occur outside of synaptic specializations once dopamine diffuses from the synaptic cleft.

In the substantia nigra, DAT is localized to axonal and dendritic (i.e., pre- and post-synaptic) plasma membranes.

Within the perikarya of pars compacta neurons, DAT was localized primarily to rough and smooth endoplasmic reticulum, Golgi complex, and multivesicular bodies, identifying probable sites of synthesis, modification, transport, and degradation.

Genetics and regulation
The gene for DAT, known as DAT1, is located on chromosome 5p15.
The protein encoding region of the gene is over 64 kb long and comprises 15 coding segments or exons.
This gene has a variable number tandem repeat (VNTR) at the 3' end (rs28363170) and another in the intron 8 region. Differences in the VNTR have been shown to affect the basal level of expression of the transporter; consequently, researchers have looked for associations with dopamine-related disorders.

Nurr1, a nuclear receptor that regulates many dopamine-related genes, can bind the promoter region of this gene and induce expression. This promoter may also be the target of the transcription factor Sp-1.

While transcription factors control which cells express DAT, functional regulation of this protein is largely accomplished by kinases. MAPK, CAMKII, PKA, and PKC can modulate the rate at which the transporter moves dopamine or cause the internalization of DAT. Co-localized TAAR1 is an important regulator of the dopamine transporter that, when activated, phosphorylates DAT through protein kinase A (PKA) and protein kinase C (PKC) signaling. Phosphorylation by either protein kinase can result in DAT internalization ( reuptake inhibition), but  phosphorylation alone induces reverse transporter function (dopamine efflux). Dopamine autoreceptors also regulate DAT by directly opposing the effect of TAAR1 activation.

The human dopamine transporter (hDAT) contains a high affinity extracellular zinc binding site which, upon zinc binding, inhibits dopamine reuptake and amplifies amphetamine-induced dopamine efflux in vitro. In contrast, the human serotonin transporter (hSERT) and human norepinephrine transporter (hNET) do not contain zinc binding sites. Zinc supplementation may reduce the minimum effective dose of amphetamine when it is used for the treatment of attention deficit hyperactivity disorder.

Biological role and disorders
The rate at which DAT removes dopamine from the synapse can have a profound effect on the amount of dopamine in the cell. This is best evidenced by the severe cognitive deficits, motor abnormalities, and hyperactivity of mice with no dopamine transporters. These characteristics have striking similarities to the symptoms of ADHD.

Differences in the functional VNTR have been identified as risk factors for bipolar disorder and ADHD. Data has emerged that suggests there is also an association with stronger withdrawal symptoms from alcoholism, although this is a point of controversy. An allele of the DAT gene with normal protein levels is associated with non-smoking behavior and ease of quitting. Additionally, male adolescents particularly those in high-risk families (ones marked by a disengaged mother and absence of maternal affection) who carry the 10-allele VNTR repeat show a statistically significant affinity for antisocial peers.

Increased activity of DAT is associated with several different disorders, including clinical depression.

Mutations in DAT have been shown to cause dopamine transporter deficiency syndrome, an autosomal recessive movement disorder characterized by progressively worsening dystonia and parkinsonism.

Pharmacology
The dopamine transporter is the target of substrates, dopamine releasers, transport inhibitors and allosteric modulators.

Cocaine blocks DAT by binding directly to the transporter and reducing the rate of transport. In contrast, amphetamine enters the presynaptic neuron directly through the neuronal membrane or through DAT, competing for reuptake with dopamine. Once inside, it binds to  or enters synaptic vesicles through . When amphetamine binds to TAAR1, it reduces the firing rate of the postsynaptic neuron and triggers protein kinase A and protein kinase C signaling, resulting in DAT phosphorylation. Phosphorylated DAT then either operates in reverse or withdraws into the presynaptic neuron and ceases transport. When amphetamine enters the synaptic vesicles through VMAT2, dopamine is released into the cytosol. Amphetamine also produces dopamine efflux through a second TAAR1-independent mechanism involving CAMKIIα-mediated phosphorylation of the transporter, which putatively arises from the activation of DAT-coupled L-type calcium channels by amphetamine.

The dopaminergic mechanisms of each drug are believed to underlie the pleasurable feelings elicited by these substances.

Interactions

Dopamine transporter has been shown to interact with:

 Alpha-synuclein,
 PICK1, and
 TGFB1I1.
Apart from these innate protein-protein interactions, recent studies demonstrated that viral proteins such as HIV-1 Tat protein interacts with the DAT and this binding may alter the dopamine homeostasis in HIV positive individuals which is a contributing factor for the HIV-associated neurocognitive disorders.

See also

References

External links
Dopamine transporter-related Associations, Experiments, Publications and Clinical Trials

Amphetamine
Biology of attention deficit hyperactivity disorder
Membrane proteins
Neurotransmitter transporters
Solute carrier family
Dopamine

Dopamine transporter


Egin was a Basque newspaper written in Spanish language and Basque language. Founded in 1977 the paper was in circulation until 1998 when it was closed down by the Spanish government.

History and profile

The first issue of Egin was published on 29 September 1977. The paper was published from Hernani by Orain SA, which also ran the radio station Egin Irratia. In 1993 its circulation was 51,366 copies. The publication was a major driving force behind Basque Radical Rock, releasing in 1987 the compilation Bat, Bi, Hiru... Hamar, considered a watershed in that musical movement.

For many years Egin was accused of being used by the separatist organization Euskadi Ta Askatasuna (ETA). One of its editors-in-chief was Josu Muguruza, a politician from Herri Batasuna, who was assassinated on 20 November 1989. In 1985, the editor Xabier Galeano was killed by the death squads GAL in the context of the 'dirty war'. In 1994, the Ertzaintza (Basque police) searched the headquarters of Egin.

Closure after police operation
At dawn on 14 July 1998 Judge Baltasar Garzón ordered the precautionary closure of both media and the arrest of several of Orain, SA directives. Concern rose and anger mounted across the Basque Country for what many political, cultural personalities and jurists considered a politically driven operation of dubious legal grounds. It was followed by a mass demonstration and other street protests. Spanish president José María Aznar labeled it "an attack on terrorism", and left little margin as to the driving force behind the action, asserting with some bravado whether "someone thought we did not dare do it", which did not add to political reassurance, especially in the Basque context.

Spanish Socialist opposition leader Alfredo Pérez Rubalcaba accused the Spanish premier of attempting "to capitalize on this issue" to garner votes in Spain. Also in the Spanish context, Izquierda Unida leader Julio Anguita put the operation down directly to a governmental order. In August 1999, the judge authorised the reopening of the newspaper. However, by then the machinery had been dismantled or left useless by lack of upkeep, with the promoters having no funds, since they were being used to pay bails and fines imposed on the defendants. The newspaper remained closed.

The controversial 1998 police operation inaugurated a period of collective police raids and trials led by judge Baltasar Garzón under the motto "everything is ETA" against parties, political figures, associations, and media with Basque nationalist left sympathies or affinities.

No grounds for closure
After over 10 years of proceedings, in 2009 the Spanish High Court overruled a previous sentence, declaring that no illicit activity was engaged by the newspaper and radio station Egin. The closure of newspaper Egin was followed by the release of Gara, relying initially on popular subscription. In 2004, the only Basque language newspaper Egunkaria was shut down in a Civil Guard raid on similar circumstances, and similar outcome: acquittal and case dismissed, but all its activity ceased. Afterwards, no damages have been allocated or public apologies made by state institutions.

References

1977 establishments in Spain
1998 disestablishments in Spain
Newspapers established in 1977
Publications disestablished in 1998
Defunct newspapers published in Spain
Spanish-language newspapers
Censorship in Spain

Egin (newspaper)


HostLink is communication protocol for use with or between PLC's made by Omron. It is an ASCII-based protocol generally used for communication over RS-232 or RS-422. The protocol enables communication between various pieces of equipment in an industrial environment for programming or controlling those pieces of equipment.
The maximum allowed message size is 30 words per message. Larger messages can be sent by 'fragmentation' process, where the same slave returns a series of messages to build up the entire response. PLC host computers can transfer procedures, and monitor PLC data area, and control the PLC using the HostLink protocol.

External links
 Hostlink Command Format

References

Industrial computing
Serial buses

HostLink Protocol


James Martin Frost (born 22 August 1986) is the guitarist, keyboardist and backing vocalist of Welsh band The Automatic, and guitarist and backing vocalist for Cardiff-based band Effort. As well as his musical duties for The Automatic, Frost has also directed two of the band's music videos and their tour video diaries. He currently resides in Cardiff, Wales.

Musical career

The Automatic (2005–present)
Frost began playing guitar at a young age, and after introducing bandmate Robin Hawkins into music and the bass guitar, Frost and Hawkins along with friend Iwan Griffiths formed the band White Rabbit, which later with the addition of Alex Pennie became The Automatic. After several years of touring, Alex Pennie departed from the band, leading to Paul Mullen from Yourcodenameis:Milo to join the band. Frost and Mullen are both simply stated as guitarists for The Automatic, neither being specifically rhythm or lead. Paul and Frost also provide synthesizers on various tracks, as well as backing vocals.

After the release of the band's debut album Not Accepted Anywhere, James was voted No. 20 in NME's Cool List, beating his at-the-time bandmate Alex Pennie.

Effort (2010–2011)
Frost, along with BBC Radio 1 DJ Jen Long formed the Cardiff-based band Effort in 2010. In early 2011 the band recorded demos at Long Wave Studios with producer Romesh Dodangoda. Their debut 3-track EP 'No Effort' was released for free on 28 March 2011 through bandcamp.

Musical equipment and style
Frost often states his main musical influence to be Blur and specifically guitarist Graham Coxon, his favourite Blur album is 13.

