Harlan Rogers Crow (born 1949) is an American-Kittitian real estate developer. He is the former chairman and CEO of the Trammell Crow Company, which was founded by his father, Trammell Crow. His father was described as the "largest landlord in the United States" by Forbes magazine.

Crow is the cofounder of Club for Growth and is a major donor to the Republican Party and conservative causes. His relationship with United States Supreme Court Justice Clarence Thomas, which has lasted for over twenty years, was the subject of significant news reporting in 2023 due to Thomas not reporting on financial disclosure forms, gifts, and vacations Crow had provided.

Early life and education
Harlan Crow was born in Dallas, the third son of Margaret Doggett Crow and real estate developer Trammell Crow. Margaret Crow survived the sinking of the , the first British ship sunk by Nazi Germany during World War II. He has four brothers and one sister. He attended high school at the Randolph-Macon Academy in Front Royal, Virginia. He later attended Emory University in Atlanta, Georgia, before he transferred to the University of Texas where he received a BBA.

Career
Crow worked as a leasing agent for Trammell Crow Houston Industrial from 1974 to 1978 and managed the Dallas Office Building development operations of Trammell Crow Company from 1978 to 1986. He then served as President of the Wyndham Hotel Company from 1986 to 1988. He assumed responsibility for Crow Holdings in 1988,  doing so during a downturn in the company's finances. Crow diversified the company and took on more property management business, revitalizing the company.

He currently serves as chairman of Crow Holdings and was formerly its chief executive officer.

Political activities
Crow is a member of the founding committee of the Club for Growth and has served on the board of the American Enterprise Institute since 1996. He has donated almost $5 million to Republican campaigns and conservative groups.

Crow donated $500,000 toward publicity campaigns for President George W. Bush's nominees for the Supreme Court. In 2009, Crow mounted an unsuccessful multimillion-dollar campaign to block the establishment of a publicly owned convention hotel in Dallas. According to Politico, that same year, he provided $500,000 to Liberty Central, which was established by Virginia Thomas, the wife of Justice Thomas. Crow declined to comment on whether he was the anonymous donor in question, telling The New York Times, "I don't disclose what I'm not required to disclose."

The New Republic reported in 2023 that Crow has been a major donor to the political organization No Labels.

Personal life

Crow and his second wife, Kathy, have three children. Kathy Crow earned a bachelor's degree from Princeton University in 1989 and an MBA from the Cox School of Business at Southern Methodist University (SMU). She is a member of the SMU board of trustees and a member of the executive boards of the Cox School of Business and the Annette Caldwell Simmons School of Education and Human Development. In 2014, the Crows donated $5 million to build the Kathy Crow Commons at SMU.

Crow is a member of the all-male Bohemian Club, and as early as 1997 he had hosted Supreme Court Justice Clarence Thomas as a guest at the group's annual Bohemian Grove summer gathering, having met Thomas in the mid-1990s. Crow was also a friend and former business partner of the publisher Wick Allison.

The Intercept and Project on Government Oversight reported in 2023 that Crow and his family purchased citizenship in St. Kitts and Nevis through the citizenship-by-investment program in 2012, raising concerns about the billionaire's ability to shelter assets and obscure financial transactions by taking advantage of the island nation's banking secrecy laws.

Relationship with Clarence Thomas
In 2023, ProPublica reported that Crow had given lavish gifts to Associate Supreme Court Justice Clarence Thomas over a period of 20 years. The gifts include a $19,000 Bible that belonged to Frederick Douglass. Crow gave Thomas a portrait of the justice and his wife, according to the painter, Sharif Tarabay. Tax filings show that Crow's foundation also gave $105,000 to the Yale Law School, Thomas's alma mater, for the "Justice Thomas Portrait Fund". Justice Thomas has accepted numerous week-long luxury trips, including island-hopping on Crow's superyacht, international and domestic private jet travel, and private resort stays.