For live performances – since the departure of synthesizer player & vocalist Alex Pennie in 2007, Frost inherited performance duties of the Alesis Micron – which during the recording and performance of debut album Not Accepted Anywhere was one of 3 synthesizer keyboards used, later on This Is a Fix it was also used as well as the Paul Mullen controlled microKORG. The sounds created on the Alesis Andromeda and Roland Juno-106 for Not Accepted Anywhere since Pennies departure are recreated live on the microKORG and Alesis Micron, to control some tracks whilst playing guitar, Frost uses a Boss RC-50 Loop Station, which enables partial foot pedal control of the sounds available on the Alesis Micron. Frost uses bandmate Rob Hawkins Fender USA Jazz Bass live when performing "High Time".

Frost also uses a range of guitars for both live and recording, during the recording and touring of debut album Not Accepted Anywhere the then only guitarist of The Automatic used various models of the Gibson Les Paul as well as a Fender 1972 Thinline Telecaster in Two-Tone Sunburst, Fender Mustang 2005 Reissue in Olympic White, and in various music videos used a could be seen using a Gordon Smith GSII in Black, which he broke in 2007, and a Gibson ES-335. With the release of second album This Is a Fix and joining of second guitarist Paul Mullen, Frost began incorporating the use of Fender Telecaster Deluxe's.

For Digital Delay, Frost uses a Boss DD-6 pedal and a Line 6 DL4 Modeler stompbox, as well as using MXR M-106 6-Band Graphic EQ, and a number of Electro-Harmonix effects including an Electro-Harmonix POG, Holy Stain and Holy Grail, whilst using an Orange Channel Footswitch. During the recording of Not Accepted Anywhere, the album sleeve states that Frost uses both Orange and Marshall guitar amplifiers.

Discography

Filmography

References

1986 births
Living people
The Automatic members
British rock guitarists
British male guitarists
Welsh guitarists
Welsh rock musicians
People from Cowbridge

James Frost


Erich Johann Albert Raeder (24 April 1876 in Wandsbek - 6 November 1960 in Kiel) was a naval leader in Germany before and during the Second World War. He was made a "Großadmiral" (, equivalent to Admiral of the Fleet) in 1939, which is the highest naval rank. Born in 1876 in Hamburg, Germany, Raeder joined the Imperial German Navy in 1894, rising through the ranks. Raeder played a significant role in planning naval strategy during World War I. After the war, he advocated for a powerful German navy. He played a key role in the buildup of the Kriegsmarine, advocating for submarine warfare. Raeder fell out of favor with Hitler later in the war. In 1943 he was replaced by Karl Dönitz in his position as head of the German Navy.

Raeder was arrested by the Allies in 1945 and was tried at the Nuremberg Trials, convicted of war crimes, and sentenced to life in prison. However, his sentence was reduced to 10 years. Raeder was released in 1955 due to health reasons and died in 1960.

1876 births
1960 deaths
Admirals
German military personnel of World War II
German prisoners
German war criminals
Nazi leaders

Erich Raeder


Kraantje Lek is a pancake restaurant and former inn in Overveen, Netherlands, on the Duinlustweg.

It was originally built in 1542 as herberg Rockaers, or "inn of Rockaers", as Rockaers was the former name of the village of Overveen. It was strategically located at the base of a dune referred to as the "Blinkert", often used by sports teams in the area for training purposes. The Visserspad or "fishermen's path" passes it on the north side. The location was used as a place for fish sellers to stop on their way to and from Zandvoort on their way to the fish market on the Grote Markt, Haarlem. In more recent times the location is a pancake restaurant with a playground favored by families and it features in Nicolas Beets' stories of Haarlem in his Camera Obscura. Many children played in the Holle boom, or "hollow tree", located outside and memorialized in bronze today.

According to local legend, Frans Hals painted his fisher folk here and his portrait of Yonker Ramp and his sweetheart was painted inside in 1623. The painting, now in the collection of the Metropolitan Museum of Art, was on loan to the Frans Hals Museum for their jubileum exhibition on Frans Hals in 1937.

In 1805 the Amsterdam banker Willem Borski and his wife Johanna Borski bought Kraantje Lek for 65,000 guilders from Jacob Boreel, as part of the Elswout estate, together with the Blinkert and the large area of dunes behind it bordering on the Visserspad known as the "Zwarte veld", which was used as hunting grounds.

References

 450 jaar Kraantje Lek. Een jubileum met een korreltje zand, by Anna Storm, Schuyt & Co, Haarlem, 1992, OCLC 66102296
 Het Verhaal van Kraantje Lek  on website of Oneindig Noord Holland
 Old film footage of children playing at Kraantje Lek, in the Holle boom, and behind it on the Blinkert, 1956 on YouTube
 Old film footage of people skiing behind Kraantje Lek, on the Blinkert, winter 1940 on YouTube

Restaurants in Bloemendaal
1542 establishments in the Holy Roman Empire
Rijksmonuments in North Holland
History of Haarlem

Kraantje Lek


Yu Daqing (; born November 1957) is a lieutenant-general in the People's Liberation Army of China, who served as Deputy Political Commissar of the Second Artillery Corps. He was placed under investigation by the PLA's anti-graft agency in December 2014.

Life and career
Yu was born and raised in Suizhong County, Liaoning. He joined the People's Liberation Army in 1975 and the Communist Party of China in 1977. Yu served as Political Commissar of the 123 Division of the Forty-first Army from 2005 to 2006, and Deputy Head of the Cadre Department of the People's Liberation Army General Political Department between 2007 and 2009, he was promoted to the head position in December 2009. He attained the rank of major general in July 2008. He became Director of the Political Department of the Second Artillery Corps in December 2012 and Deputy Political Commissar of the Second Artillery Corps in December 2013. Yu was promoted to lieutenant-general in July 2014. On January 15, 2015, the People's Liberation Army announced that he has been under investigation since December 2014 for "seriously violating party discipline".

References

1957 births
Living people
People's Liberation Army generals from Liaoning
People from Huludao

Yu Daqing


David Eric Rowberry (4 July 1940 – 6 June 2003) was an English pianist and organist, most known for being a member of the rock and R&B group The Animals in the 1960s.

Early career, 1962–1965
Born in Mapperley, Nottinghamshire, Rowberry entered the Newcastle-upon-Tyne blues and jazz music scene in the early 1960s, when he was at Newcastle University. He joined The Mike Cotton Jazzmen (later The Mike Cotton Sound) in 1962, who made a living backing American blues and pop acts touring England, including Solomon Burke, Stevie Wonder, the Four Tops and Gene Pitney.  Rowberry played on the group's singles from 1962 to 1965, including their hit, "Swing That Hammer", as well as their self-titled album.

The Animals, 1965–1966
The Animals were already one of the major British Invasion groups in May 1965 when founding keyboardist Alan Price suddenly left due to fear of flying and other issues.  According to lead singer Eric Burdon, Rowberry, while considered a good musician, was chosen partly because of his passing physical resemblance to Price. Keyboardist Zoot Money, who became a full-time member of a later configuration of the band, claims that he was approached first, and Rowberry only selected as a second choice.

Rowberry played many of the group's big hits, including "We Gotta Get Out of This Place", "It's My Life", "Don't Bring Me Down", "Inside-Looking Out", and "See See Rider". For a number of songs, including the last of these, Rowberry was credited as the arranger. He also played on the hit single "Help Me Girl". He was prominent on Animalisms and Animalization, often considered two of the most consistent albums of the group's recording career.  He also sang backing vocals and did occasional songwriting for the group.

After The Animals, 1966–1999

The original incarnation of The Animals collapsed in September 1966, after which Rowberry became a session musician.  Until 2001, he was not invited to participate in any subsequent group reunions involving Eric Burdon. He did reunite a few times on projects with his former bandmates from the Mike Cotton Sound. The most notable reunion was The Kinks' album, Everybody's in Show-Biz. Rowberry played on the single "Celluloid Heroes" and some keyboard instruments on the album. He also appeared with the Kinks on television during this time on the song, "Supersonic Rocket Ship". Rowberry also played on many albums by blues singer Dana Gillespie in the 1980s and 1990s.

When the first incarnation Animals reformed in December 1968 and 1976, Rowberry was excluded, in favour of Price. When a second keyboardist was added to the original group's third reunion in 1983 to early 1984, it was Zoot Money, rather than Rowberry, who was chosen. When The Animals were inducted into the Rock and Roll Hall of Fame in 1994, only the original five members were honoured. Despite attempts by some fans to have Rowberry, as well as drummer Barry Jenkins, another later member of the "first" lineup, inducted with the other members, their efforts were unsuccessful. Rowberry was present at the May 2001 reunion concert on Burdon's birthday, along with John Steel and Hilton Valentine. All had been inducted earlier that day into the Rock Walk of Fame in Los Angeles. Price was not present at the induction, while original bassist Chas Chandler had died in 1996.

In the early to mid-1990s, Rowberry was a member of Shut Up Frank, a band formed by Mick Avory, of The Kinks. The band was composed of Avery, Noel Redding, Dave Clarke, Jim Leverton, keyboardist Richard Simmons and Rowberry.  The band toured extensively and recorded ten studio tracks which were released on two EPs. The band also released a live recording from its performance at the Brian Jones Memorial Concert in Cheltenham.

"New" Animals groups; Animals and Friends, 1999–2003
In 1999, Rowberry joined "Animals II", formed in 1993 by original Animals guitarist Hilton Valentine and also including original Animals drummer John Steel. Other members of this version of the band included Steve Hutchinson, Steve Dawson and Martin Bland. After Rowberry joined the band in 1999, the "Animals II" name was dropped in favor of "The Animals". Following Hilton Valentine's 2001 departure from the band, Steel and Rowberry continued as "Animals and Friends", until Rowberry's 2003 death, accompanied by Peter Barton, Jim Rodford and John Williamson, joined on occasion by ex-"New Animals" bassist Danny McCulloch.  During this period Rowberry also worked as a freelance musician in the London jazz scene.