On April 13, 2023, ProPublica reported that Crow had quietly paid Thomas for property occupied by Thomas's mother's home, despite law requiring disclosure of property sales by public officials. Crow said he bought the property with the intent of later turning the home into a public museum dedicated to Thomas. The property included two vacant lots. Soon after the purchase, an architecture firm received permits to begin $36,000 of improvements, while Thomas's mother continues to live there.

Allegations have risen that Crow has been "subsidizing the lifestyle of Thomas and his wife" as Thomas continued to support conservative causes on the Supreme Court.

Under rules that went into effect on March 14, 2023, justices must disclose many forms of gifts they receive; but exceptions exist if a gift of food, lodging, or entertainment is deemed "personal in nature" and the hospitality has been directly offered by an individual who has a personal relationship to the government official in question. The new rules do however require disclosure of stays at commercial properties as well as private jet travel.

Legal experts cited by ProPublica say that Thomas did not disclose the gifts, violating a financial disclosure law and ethical norms for judges. According to Crow, he has "never sought to influence Justice Thomas on any legal or political issue". Democratic lawmakers reacted to the revelations by demanding Thomas's resignation and calling for an investigation.

In a May 2023 letter Crow's lawyer said that the Senate Judiciary Committee, chaired by Dick Durbin, did not have "the authority to investigate Mr. Crow's personal friendship with Justice Thomas."

Art and memorabilia collections
Crow's Dallas residence has an extensive collection of historical artifacts, including communist and Nazi memorabilia. His residence houses two paintings by Adolf Hitler and a signed copy of Mein Kampf. Crow's backyard garden is home to at least 20 statues of authoritarian leaders and Communist icons including Vladimir Lenin, Joseph Stalin, Fidel Castro,  Mao Zedong, Karl Marx, Hosni Mubarak, Josip Broz Tito, Nicolae Ceausescu, Walter Ulbricht, Gavrilo Princip, Bela Kun, and Che Guevara. Crow acquired these former public monuments after the collapse of the Soviet Union and the Eastern Bloc. According to Crow, he collects such memorabilia because he "hates communism and fascism". Crow also owns original paintings by Claude Monet, Rembrandt Peale, Pierre-Auguste Renoir, Winston Churchill, and Dwight D. Eisenhower.

Crow's private library contains a collection of 8,500 books and manuscripts including historical documents from Juan Ponce de León, Christopher Columbus, Amerigo Vespucci, George Washington, Robert E. Lee, and all the signers of the United States Declaration of Independence and the Constitution of the United States.

References

External links
Crow's biography  at the Crow Holdings website

1949 births
Living people
Businesspeople from Dallas
American real estate businesspeople
American Enterprise Institute
Texas Republicans
Emory University alumni
McCombs School of Business alumni
20th-century American businesspeople
21st-century American businesspeople
Crow family
American art collectors
20th-century art collectors
21st-century art collectors
Saint Kitts and Nevis businesspeople
People with acquired Saint Kitts and Nevis citizenship

Harlan Crow


The Confutatio Augustana was the Roman Catholic refutation (confutation) of the Augsburg Confession, often referred to in the theological literature as simply the Confutatio.

On 25 June 1530 the Protestant Imperial States of the realm met at the Diet of Augsburg, and presented Charles V with the Augsburg Confession, largely the work of Philipp Melanchthon setting out the doctrines and practices of the church in the Protestant principalities. The emperor commissioned the papal theologians to prepare a response. An initial version of the Confutatio was rejected by the emperor, as excessively polemic and verbose. In formulating the Confutatio, the lead was taken by Johann Eck. On 3 August 1530, the final version was read at the Diet. The Confutatio  rejected some of the statements of the Augsburg Confession while affirming others. It called for a return to Catholic doctrine.

In other respects, however, the Confutatio found common ground with the Augsburg Confession. Emperor Charles V refused to hand over the text to the Protestants, unless they agreed not to respond, which they refused. But the Protestants had transcribed it as it was read. Melanchthon responded with the Prima delineatio, which was rejected by the Emperor. Later Melanchthon improved this document and presented it as the Apology of the Augsburg Confession, which was signed at a 1537 meeting of the Schmalkaldic League. The Catholic side did not respond to this formally until the Council of Trent.

Bibliography
 Heiko Oberman. The Reformation: Roots and Ramifications. Continuum International Publishing Group, 2004.
 Johann Ficker: Die Konfutation des Augsburgischen Bekenntnisses. Leipzig 1891
 Herbert Immenkötter Um die Einheit im Glauben. Die Unionsverhandlungen des Augsburger Reichstages. Münster 1974
 The Book of Concord: Full text of the Confutatio

Catholic theology and doctrine
Religious studies books
Christian statements of faith
1530 books

Confutatio Augustana


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

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

History

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

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

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

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

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

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

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

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

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

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

1660–1800
In 1661, after Charles II was restored to the throne, Robert Creighton, the king's chaplain in exile, was appointed dean and was bishop for two years before his death in 1672. His brass lectern, given in thanksgiving, can be seen in the cathedral. He donated the nave's great west window at a cost of £140. Following Creighton's appointment as bishop, the post of dean went to Ralph Bathurst, who had been chaplain to the king, president of Trinity College, Oxford and fellow of the Royal Society. During Bathurst's long tenure the cathedral was restored, but in the Monmouth Rebellion of 1685, Puritan soldiers damaged the west front, tore lead from the roof to make bullets, broke the windows, smashed the organ and furnishings, and for a time stabled their horses in the nave.

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

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

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

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

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

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

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

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

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

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

Dean and chapter
As of 1 January 2021:
Dean — John Davies (since 20 November 2016 installation)
Precentor — Nicholas Jepson-Biddle (since 7 May 2013 installation)
Archdeacon of Wells & Diocesan Canon — Anne Gell (since 20 May 2017 collation and installation)
Canon Pastor — Rosalind Paul (since 3 December 2018 installation)
Canon Chancellor — Rob James (since 25 November 2019 installation)
Diocesan Canon — vacant since 13 February 2018 (most recently Treasurer & Director of Learning Communities)

Architecture

Dates, styles and architects

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

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

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

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

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

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

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

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

West front
The west front is  high and  wide, and built of Inferior Oolite of the Middle Jurassic period, which came from the Doulting Stone Quarry, about  to the east. According to the architectural historian Alec Clifton-Taylor, it is "one of the great sights of England".

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Interior

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

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

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

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

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

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

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

Chapter house

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

Art works and treasures

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Music

Organ and organists

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

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

The cathedral also has a chamber organ, built by the Scottish organ-builders Lammermuir, which is normally kept in the choir but which can be moved around for services and concerts. It is regularly used for authentic accompaniment of Tudor and baroque music.

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

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

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

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

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

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

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

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

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

Precincts

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

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

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

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

In the arts and popular culture

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

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

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

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

See also
List of Gothic Cathedrals in Europe
Early Gothic architecture
English Gothic architecture
Gothic cathedrals and churches
English Gothic stained glass windows
History of medieval Arabic and Western European domes

References

Explanatory notes

Citations

General bibliography

Further reading

External links

Churches completed in 1490
Anthony Salvin buildings
Anglican cathedrals in England
Anglo-Saxon cathedrals
Pre-Reformation Roman Catholic cathedrals
Church of England church buildings in Mendip District
Diocese of Bath and Wells
English Gothic architecture in Somerset
Grade I listed buildings in Mendip District
Grade I listed cathedrals
Tourist attractions in Somerset
Cathedral
Libraries in Somerset
Organisations based in Somerset
Articles containing video clips

Wells Cathedral


Alan Stevens is a British writer and producer who is based in the Southeast of England, where he runs his own audio production company, Magic Bullet Productions.

Stevens has produced a number of documentaries, serials and dramas for radio and independent audio release, including the Blake's 7/Doctor Who spinoff series Kaldor City and the second Faction Paradox audio series, and has co-written two guidebooks for Telos Publishing, Liberation: the Unofficial and Unauthorised Guide to Blake's 7 and Fall Out: the Unofficial and Unauthorised Guide to The Prisoner, with Fiona Moore. He writes articles for Celestial Toyroom, the magazine of the Doctor Who Appreciation Society, and has written in the past for Doctor Who Magazine and DWB.