Death
Rowberry died in London on 6 June 2003, at the age of 62.

References

1940 births
2003 deaths
English rock keyboardists
The Animals members
British rhythm and blues boom musicians
People educated at Henry Mellish Grammar School
People from Mapperley

Dave Rowberry


West Des Moines is a city in central Iowa. It's a suburb of Des Moines, Iowa. It is the place where 12-year-old Johnny Gosch disappeared in 1982. West Des Moines is also home to Jordan Creek Town Center, the largest shopping mall in Iowa.

Cities in Iowa

West Des Moines, Iowa


Johannes Adolph Overbeck (27 March 1826 – 8 November 1895) was a German archaeologist and art historian.

Biography
Overbeck was born in Antwerp. He was son-in-law to zoologist Georg August Goldfuss (1782-1848), and was father-in-law to anthropologist Emil Ludwig Schmidt (1837-1906). His uncle was famed painter Friedrich Overbeck (1789-1869).

In 1848 Overbeck received his Ph.D. from the University of Bonn, where he served as a privatdocent from 1850 to 1853. In 1853, he became an associate professor of archaeology and dean of the archaeological collection at the University of Leipzig. He worked at Leipzig for the remainder of his career, becoming a full professor in 1859. Two of his better known students were Adolf Furtwängler (1853-1907) and Adolf Michaelis (1835-1910).  He also helped direct the Archaeological Institute in Berlin (1874-1895).

One of his earliest publications was a significant work on Pompeii that ran to several editions, and in 1884 with August Mau (1840-1909), he published a book about Pompeii and its works of art, titled Pompeji in seinen Gebäuden, Alterthümern und Kunstwerken. Overbeck was also a specialist of Greek Kunstmythologie (mythological art) within the field of archaeology.

He rarely visited archaeological sites, preferring to write about them second hand. This tended to give his writings a dry flavor, which even his comprehensive marshalling and organization of materials could not really overcome. Carl Schurz has noted that "it has been said that [Overbeck] wrote the best book that has ever been written on Herculaneum and Pompeii, without ever having seen either spot." Overbeck's devotion was mainly to the lecture pulpit, and there he made his most noteworthy contributions.  His lectures were very well attended, the primary ones with frequently over 100 listeners.  He sought to improve the life of students in other ways as well, by establishing a reading room and infirmary.  As one compensation for his lack of first-hand experience, he developed Leipzig's collection of plaster casts.

Selected writings
 Pompeii, Leipzig 1855
 Geschichte der Griechischen Plastik (History of Greek sculpture), two volumes, Leipzig 1857/58
 Die archäologische Sammlung der Universität Leipzig (The archaeological collection of the University of Leipzig), Leipzig 1859
 Die antiken Schriftquellen zur Geschichte der bildenden Künste bei den Griechen (The ancient manuscript sources on the history of Greek fine arts), Leipzig 1868
 Griechische Kunstmythologie (Greek art-mythology), three volumes, Leipzig 1871/89
 Atlas, Leipzig 1872/87
 Pompeji in seinen Gebäuden, Alterthümern und Kunstwerken (Inside Pompeii's buildings, antiquities and works of art), with August Mau (1884).

References
 Parts of this article are based on a translation of the article Johannes Overbeck from the German Wikipedia.
 Dictionary of Art Historians, Biography

Notes

German archaeologists
German art historians
People from Antwerp
Academic staff of Leipzig University
University of Bonn alumni
1826 births
1895 deaths
Jauch family
Members of the First Chamber of the Diet of the Kingdom of Saxony

Johannes Overbeck


Apedale is a village in Staffordshire, England. The population at the 2011 census can be found under the Holditch (Ward) of Newcastle-under-Lyme.

The village is home to the  Apedale Community Country Park. The park is unusual for the area as it was previously an opencast mine.

The area has a long history of mining, with the nearby former collieries at Silverdale and Holditch also having been redeveloped for other uses.

See also
Listed buildings in Newcastle-under-Lyme

References

Villages in Staffordshire

Apedale


Henry Davies (2 March 1804 – 4 March 1890) was a Wales-born journalist, publisher and librarian at Cheltenham, England, who took an active part in the town's political life, and edited the Cheltenham Looker-On for 57 years.

Early life
Davies was the son of John and Ann Davies and was born at Bridgend, Glamorgan. Little is known of his childhood, but he had a good literary education, while at the same time becoming steeped in the traditions of Wales and the Welsh language. At the age of 18 in 1822 he wrote patriotic Welsh poetry that was read at the Brecon Eisteddfod. In his early twenties, he spent a few years in London, establishing friendships at the London Institution, and began his literary career by contributing both prose and verse to the Literary Souvenir and other publications edited by Alaric Watts. He was living at Throgmorton Street in 1826 when he wrote another "spirited poetic address" for the opening of the Brecon Eisteddfod that year. He was librarian of the Metropolitan Cambrian Society or Cymmrodorion Society in 1828 while John Parry was Registrar of Music. In 1829 he won a prize from the Metropolitan Cambrian Society for an essay in Welsh on "Settlement of the Normans in Wales". He was appointed editor of the new Cambrian Quarterly Magazine but was asked to resigh before the first issue was published. Pearson Thompson invited him to Cheltenham in 1830, to undertake duties at the new Montpellier Rotunda, where he opened the Montpellier Library, a subscription library. He appeared at the Beaumaris Eisteddfod in the same year. In 1832 he read a poem at the Royal Eisteddfod at Beaumaris attended by Princess Victoria.

Journalism and arts
In 1833, Davies declined the Editorship of the Gloucester Chronicle, which was then about to be started, and originated his own weekly newspaper and social register, the Cheltenham Looker-On, publishing the first issue in May 1833. Initially, the Looker-On was a literary periodical rather than a journal of fashion and was what it professed to be "A Note Book of the Sayings and Doings of Cheltenham".  He remained editor for 57 years until his death in 1890, when his son Edward Llewellyn Davies took over publication. As well as editor it is likely that he was a major contributor to the periodical's literary output. All this time he ran a circulating library and bookshop from Montpellier.

From 1837 he produced each year the "Cheltenham Annuaire", a local directory and diary. The Gentleman's Magazine, reviewing this wrote "This is a work elevated above the class to which it would otherwise belong, by the ability and good taste manifested in its accessories… The first [of a series of essays] is by the editor Mr H Davies whose talents both as an editor and as an essayist have been honourably displayed." He also produced a number of local guides.

Davies was very fond of music and in 1835 he started the St David's Day concerts in the town and was associated with them for the rest of his life. For this, in 1870 he received a testimonial and a volume of subscribers which included many Welsh enthusiasts including Lady Llanover, Lady Charlotte Schreiber, Dowager Countess of Dunraven (Caroline, widow of the 2nd Earl of Dunraven), Sir Thomas Phillipps and Michael Hicks Beach MP. He inspired his children to perform and his daughter Mary sang and played the Welsh harp so beautifully, she was nicknamed "y Deryn" (the bird). He played a part in the founding of Cheltenham College in 1842, and was very actively involved in the Literary and Philosophic Institution at Cheltenham. He was the moving spirit behind the only visit of the British Association to Cheltenham which took place in 1856, and he acted as one of the Hon. Secretaries. He was however an implacable opponent of the establishment of a public library in the town. In 1858 he took the chair at the Llangolen Eisteddfod, regretting that he had lost his fluency in his native Welsh.

Political activity
Davies was very active in the political life of Cheltenham as an "uncompromising Conservative". All his life he took a warm and deep interest in the welfare of Cheltenham and became involved in the running of the town from around 1833. He was one of the Improvement commissioners nominated in the Improvement Act of 1852, and subsequently was Chairman of that body. He remained until the town obtained a Charter of Incorporation in 1876. He was the only Member of the Board of Commissioners who held his seat from first to last, "not indeed undisputed, but undisturbed". The strong individuality which marked his career "in the days of his health and vigour" was considered of great service to the town in many respects

He provided effective support to the Conservative Party in the town and county both directly and through the organ of his periodical.  In the 1847 election, Sir Willoughby Jones was returned as Conservative MP for Cheltenham, after several years of Liberal dominance. The Cheltenham Examiner, which represented the Liberal Party wrote that Davies "was aided towards the prominent part he took in discussions by oratorical powers of no mean order, and by a courage in the expression of his views which enabled him to face the tumultuous and hostile demonstrations inseparable from political contest." In 1865 Davies' political efforts helped secure the election of Charles Schreiber as Conservative MP. His political services to the Conservative party were recognised when he was presented with a Testimonial in 1877 by James Agg-Gardner, M.P who was returned as a Conservative three times

By the end of 1889 Davies strength began to fail. Working on his newspaper he may be said literally to have died in harness. His last expedition out of doors was to visit the Parish Church to inspect the windows presented by his friend, Mr W. H. Gwinnett and the town to the Parish Church, on which occasion the Cheltenham Chronicle recorded that he called at their office, and exchanged friendly greetings from his bath chair. The last letter which he wrote was addressed to the Mayor offering to the public library one of the volumes which had become his property after being donated to the Philosophic Institution during its existence. There is a memorial window in the North transept of the Parish Church and in this, his children dedicated a pane representing St John to his memory.

"A long innings, and not ill played withal, and if some strokes fell short, and others were misjudged, the score at the close is one of which "his field" – a town he loved – will speak with some just pride and satisfaction."