Print material

 "Skull Duggery", with Fiona Moore, in forthcoming anthology Shelf Life
 "The Human Factor: Daleks, the Evil Human and Faustian Legend in Doctor Who" Time and Relative Dissertations in Space, ed. David Butler (2007, Manchester University Press.
 Fall Out: the Unofficial and Unauthorised Guide to The Prisoner (2007)
 Liberation: the Unofficial and Unauthorised Guide to Blake's 7 (2003)
 Zenith (2001) (editor)

Audios

 Kaldor City: The Prisoner (2004) with Fiona Moore
 Kaldor City: Checkmate (2003)
 Kaldor City: Taren Capel (2003)
 Kaldor City: Occam's Razor (2001) with Jim Smith
 The Logic of Empire (1998)
 The Mark of Kane (1996)
 Travis: the Final Act (1990)

References

External links
 kaldorcity.com

Year of birth missing (living people)
Living people
English science fiction writers
English non-fiction writers
English radio producers
English male novelists
English male non-fiction writers

Alan Stevens (writer)


Matthew John Kinney (born December 16, 1976) is an American former professional baseball pitcher. He spent  with the Saitama Seibu Lions of the Nippon Professional Baseball (MLB). Kinney is a graduate of Bangor High School.  Kinney and his Little League team was featured in the Stephen King essay "Head Down", featured in King's Nightmares and Dreamscapes collection.
He now resides in Maine with his two sons.

Career
Kinney was drafted out of Bangor High School in the sixth round of the 1995 amateur draft by the Boston Red Sox. He was traded to the Minnesota Twins along with John Barnes for Orlando Merced and Greg Swindell in July 1998. Kinney made his MLB debut in  with the Twins, going 2–2 with a 5.10 ERA in 8 starts. In , he had just a 4.64 ERA with the Minnesota Twins, but went 2-7 that year. He was traded in the 2002 off-season to the Milwaukee Brewers. In  and  with the Brewers, he combined for a 13–17 record. On August 6, 2004, Kinney was designated for assignment by the Brewers and was claimed off waivers by the Kansas City Royals. He made 11 relief appearances with the Royals that season. During the 2007- offseason, Kinney signed with the Saitama Seibu Lions, playing in Japan for a single season. Kinney returned to the United States in 2009 to play with the Fresno Grizzlies, the AAA affiliate of the San Francisco Giants.

Kinney gave up Barry Bonds' 660th home run, which tied Bonds with his godfather Willie Mays.

On August 24, 2010, while with the Triple-A Fresno Grizzlies of the Pacific Coast League, Kinney received a 50-game suspension after testing positive for an amphetamine, a banned performance-enhancing substance. Kinney took responsibility for the suspension but explained that the amphetamine in question was contained in Adderall, a drug he has been taking since 2005 to treat his attention deficit hyperactivity disorder, and was taken for medical reasons, not to boost his on-field performance. The suspension came as a result of his forgetting to file the proper paperwork with Major League Baseball when he signed with the Giants earlier in the year.

References

External links

1976 births
Living people
American expatriate baseball players in Canada
American expatriate baseball players in Japan
American disabled sportspeople
American sportspeople in doping cases
Baseball players from Penobscot County, Maine
Baseball players suspended for drug offenses
Baseball players with disabilities
Edmonton Trappers players
Fort Myers Miracle players
Fresno Grizzlies players
Gulf Coast Red Sox players
Gulf Coast Twins players
Kansas City Royals players
Lowell Spinners players
Major League Baseball pitchers
Michigan Battle Cats players
Milwaukee Brewers players
Minnesota Twins players
New Britain Rock Cats players
Nippon Professional Baseball pitchers
Saitama Seibu Lions players
Salt Lake Buzz players
San Francisco Giants players
San Jose Giants players
Sarasota Red Sox players
Sportspeople from Bangor, Maine

Matt Kinney


Fort Burgoyne, originally known as Castle Hill Fort, was built in the 1860s as one of the Palmerston forts around Dover in southeast England. It was built to a polygonal system with detached eastern and western redoubts, to guard the high ground northeast of the strategic port of Dover, just north of Dover Castle. The fort is named after the 19th century Field Marshal Sir John Fox Burgoyne, Inspector-General of Fortifications and son of the John Burgoyne who fought in the American Revolutionary War.