Publications

His publications included various guides to Cheltenham and catalogues of picture collections

Stories of Chivalry and Romance, 1827 (attributed by Cheltenham Public Library)
The Stranger's Guide through Cheltenham (1832), (1834) (1842) (1843)
Catalogue of the Montpellier Library, 1843
Catalogue of Cheltenham College Library. 1843
Picture galleries of Thirlestone House, Cheltenham, being notices of some of the principal paintings in Lord Northwick's collection (and variations) 1843, 1846, 1853
The Cheltenham Looker-On, 1833–1890
Cheltenham Annuaire, 1837–

References

 Boase, Frederick (1904) Modern English Biography

1804 births
1890 deaths
Welsh journalists
British newspaper editors
Welsh librarians
Writers from Cheltenham
19th-century British journalists
British male journalists
19th-century British male writers

Henry Davies (journalist)


John Geoffrey Tristram Lawrence, 4th Baron Trevethin and 2nd Baron Oaksey  (21 March 1929 – 5 September 2012) was a British aristocrat, horse racing journalist, television commentator and former amateur jockey.  He was twice British Champion Amateur Jump Jockey, before becoming a celebrated journalist and recognisable racing personality both on television and through his charitable work for the Injured Jockeys Fund, which he helped establish.  He has been described as "quite possibly the outstanding racing figure of modern times, touching so many via his compelling writing, broadcasting, race-riding and tireless fund-raising".

Early life

He was the son of the noted jurist Geoffrey Lawrence, 1st Baron Oaksey, and his wife Marjorie, daughter of Commander Charles Robinson, RN. He preferred to be called Oaksey, although Trevethin is the longer-established title. In his broadcasting career, he was initially known as John Lawrence before adopting the name John Oaksey when he succeeded to the baronies on the death of his father in 1971.  The Oaksey family seat is the parish of Oaksey in the extreme north of Wiltshire, between Malmesbury and Cirencester.

He was educated at Eton College, where he was captain of the boxing team. At age 16 he spent the summer attending the Nuremberg trials at which his father was officiating, the family diaries and memoires of which are now on permanent loan to the NCCL Galleries of Justice in Nottingham.

After Eton, he undertook National Service at Catterick and was commissioned as second lieutenant with the 9th Queen's Royal Lancers.  He then went up to New College, Oxford, to read Philosophy, Politics and Economics.  On graduating, he took law at Yale University and, at that point, looked destined to follow his father into the profession.

Career

Jockey

Oaksey had learned to ride on an old pony called Mince Pie, which later gave rise to the title of his autobiography, Mince Pie For Starters A photo of him being ejected from Mince Pie during the 1935 Purton pony trials appeared on the front page of the Daily Express. He began competitive riding in point-to-points, starting with a ride on a horse called Paula at Siddington, Gloucestershire, in April 1950.  He pulled up after six fences. He had his first winner the following year on board Next of Kin at the Pegasus Club meeting at Kimble, a meeting confined to lawyers and their families.  When he started running under rules, his first win came on Pyrene in a hunter chase at Sandown Park on 16 March 1956. He also had his first major victory at the same track: Flaming East in the 1958 Imperial Cup.

The horse with which he was most closely associated, though, was the staying chaser, Taxidermist.  On this horse, he was second in the Kim Muir Chase at the Cheltenham Festival, beat stablemate Mandarin in the 1958 Whitbread Gold Cup and then in November of that year, produced the performance of his career in the Hennessy Gold Cup, then run at Cheltenham rather than Newbury. Passing four horses after the final fence, he got up to win on the line by a short head.

Cheltenham Festival wins then followed – on Bob Turnell's Sabaria in the 1959 National Hunt Chase, Jimmy Scot in the 1966 Kim Muir, Black Baize in the 1971 Kim Muir, and Bullocks Horn in the 1973 Foxhunters' Chase. In 1963, he went very close to winning the Grand National too.  Riding Carrickbeg, he was beaten only by three-quarters of a length.

In total, he rode in the Grand National eleven times, completing the course in four of them. Once in the race, he was unseated by his horse and knocked unconscious, but still insisted on filing his copy to the Sunday Telegraph before being taken away by stretcher.

As his riding career entered its later years, he nearly won a second Whitbread Gold Cup in 1974 on board Proud Tarquin.  He passed the post first, but was demoted to second after it was ruled he had interfered with The Dikler.  He thought this immensely unfair, saying later, "The passing of time has done nothing to diminish my feeling that a great injustice was done".  It was to be his last major race performance.  He retired from racing after being injured in a fall at Folkestone in 1975.

As a jockey, he rode as John Lawrence and won 200 races.  Although the majority of these were over fences, 20 of his wins came on the flat, including the first three runnings of the Amateurs Derby at Epsom (1963–1965), and again in 1973.  He had been Champion Amateur Jump Jockey in 1957–58 and 1970–71.  Despite this, he was not noted as a particularly talented rider.  He has been called  "more effective than stylish in the saddle", or, in the words of fellow broadcaster Peter O'Sullevan, "He did not have any natural ability riding, it was pure application, but he did become most successful."

His connection with the Hennessy Gold Cup was revived in 2011, when Carruthers, a horse he bred and partially owned, won an emotional renewal of the race at a time when Oaksey himself was seriously ill.

Broadcasting

Oaksey began his broadcasting career while still active in the saddle.  The BBC booked him four days before his Grand National ride on Carrickbeg to tour the site by helicopter and talk the audience through the fences. This was followed by his first regular television work which was with Pay-TV, a short-lived pay-as-you-view experiment set up by the boxing promoter Jarvis Astaire in 1965. For a time, they held the contract to broadcast from Kempton races.

He joined ITV  World of Sport in 1969, and was regularly seen and heard on The ITV Seven and later Channel 4 Racing, where he was invariably referred to by John McCririck as "My Noble Lord".  On the retirement of John Rickman in 1978 he became the lead presenter for ITV's racing coverage.  In the 1980s he also appeared on BBC Radio alongside Peter Bromley. Together they covered Bob Champion's famous win in the 1981 Grand National. Oaksey remarked afterwards: "If an imaginative novelist had dreamt up that result everybody would have called him a very silly imaginative novelist."  He retired from regular broadcasting at the end of 1999, though he still appeared occasionally for a while after that.

Journalism

In order to ride as an amateur jockey, rules required Oaksey to have another job.  Therefore, he took up journalism as a career.  He wrote for the Daily Telegraph, as the paper's racing correspondent "Marlborough" for over 30 years. He wrote for the Sunday Telegraph during the first 28 years of its existence and for a similar length of time he was the "Audax" columnist in Horse & Hound.  His most celebrated piece of writing was his account of the 1963 Grand National he rode on Carrickbeg. This started life as a section of dialogue from his BBC preview and when that description was replicated by events on the day it was adapted for his newspaper column. The piece is most familiar within racing circles for its description of the closing stages:

This has been described by fellow racing journalist, Brough Scott as "the greatest single piece of first-person big sporting event narrative in the English language". His commitment to his journalism was described thus by Peter Michell, the Telegraph's sports editor: "Oaksey would gallop for four miles, nip up Mount Kilamanjaro for a spot of exercise and then dictate a thousand words."

He is also noted for his account of Fred Winter's win in the 1962 Grand Steeplechase de Paris on Mandarin. Other works include a biography of Mill Reef and the script for a film called Something To Brighten The Morning.

Injured Jockeys Fund

His lasting legacy to the racing industry is the Injured Jockeys Fund (IJF).  This started life as the Farrell-Brookshaw Fund, a charitable foundation started in 1964, after Oaksey's fellow jockeys, Tim Brookshaw and Paddy Farrell, broke their backs in falls at Liverpool. This later became the Injured National Hunt Jockeys' Fund, and ultimately, the Injured Jockeys Fund (IJF), embracing all areas of the sport.  Oaksey became its president and figurehead.  In 2004, he stated that the IJF had given him "more pride than any of the other activities in my racing life".

In 2009, the IJF retirement complex in Lambourn was named Oaksey House in his honour.  There is a statue of him in the grounds.

Awards

His work with the IJF led to his appointment as OBE in 1985. Other awards he received during his lifetime include Racing Journalist of the Year in 1968, the Daily Telegraph Order of Merit in 2003 and the Peter O'Sullevan Award for Services to Racing in 2008. He was elected honorary member of the Jockey Club in 2001.

The 2013 running of the National Hunt Chase Challenge Cup at the Cheltenham Festival (a race he won in 1959) was named in his honour. In 2014, Sandown named a new 2-mile 6 furlong Listed Chase at their end of season finale, the Oaksey Chase, after him.

Personal life
In 1959 he married John Betjeman's former secretary, Victoria ("Tory") Dennistoun, whose father John ("Ginger") Dennistoun was a racehorse trainer.  They had two children:

 Patrick John Tristram Lawrence, 5th Baron Trevethin and 3rd Baron Oaksey, KC (born 29 June 1960)
 Hon Sara Victoria Lawrence (born 26 July 1961), a former jockey who married the trainer Mark Bradstock.

The couple split in public fashion when Victoria started a relationship with artist Maggi Hambling.

Oaksey married again, in 1988, to "Chicky" Crocker (née Hunter), who had been married to a family friend. This provoked newspaper headlines and widespread disapproval from his circle as an uncharacteristic act of ungentlemanly behaviour.

In later years, Oaksey suffered from Alzheimer's disease and died in September 2012 at the age of 83. He was survived by his second wife and the children from his first marriage.
Memorial services were held for him at Oaksey Parish Church, Wiltshire, and at St. Paul's Church, Knightsbridge, attended by the Princess Royal, amongst others.  Addresses were read by Sir Edward Cazalet and Brough Scott.

Arms

References

Bibliography

External links
Entry in Burke's Peerage

John Oaksey speaking about his autobiography (video)

1929 births
2012 deaths
Military personnel from Wiltshire
9th Queen's Royal Lancers officers
British people of Welsh descent
John Oaksey
People educated at Eton College
Alumni of New College, Oxford
Yale University alumni
Barons in the Peerage of the United Kingdom
British horse racing writers and broadcasters
English television personalities
English jockeys
English landowners
English farmers
Trevethin

John Oaksey


Riley Lucas Bartholomew (May 30, 1807 – September 23, 1894) was a Minnesota pioneer and politician who served as state senator from 1859 to 1860.

Riley Bartholomew married Fanny A. Watkins in 1829. He became a merchant in Geneva, Ohio, selling clocks and later operating a hotel before the family moved to Jefferson, Ohio, the Ashtabula County seat. In 1848 he was elected sheriff. During his Ohio years Riley joined the state militia, rising through the ranks to the status of general.

The Bartholomew family were among the first settlers in 1852 to establish a land claim in Richfield, Minnesota. The Bartholomews, in their mid-forties, determined to move their family and begin a new life in the Northwest. Bartholomew came from stock that did not fear a challenge. His grandfather fought Native Americans and Tories on the New York frontier during the Revolutionary War, and his father was a veteran of the War of 1812. Bartholomew's parents, Benjamin and Susannah, settled in Ohio's northeast corner in 1807, the year of Riley's birth.

Upon arrival in Minnesota Territory, Bartholomew claimed a piece of land on the east side of Wood Lake straddling the western boundary line of the original Fort Snelling reservation. He constructed a two-story wooden house which was placed on the National Register of Historic Places on November 28, 1978 and is now run as the Riley Lucas Bartholomew House Museum by the Richfield Historical Society.

After establishing their claim, Bartholomew quickly became involved in the work of building a new community. He helped construct the first school and church in 1854. He became a justice of the peace for Hennepin County, a position he held from 1854 to 1863. His neighbors chose him as a territorial delegate to the state's 1857 constitutional convention, and Bartholomew later became a District Four representative in the state senate from 1859 to 1860.  During the Dakota War of 1862 Bartholomew joined a volunteer company that came to the relief of soldiers at Fort Ridgely.

The four Bartholomew children ranged from eleven to twenty years of age when the family reached Richfield. The two eldest daughters, America and Virginia, married in 1855 and moved out to establish their own households. Youngest son, Rollin, married and left home in 1863. Oldest son, Winfield, farmed in Richfield and later took over the homestead from his parents. Virginia's husband Edgar Nash also served in the Minnesota Legislature.

References

1807 births
1894 deaths
Minnesota state senators
People from Geneva, Ohio
People from Richfield, Minnesota
Dakota War of 1862
Military personnel from Ohio
Ohio sheriffs
19th-century American politicians
People from Jefferson, Ohio

Riley Bartholomew


The Church of St Mary the Virgin, widely known as St Mary Redcliffe, is the main Church of England parish church for the Redcliffe district of the city of Bristol, England. The first reference to a church on the site appears in 1158, with the present building dating from 1185 to 1872. The church is considered one of the country's finest and largest parish churches as well as an outstanding example of English Gothic architecture. The church is so large it is sometimes mistaken for Bristol Cathedral by tourists. The building has Grade I listed status, the highest possible category, by Historic England.

The church is notable for its many large stained glass windows, decorative stone vaults, flying buttresses, rare hexagonal porch and massive Gothic spire. With a height of 274 feet (84 m) to the top of the weathervane, St Mary Redcliffe is the second-tallest structure in Bristol and the sixth-tallest parish church in the country. The church spire is a major Bristol landmark, visible from across the city and until the completion of Castle Park View in 2020, it was the tallest structure ever to have been erected in Bristol.

St Mary Redcliffe has received widespread critical acclaim from various architects, historians, poets, writers and monarchs. Queen Elizabeth I, on a visit to the church in 1574, described St Mary Redcliffe as "The fairest, goodliest and most famous parish church in England"; Simon Jenkins gives St Mary Redcliffe the maximum five-star rating in his book 'England's Thousand Best Churches', one of only eighteen to receive such a rating, describing it as a "masterpiece of English Gothic"; and Nikolaus Pevsner says that "St Mary Redcliffe need not fear comparison with any other English parish church".

History

Name and origins
Though some sources claim a church has been on the site since Saxon times, no such church is recorded in the Domesday Book, meaning that if a church existed, it had been demolished by 1086. The first recorded mention of a church in present-day Redcliffe is a charter signed by Henry II in 1158, confirming the endowments of the churches at Redcliffe and Bedminster to Old Sarum Cathedral. This charter implies therefore that a church already existed in Redcliffe during 1158, likely constructed sometime between 1086 and 1158.

The modern-day name of Redcliffe, now a district of Bristol, refers to the position of the church on its prominent red sandstone cliff above the River Avon, which at the time, was the location of the Port of Bristol. The original church was built and funded by the city's wealthy merchants, some of whom may have reached present-day North America before Christopher Columbus, sailing from the Port of Bristol. Though the modern Port of Bristol is located further downstream, the original quayside still survives near the church, called Redcliffe Quay, where fragments of the red cliff can still be seen.

Gothic rebuilding
In 1185, a new north porch was constructed in the Early English Gothic style of the Purbeck subtype, similar to the new east end of Canterbury Cathedral, making this one of the earliest Gothic constructions in England, Canterbury being the earliest. Though repairs are recorded in the churchwardens' accounts in 1207, 1229 and 1230, the next major construction would not be undertaken until the end of the 13th century.

In 1292, Simon de Burton, Mayor of Bristol, founded the present church and began an ambitious programme of rebuilding. This began in 1294 with the construction of the massive northwest tower base and part of the present west wall. Construction paused until 1320 when the rest of the church was rebuilt into the Decorated Gothic style. The earliest work from this phase of construction is the exceptionally rare hexagonal north porch, which was built adjacent to the 1185 Early English porch in 1325, thus forming an inner (1185) and outer (1325) north porch.

The design influence for the unusual hexagonal shape of the north porch is unknown, with historians offering various suggestions. These include the Chapter House and Lady Chapel of nearby Wells Cathedral, constructed from 1310 onwards, which are the nearest example of similar work. Pevsner also suggests influences from Chinese and Islamic art and architecture, since frequent voyages were made in this period to the east in this period. Islamic architecture contains frequent polygons and it is possible that given the Port of Bristol being amongst the largest and most important in England at the time, inspiration was sought from further afield.

From c. 1330, the south porch and nave aisle began to be rebuilt in the Decorated style, though with notable markings of the future Perpendicular style, which was soon to become the dominant style from the late 14th century onwards. Influences from Wells Cathedral can again be found here, most notably in the south porch, constructed in 1335. Construction continued with the completion of the tower and spire in the first half of the 14th century, followed by the south transept and then the Lady Chapel, the latter completed in 1385.

Though historians do not agree on precisely when it took place, there is a notable change in architectural style when comparing the north and south transepts with the choir and nave. The choir was most likely complete by the time of the Black Death in 1348 and though the north transept is built on a similar plan to the south transept, its internal features indicate a time when the Perpendicular style had succeeded the Decorated as the dominant style of architecture, most notably in the clerestory.

15th century
The completion of the nave was the major task left at the beginning of the 15th century. The elevation of the nave walls is of a similar design to that of the choir but the interior vaulting is different, implying it is of a later date. Work continued on the nave and crossing during the first half of the 15th century until it was interrupted in 1445 or 1446 by the fall of the spire.

Though the exact year is uncertain, the top of the spire is recorded to have been struck by lightning in one of these two years. Meteorological records kept at the University of East Anglia make reference to storms with thunder and lightning in November and December 1446. This strike caused the top two-thirds of the spire to collapse, leaving St Mary Redcliffe with a stump-like spire, similar to the present-day appearance of St Mary's Church in nearby Yatton.

It is unknown whether any damage was caused by the fall of the spire, though it is reported. If the wind had been from the southwest, the spire would have fallen onto the north porches, which show no sign of damage or alteration. If the wind had been from the northwest, the spire would have fallen onto the south porch, which does show signs of later alteration, with a vault of later design than the exterior elevation. Surviving evidence in the tower roof shows the spire did not fall down vertically, for the tower roof beams supporting the spire have been dated to the 14th century and they would not have survived such a collapse. William Worcestre's 1480 inventory states: "the height of the tower of Redcliffe contains 300 feet, of which 100 feet have been thrown down by lightning". The spire was not rebuilt following the strike; work instead continued to the nave and crossing, completed in c. 1480. The crossing vault bears similarities to that at Salisbury Cathedral, dated to 1479, which given the close relationship between the two churches, likely inspired that at Redcliffe. The work to complete the nave at Redcliffe was largely financed by the Canynges family, who had worked to rebuild the church since the early 14th century.

The final major alteration to the church in the Gothic period was the extension of the Lady Chapel in 1494 by Sir John Juyn, a wealthy barrister. Though the extension took place over 100 years after the initial completion of the chapel, the extension work is harmonious in design with the original.

16th and 17th centuries

Like many churches in England, substantial damage was done to the internal fittings in the 16th and 17th centuries. During 1547, the chantry chapels were dissolved, including those founded at the end of the 15th century by William Canynges. The crown confiscated plates, lamps, vestments and service books. The rood screen was destroyed in 1548.

Sometime in 1574, Queen Elizabeth I made the first of several visits to St Mary Redcliffe, reputedly describing it as "the fairest, goodliest and most famous parish church in England", though whether she actually said this is a matter of some debate. Elizabeth would make several more visits during her reign, most notably in 1588 and 1591 when she restored some of the funds confiscated by her predecessors; this she did by issuing Letters Patent.

More serious damage would come to the church during the 17th century. From 1649 to 1660, during the time of Oliver Cromwell as Lord Protector, the pinnacles were removed, ornaments destroyed, the organ broken and much of the stained glass smashed by artillery fire. Similar damage was done to many churches across the country. The removal of the pinnacles destabilised parts of the building; as the flying buttresses are not just decorative, but support the vaulting and the upper walls. The east window was bricked up to try to stop the collapse of the quire walls, as were some of the flying buttresses.

Modern history

18th and 19th centuries

In 1763, the chapel of the Holy Spirit, as well as the Churchyard Cross, were both demolished. The chapel of the Holy Spirit was a freestanding building constructed in the mid-13th century by Henry Tussun, who was Prebendary at nearby Bedminster. The chapel stood a short distance southwest of the present tower, and was used as the parish church whilst the present building was under construction. Queen Elizabeth later gave it to the parishioners for use as a grammar school but it fell into disuse. Demolition lasted until 1766.

The church was heavily restored again during the latter half of the 19th century. Concerned for the state of the building, which had suffered with decades of decay and misuse, a committee was formed in 1842 under the name of the Canynges Society to restore the building and return it to its original appearance. As part of the restoration, the east window was unblocked and reglazed, the high box pews and galleries of the Georgian era removed and the stonework generally restored. The final step in this restoration was the rebuilding of the spire, which had stood in truncated form above the tower since it was struck by lightning in 1445 or 1446. The spire was rebuilt and the remaining 'stump' restored back to its former height; the Mayor of Bristol completing the work by placing the capstone on May 9, 1872, over 260 feet (79 m) above the ground. This work which cost over £40,000 (equivalent to £3.4 million in 2022) was designed and overseen by architect George Godwin.

20th century
In 1912, the present highly-acclaimed organ by Durham-based Harrison and Harrison was constructed and installed in the church, replacing several earlier instruments by Bristolian organ builders (see Organ, below). From 1939 to 1941, a new undercroft in the Gothic-style was constructed by George Oatley underneath the north porch, originally intended to be used as the treasury.

During the Second World War, the church, despite its size and height making it an easy target for the Luftwaffe, was mostly spared from destruction, unlike many of Bristol's churches. Nevertheless, a team of watchmen were stationed on the church roof at night to put out incendiary bombs. The church's bells and other treasures were stored under the floor in sandbags to protect them from 1941 to 1944 and minor damage was sustained on a small number of occasions, mostly to the organs and roofs, though the upper (inner) north porch room was burnt out.

The church did however come very close to more significant destruction on Good Friday in 1941, when a bomb dropped on a nearby street threw shrapnel, including a large chunk of tram rail, into the churchyard. The tram rail, which has been left there to this day, is partially embedded in the ground with the force of the explosion and serves to remind local residents of how close the church came to destruction.

In the 1960s, the present vivid stained glass windows in the Lady Chapel were installed and designed by Harry Stammers, and at the same time, £150,000 was spent between 1960 and 1965 on cleaning the external stonework.

21st century
The 21st century has seen much restoration to the exterior stonework, much of it being cleaned, 150 years of pollution having darkened the stonework. The organ has undergone a significant restoration by its original builders, Harrison and Harrison, and some stained glass commemorating the Royal African Company was removed in June 2020 following the removal of the Statue of Edward Colston on June 7. The south nave aisle and lady chapel roofs have been renewed.

A project to celebrate the 450th anniversary of the visit of Elizabeth I in 2024 is underway to make the church more suitable for hosting tourists, events and for supporting the community. In 2016, an architectural competition was run by the church to design a new welcome centre with fresh and modern facilities; the contest was won by Purcell, who received the contract to design the work. Part of the work includes the pedestrianisation of Redcliffe Way, the dual carriageway which runs past the north side of the church. As of 2023, Purcell have departed ways with the church, with Northern Irish architects Hall McKnight taking over the project. No construction work has so far taken place.

Architecture

Plan
The church has a traditional cruciform plan, with northwest tower, nave, transepts and chancel, as is common with many parish churches in England. However, more unusually, the form it takes is more akin to that of a cathedral than a parish church, with aisles on all four arms of the church, as well as a lady chapel to the east and two porches. Other parish churches with such an arrangement can be found at Beverley Minster in East Riding of Yorkshire, Christchurch Priory in Dorset and Selby Abbey in North Yorkshire. However, St Mary Redcliffe is unique for its double north porch, with both an inner and outer room, the latter taking a rare polygonal form.

The scale of the building makes it not only one of the primary landmarks for the city of Bristol but also one of the largest parish churches in the country. The church building is 250 feet (76 m) long from east to west and 117 feet (36 m) across the transepts from north to south, giving it an area of 1,916 square metres (20,620 sq ft). The footprint of the church is amongst the largest of any church in England when cathedrals and other former monastic structures such as Bath Abbey are excluded, after only Great Yarmouth Minster (2,752 sq m), Hull Minster (2,473 sq m), Boston Stump (2,417 sq m) and Newark-on-Trent (2,010 sq m).

Exterior

Tower
The dominant feature of the church's exterior is the highly decorative and imposing northwest tower, capped by an extremely tall and slender spire. The earliest parts of the tower which comprise the lowest stage date from circa 1294, built in the Late Geometrical style. This part of the tower was an addition to the incarnation of the building begun in c. 1185, and was constructed on a massive scale, with walls 7 feet (2.1 m) thick and 35 feet (11 m) long. The lower stage, which reaches a height of 34 feet (10 m), contains a seven-bay niche-filled arcade containing fourteen statues by William Rice in the 19th century restoration. Below this arcade are two large windows, one each on the north and west sides, formed of three and four lights respectively, framed by massive buttresses complete with filleted angle shafts. This lowest stage of the tower partially juts into the north porch, with the 1325 hexagonal outer porch built around one of the tower buttresses.

The second stage of the tower is highly ornate and is almost as tall as the older stage below it, being some 33 feet (10 m) high from the bottom of the lower stage to the top of the second. This second stage was not begun until the early 14th century and subsequently shows a later period of architecture than the stage beneath it. This stage of the tower, containing the ringing room, has a large blind arcade that runs all the way around the tower, formed of 3 arches with y-shaped tracery in gabled hoods containing 19th century statues of the Apostles. Each arch has elaborate mouldings punctured with cabbage roses and daisy-like florets on the gables. The central arch on the east, north and west sides contain large glazed window, that of the south side blocked by the nave.

The third and highest stage of the tower contains the belfry and is similar in age to the second, being constructed in the Perpendicular Gothic style. This stage, being some 44 feet (13 m) high contains triplets of huge louvred belfry openings which take up nearly the entire width and height of each wall, showing the verticality common in the late Gothic period. These louvred windows have cinque-foil headed lights separated by slender blind arches, all heavily crocketed. The buttresses which started on the lowest stage also terminate here with crocketed pyramids. The third stage is topped by a pierced stone parapet formed of open triangles and gargoyles, with octagonal pinnacles rising from it. The parapet of the tower is 111 feet (34 m) above the ground; the octagonal corner pinnacles reach 139 feet (42 m) above the ground.

Spire

The first spire on the tower at Redcliffe was completed by circa 1335, and stood for just over 110 years until it was severely damaged by a storm in either 1445 or 1446, toppling the upper part of it. To what extent the spire was damaged is unknown, for conflicting accounts appear from its destruction as to how much of it was left. William Worcestre recorded in a visit to the church in 1478 that "the height of the tower at Redcliffe measures 300 feet, of which 100 feet have been thrown down by lightning". However, this contradicts the images and paintings of the church in the 19th century, which show the tower capped by a short stump, implying it was either taken down or further reduced in height. The tallest medieval work in the present spire is 139 feet (42 m) above the ground, the position of which matches the appearance of the church in the 19th century.

As part of the 19th century restoration of the church by George Godwin, the rebuilding of the spire was undertaken as the final part of the work, from 1870 to 1872. Godwin's design was more restrained than previous architects' drawings for its rebuilding, taking its inspiration from that at Salisbury Cathedral; perhaps ironic, as the original spire may have directly inspired Salisbury's, given the close link between the two churches. The spire stands 152 feet (46 m) tall on top of the roof of the tower, giving a total height to the capstone of 262 feet (80 m), and when the weathervane is included, 274 feet (84 m). The spire's height is commonly misquoted as 292 feet (89 m), which comes from an appendix attached to the book 'Notes on the Church of St Mary Redcliffe' by Revd J. P. Norris in 1878. This figure includes the deep foundations as well as the weathervane which has led to St Mary Redcliffe frequently being called the third tallest parish church in England.

Whilst the spire is very large, the church is not the third tallest parish church in England. It ranks as the 15th-tallest church in the United Kingdom, and the 6th-tallest parish church, surpassed in the respect of the latter by the churches of St Walburge in Preston, St James in Louth, St Wulfram in Grantham, St Elphin in Warrington and St Mary Abbots in Kensington. It is also the second tallest church in South West England, surpassed only by Salisbury Cathedral.

North porch
The north porch at St Mary Redcliffe is formed of two parts, an earlier 12th century inner porch and a much more elaborate 14th century outer porch. The outer porch is the only one visible from the exterior and dates from circa 1325. The outer porch is the most celebrated part of the current building as well as one of its greatest treasures, being one of only three medieval hexagonal porches in existence in England. The exterior is dominated by massive pentagonal turret buttresses with square pinnacles rising the full height of the porch.

The outer porch has three stages of unequal height: the lowest stage contains the main doorway which has a seven-pointed double-chamfered entrance arch, a feature author Simon Jenkins calls "astonishing". The arch is inspired by Oriental architecture and features exceptionally intricate decoration of seaweed foliage. The second stage has a large row of four blind arcades filled with niches containing 19th century replicas of the original statues, above which are large four-light windows. The upper stage contains the Chatterton Room, and is a low room lit by rows of mullion windows. The parapet has open quatrefoils and is reached by an octagonal stair turret in the southeast corner.

Nave, transepts and chancel
The main body of the church generally dates from the late Decorated and early Perpendicular Gothic periods of the mid-14th century and thus presents a unified and consistent style throughout. The aisles all have blind quatrefoil parapets divided by buttresses, from which rise crocketed pinnacles and 4-light Decorated windows. The clerestory of the main body is supported by massive flying buttresses which spring from the aisle buttresses. Between each buttress are very large 6-light windows filling almost the entire space of the clerestory wall, of the alternating tracery type. The upper walls also have an open parapet but formed of open-cusped triangles, above which rise thin, crocketed pinnacles.

The south and north transepts are unusually double-aisled, an arrangement scarcely seen outside of cathedral buildings and each one is three bays in length. The two transepts differ slightly in design due to the north transept being a slightly later imitation of the 1335 south transept. The south transept has gabled buttresses to the aisles and flying buttresses to the clerestory, which unlike that of the nave or chancel, is unpanelled. The clerestory windows are smaller than their counterparts in the main body and have a different design to the rest of the church, featuring a central arch of three lights surrounded by a band of glazed quatrefoils. The north transept more closely resembles the nave and chancel, with the same design of clerestory window.

The chancel continues the same design as the nave but the north aisle is partially blocked by the two bay organ chamber, which has mullioned windows with trefoiled heads and a wide chimney breast. East of the chancel is the two bay lady chapel, built in two sections, firstly at the end of the 14th century from circa 1385 and then extended at the end of the 15th century in 1494. The chapel has a large five-light window in its westernmost bay, corresponding with the earlier period of building, and a smaller four-light window in the eastern bay. The eastern gable of the chapel has a wide but low six-light Perpendicular window.

All four arms of the church have large or very large windows in their gable ends. The west window is a tall five-light construction, divided into two tiers by transoms, featuring cinquefoil-headed crosses. The north and south transept gable ends have "immensely tall" four-light windows divided into three tiers by two rows of transoms featuring Y-tracery and reticulated tracery in the arch heads. The chancel gable is filled almost entirely by a substantial seven-light window of the alternate tracery design.

Interior

Vaults
One of the rare qualities of St Mary Redcliffe is that it is vaulted entirely in stone, which makes it unique; there is no other parish church in England to feature a medieval stone vault throughout. The earliest vault in the church is that of the inner north porch dating back to circa 1185, taking the form of a simple ribbed vault, similar to that at Durham Cathedral, in the Transitional/Early English style. The outer porch, built from circa 1325, has a much more elaborate hexagonal vault in the form of a six-sided star.

The main body of the church is vaulted nearly entirely in the lierne form, with varying rib designs, including lozenges in the nave, hexagons in the south aisle, squares in the transepts and rectangles in the choir. These are formed by various combinations of ribs intersecting one another, in a pattern that Simon Jenkins calls "an astonishing maze". The nave vaulting contains over a thousand carved and gilded bosses, either 1,100 or 1,200 in number depending on the source. These bosses depict various scenes and objects, including saints, biblical scenes and people associated with the building of the church.

There are two other notable vaults in the church, including the star vault of the Lady Chapel dating from the late 14th century and the five-sided star vault underneath the tower, which an archaeological survey has dated to the late 1460s or early 1470s. Most of the vaults were repainted in the 1980's and 1990's and have bright shades of green, gold, blue and red.

Stained glass
The church lost the majority of its medieval stained glass during the damage done by Parliamentary forces in the 17th century, with fragments confined to the north transept, St John's chapel and lower tower windows. In 1842, the committee responsible for the restoration of the church were mostly concerned with the condition of the stonework which was estimated to cost some £40,000 to repair, but were determined to have the large east window, which at the time was bricked up, filled with glass. In 1847, the committee awarded the contract for its design and implementation to William Wailes of Newcastle-upon-Tyne, one of the most prolific stained glass designers of the 19th century, who estimated the cost at £330. This window was replaced in 1904 by a design by Clayton & Bell; Wailes' window being destroyed. Clayton and Bell provided much of the stained glass for the church following the 1842 decision to restore it, along with works by Ninian Comper and Joseph Bell of Bristol.

A notable medieval window to survive is in the lowest stage of the tower, featuring eight large figures, including depictions of Archbishop Thomas Becket and the saints Lawrence, Michael, Matthias, John the Baptist and Elizabeth. This window was reset and restored by Joseph Bell in the restoration. In the Second World War, incendiary bombs irrevocably damaged the windows of the Lady Chapel, which were replaced by 5 vivid windows designed by Harry Stammers from 1960 to 1965. In 2020, following the toppling of the statue of Edward Colston, the church took the decision to remove the lower four panels in the main window of the north transept which paid tribute to him, temporarily replacing them with clear glass. A competition to design new panels to replace these removed windows was launched in May 2022. The winner was announced in September 2022 as being Ealish Swift, a junior doctor in one of the city's hospitals, who designed panels depicting the Middle Passage, Bristol bus boycott, and Refugee Crisis.

As of 2023, the church has a mixture of stained glass and clear glass, with mostly Victorian work in the east end, and clear glass in the clerestory windows of the nave.

Fittings, memorials and monuments
The church building has numerous monuments and memorials due to its long association with the city of Bristol, its port and Queen Elizabeth I. Notable fittings include the fine ironwork screen designed by William Edney in 1710 intended to divide the chancel and nave, but moved in the restoration to sit under the tower; and the Victorian reredos below the east window. Other fittings of note include the 19th century pews; the 15th century St John's font, the only relic of St John's Church in Bedminster to survive the Blitz and the 15th century choir stalls.

The church also has many memorials, most notably to William Canynges who is buried in a brightly coloured tomb in the south transept, but also to Queen Elizabeth I. Monuments include a model of one of the ships that would sail from the Port of Bristol, and a wall memorial in the memory of William Penn, the founder of Pennsylvania. His helm and half-armour are hung on the wall, together with the tattered banners of the Dutch ships that he captured in battle. The church also displays a rib of a whale brought back from one of his voyages by John Cabot. There is also a carved medieval cope chest, a wineglass-shaped pulpit and multiple misericords.

Music

Organ

The earliest record of an organ at St Mary Redcliffe is when a new instrument by John Harris and John Byfield was installed in the church in 1726. This organ was one of the largest of its time, featuring three manuals and 26 stops, located on a new western gallery in the nave. This organ was rebuilt by John Smith of Bristol in 1829 and then completely altered by W. G. Vowles, also of Bristol, in 1867, when it was enlarged, rebuilt and reinstalled in the chancel. The 1867 organ kept the three manuals, but had an increased number of stops, 33 in number.

From 1910 to 1912, organ builders Harrison & Harrison of Durham built and installed a brand new organ for the church, incorporating a small amount of the old pipework. The new organ was much larger and due to space constraints, had to be split between the north and south walls of the chancel. A new stone chamber for the Swell Organ was built in the angle between the north transept and north chancel aisle. The Great Organ was placed on the north side of the chancel with the remaining parts on the south; the console being placed to the west, near the north transept. This organ had more than twice as many stops as the previous organs, a total of 68 as installed.

In 1941, the Swell Organ was affected by fire and bomb damage and had to be rebuilt in 1947 by Harrison & Harrison with additional pipes. The organ was cleaned and overhauled in 1974 and 1990 with tonal alterations, new equipment and additional stops; two stops were also removed. The 1990 work was never completely satisfactory, and so when the organ approached its next restoration in the early 2000s, a part of the project involved correcting errors from the 1990 overhaul.

The project to restore the organ in time for its 100th birthday was launched in 2007, with a fundraising goal of some £800,000. Half of the money was donated by the Canynges Society and the remaining half raised by the congregation, incorporating an anonymous £100,000 cheque left in the church for the restoration of the organ. The organ was dismantled in 2009 and returned in 2010, with four new blowers and new layout for the swell and new actions for the various keyboards as well as being cleaned and tuned. The organ as it stands today has 71 stops and 4,327 pipes, making it amongst the largest organs in Southern England. The organ is very well thought of for the quality of its tone, ranking amongst the finest organs in the country.

Bells

Early bells
The earliest record of bells at Redcliffe is in 1480, where a very large peal of six are recorded. The founders were not known, as only the number of bells was recorded by William Worcestre. It is known from the churchwarden's accounts, that the 4th bell was recast by William Jeffers in 1572, and the 5th and 6th by Roger Purdue in 1622. The Purdue family were one of the most prolific medieval bellfounders in England and were based in Somerset and Bristol; 531 of their bells still survive today. Purdue's tenor was recorded as weighing 42 long cwt 0 qrs 27 lbs (2,150 kg or 4,731 lb). In 1626, the bells were rehung in a massive oak frame which was inscribed with "T. Roome, Anno Domini 1626", who was presumably the frame's maker.

In 1698, Abel Rudhall of Gloucester augmented the ring of six to eight with two new treble bells. No further work is recorded until 1763, when Thomas Bilbie recast the 3rd, 4th, 5th and 6th of the eight.  The Bilbie family, like the Purdue family, were a prolific West Country foundry; 734 of their bells survive today. Curiously, Bilbie had to guarantee the recast bells were at least as heavy as the bells they replaced; if they were not, he had to pay 1 shilling per pound of reduced metal. The first peal in the tower was a few years later, being 5,040 changes of Grandsire Triples on 29 May 1768.

19th century augmentation
In 1823, the bells were augmented to ten with two trebles cast by Thomas Mears II of Whitechapel, though the first peal on the ten would not follow until 1835. The bells were augmented to twelve in 1872 by Mears' successors, Mears & Stainbank. The augmented bells were the third ring of twelve in the West Country, following Cirencester in 1722 and Painswick in 1821, and the 25th ring of twelve in the country.
By the late 1880s, the ease at which the bells could be rung was deteriorating, and so John Taylor & Co of Loughborough were asked to inspect the bells. They reported that the fittings of the 10th and tenor bells were in a bad state, and should be renewed or replaced. They also reported that these 2 bells should be turned so that the clappers would not strike the same point of the bell, to avoid the risk of cracking. They inspected the frame, reporting that the frame timbers were sound, but not massive enough to support such a heavy ring of bells, and thus recommended bolting some cast iron brackets to the corners to make it more rigid. The frame housing the three smallest bells they described as badly designed and too weak; these bells were hung above the other nine. They also recommended the fitting of iron girders across the tower walls from east to west. The cost of all this work was £149, though the fitting of the iron girders is not recorded.

The first peal on the ring twelve was on New Year's Eve 1899, being 5,007 changes of Stedman Cinques in rung 3h 28m, with two men on the tenor. There was a fierce debate in the Bell News magazine for several months afterwards, with some claiming the peal cannot have been rung successfully because the speed of the peal was "impossibly fast" given the weight of the tenor, which was often recorded at anywhere between 48 and 52 long cwt (5,376 kg - 5,824 kg) in ringing magazines.

20th century restoration
In 1902, Taylor's were asked to come again, and this time they found things considerably worse than on their previous visit fourteen years earlier. Some of the frame was no longer sound, with rotten or decaying timbers, and various wedges had been installed in the frame corners to try and give it rigidity. These wedges transferred the forces into the walls of the tower, and whilst it was not currently damaging it, it had the potential to do so. Taylor's advised that the bells should be rehung in a new metal frame, with all twelve bells on one level (unlike the existing frame), and the clock weights being reorganised to pass through one corner of the bell chamber instead of being suspended from the centre of the ringing chamber. They also recommended new fittings throughout. The estimate that the church received from Taylor's for new fittings and a new frame would cost £709. The architect was consulted and following talks with Taylor's, it was agreed to recast the lightest seven bells and the tenor, retuning the other four.

The bells, the frame and the fittings left Bristol for Loughborough in the early months of 1903. The bells were all weighed upon their arrival, where the tenor was found to be only 39 long cwt (4,368 kg), over half a tonne lighter than reputed, which then explained how the peal in 1899 was faster than many thought possible. The lightest seven and the tenor bell were broken up and recast with additional metal, and the 8th, 9th, 10th and 11th bells had their canons (ornamental loops of bell metal previously used for attaching bells to their headstocks) removed. The bells were also retuned, the combined action of both removing the canons and retuning reducing the weight of each of these four bells by approximately 2 long cwt (225 kg).

The 9th bell, however, for a reason that is unknown was recast later in the same year; according to legend this is because the railway company dropped the 9th on the return to Bristol, and it had to be recast. The logbook housed in the archives at John Taylor & Co's Loughborough foundry shows the arrival weight and post-tuning weights of the former 9th crossed through and a new, heavier weight recorded underneath. The bells were provided with all new fittings throughout, including Taylor's standard cast iron headstocks, Hasting stays, timber wheels, wrought iron clappers and plain bearings. They were hung in a massive new cast iron frame for 12 bells which had been installed in the closing months of 1903, with room left for an additional 13th bell later if required.

When the bells were installed, the new heavier tenor, which weighed 50 long cwt 2 qrs 21 lbs (5,677 lb or 2,575 kg), made the bells the fourth heaviest in the world hung for change ringing, after Exeter Cathedral, St Paul's Cathedral and Wells Cathedral; but the second heaviest ring of twelve, as Exeter and Wells were both rings of ten. Exeter would later be augmented to 12 in 1922, also by Taylor's. The first peal on the new bells was on New Year's Day in 1904, being 5,085 changes of Stedman Cinques in 4 hours exactly. The bells would later be relegated to the 5th heaviest ring of bells and the 4th heaviest twelve by the casting of the bells of York Minster in 1925, also by Taylor's, and then relegated again by the ring of twelve at Liverpool Anglican Cathedral, cast by Mears & Stainbank in 1939; they have remained the sixth heaviest ring of bells in the world since.

Modern history
With the introduction of ball bearings to church bells in 1920, Taylor's rehung the bells on ball bearings in 1933. These new ball bearings no longer required regular greasing, unlike the old plain type of bearings and were also self-aligning. In the spring of 1941, following the reports of aerial damage to many towers in London, including the destruction of the ring of twelve at St Mary-le-Bow, the church took the decision to remove the bells from the tower and keep them in the undercroft underneath sandbags. The bells were returned to the tower and rehung in November 1944, also by Taylor's.

In 1951, the 13th bell that Taylor's had left the space for in 1903 was ordered, being cast at Loughborough as with the other bells. This bell, called a flat sixth, occupied the position in the frame between the sixth and seventh bells and was used to provide a lighter ring of eight, when bells two to nine are rung with the flat sixth replacing the normal sixth. The ninth weighs 19 long cwt 3 qrs 1 lb (2,213 lb or 1,004 kg), less than half that of the tenor bell, which makes teaching new ringers easier. To fit this extra bell in, Taylor's provided an additional section of frame. The new bell was provided with all new fittings, identical to those of the other bells.

In 1967, St John's Church in Bedminster, which had been in ruins since sustaining heavy damage in the Bristol Blitz, was demolished. The font was brought to Redcliffe (see fittings, above), and the only surviving bell was donated to Redcliffe to increase its number of bells to fourteen. This bell, which weighed 8 and a half long cwt (950 lb or 430 kg) was cast by Bristol founder Llewellins and James in 1907. The bell was recast in 1969 by Taylor's to make it better suit the bells at Redcliffe. This fourteenth bell, called an 'extra treble' was provided with fittings to complement the Redcliffe bells and was hung in a new cast iron frame above the existing thirteen bells; its purpose was to augment the light eight to a light ring of ten, utilising the extra treble, the treble bell and bells two to nine with the flat sixth.

Following the bells hundredth birthday in 2003, the bells have received attention several times on both a minor and major basis. In 2009, the 9th bell was rehung on a new and larger wheel to make it easier to ring; the wheel it had been provided with in 1903 appeared to suit better the weight of the old ninth rather than the one that was recast. The frame containing the extra treble was moved slightly to improve the place the rope falls in the circle, and it too was given a new wheel. In 2012, the 8th bell, which had been cast in 1763 by Thomas Bilbie, was retired, being both underweight and poor in tone to the more modern Taylor bells around it. John Taylor & Co were selected to cast a new bell to replace it, and had to scan the surrounding bells with a laser to get an accurate shape, as the 1903 shape Taylor's had used at the time of their recasting was no longer in use.

The new bell was cast to celebrate the Diamond Jubilee of Queen Elizabeth II and following its tuning, it weighed some 15 and a half long cwt (790 kg), over 250 kg heavier than its predecessor and was hung in the spring of 2013. At the same time, the wheels of the sixth, seventh and eighth were rejigged: the sixth received the wheel that had been on the seventh, the seventh received that of the old eighth and the new eighth received the wheel formerly on the ninth prior to 2009. The old eighth bell was hung on steel girders above the ringing peal, for chiming. The last major piece of work to the bells in recent times was when in 2017, the fittings were dismantled and together with the frame, were repainted into Taylor's standard red livery. The bells remain the sixth heaviest ring of bells (but fifth heaviest ring of twelve) in the world. They are also the heaviest ring of bells in a parish church.

The bells are considered one of the finest rings of bells in existence, with visiting bands of ringers coming from across the British Isles and beyond to ring them. There have been more than 300 full peals rung on the bells since the first in 1768; the St Mary Redcliffe Guild of Ringers attempts several full peals on the bells a year, normally to mark national events, most recently, the State Funeral of Queen Elizabeth II in September 2022.

Location and precincts
Since the construction of Redcliffe Way in the 1960's, the church has sat next to a busy dual carriageway on its north side, whose construction resulted in the demolition of many of the historic buildings that originally faced the church, as well as a gradual blackening of the stone from pollution. The church has, however, kept its historic south churchyard, which has been described as a "cathedral close in miniature", with a small group of listed buildings sat around a south-facing lawn. These buildings are a row of terraced houses on Colston Parade, approximately half of those built in the Stucco style from 1760 to 1762, augmented with four Victorian terraces; all are Grade II listed.

The south churchyard contains the Redcliffe War Memorial, formed of a large, tapering stone shaft surmounted by a cross, designed by George Oatley in 1921. The memorial was originally designed and constructed to commemorate the fallen of Redcliffe in the First World War, but it was altered following further loss of life in the Second World War. The memorial is Grade II listed. There are two other parts of the churchyard to achieve listed status, these are the walls on Colston Parade which date to the 18th century, and the balustrade surrounding the west front; both are Grade II listed.

The churchyard also contains the Redcliffe Pipe; a conduit originally given by Robert de Berkeley in 1190 to supply fresh water to the church. Berkeley was Lord of Bedminster Manor and he granted the construction of a  long pipe from Knowle Hill to St Mary Redcliffe. A yearly walk along the route of the pipe continues to this day. Damaged in the Bristol Blitz, the present pipe terminates near the balustrade in front of the west front, featuring a brass drinking fountain from 1823, though the water from the pipe does not actually enter the fountain.

See also

 Churches in Bristol
 Grade I listed buildings in Bristol
 List of tallest buildings and structures in Bristol
 List of tallest church buildings in the United Kingdom

References

External links

 Official website

Churches completed in 1872
12th-century church buildings in England
15th-century church buildings in England
Church of England church buildings in Bristol
Diocese of Bristol
Grade I listed churches in Bristol
Music venues in Bristol
Tourist attractions in Bristol

St Mary Redcliffe