After the First World War Fort Burgoyne was used as a military depot or store for Connaught Barracks. Until recently the central part of the fort was still owned by the Ministry of Defence, forming part of the Connaught Barracks site, which is now being redeveloped for housing.

In 2014, Fort Burgoyne and a total of 42 Hectares of land was acquired by the Land Trust.  Since acquiring the site the Trust has spent over £2.5 million on priority works (informed by a Coastal Revival Fund grant aided condition survey) to stabilise the site together with transforming the West Wing Battery of the site from condition of derelict buildings and structures lost in woodland to an informal recreation space for the community opened in 2023.

As part of the Trust's long term aspiration to see the Fort become a vibrant business and community space in 2023 a project was completed providing opportunities for businesses to become the first tenants on site.

Community Participation

Since acquiring the Fort, the Land Trust has sought to promote public engagement and participation with the site. While the condition of Fort Burgoyne is such that access to the site is for events only, building a relationship with the community is seen as vital for the future success of the site.

In partnership with White Cliffs Countryside Partnership, the Fort hosts a weekly volunteer group, education visits, and children's activities. The Land Trust 'Green Angels' training programme also runs a number of courses on site annually.

As part of the West Wing Battery transformation project, a 2 week community archaeology dig was undertaken to inform proposals for landscaping works.

The Fort has hosted Dover Armed Forces Weekend in 2022 and 2023 together with community events on fields surrounding the main Fort area.  An annual wildlife family funday provides an opportunity for visitors to witness both the historic and wildlife value of Fort Burgoyne.

On the 29 February 2020, Fort Burgoyne was opened to the public for a day. The event was called Waking the Giant and was run by Albion Inc, as part of a commission for Pioneering Places East Kent funded by National Lottery Heritage Fund and Arts Council Great Places programme to map out the future uses of the fort. The event featured: The Museum Of British Folklore, Weaving & Knitting by Robert George Sanders & Katherine Woodward, Blacksmithing by Michael Hart, Ceramics by Ceramic Art Dover & Keith Brymer-Jones, A showing of the film Fortopia By Matt Rowe, a demo of the virtual reality game Escape created by Jake Price, A presentation of future fort use by Central St. Martins, A Makers Market by Future Foundry and Food & Drink by The White Cliffs & Real Deal Roasters.

References

External links
 The Land Trust - Fort Burgoyne
Fort Burgoyne
Victorian Forts data sheet
White Cliffs Countryside Partnership

Palmerston Forts
Forts in Dover, Kent
Military history of Dover, Kent

Fort Burgoyne


A logic puzzle is a puzzle deriving from the mathematical field of deduction.

History
The logic puzzle was first produced by Charles Lutwidge Dodgson, who is better known under his pen name Lewis Carroll, the author of Alice's Adventures in Wonderland. In his book The Game of Logic he introduced a game to solve problems such as confirming the conclusion "Some greyhounds are not fat" from the statements "No fat creatures run well" and "Some greyhounds run well". Puzzles like this, where we are given a list of premises and asked what can be deduced from them, are known as syllogisms. Dodgson goes on to construct much more complex puzzles consisting of up to 8 premises.

In the second half of the 20th century mathematician Raymond M. Smullyan continued and expanded the branch of logic puzzles with books such as The Lady or the Tiger?, To Mock a Mockingbird and Alice in Puzzle-Land.  He popularized the "knights and knaves" puzzles, which involve knights, who always tell the truth, and knaves, who always lie.

There are also logic puzzles that are completely non-verbal in nature.  Some popular forms include Sudoku, which involves using deduction to correctly place numbers in a grid; the nonogram, also called  "Paint by Numbers", which involves using deduction to correctly fill in a grid with black-and-white squares to produce a picture; and logic mazes, which involve using deduction to figure out the rules of a maze.

Logic grid puzzles

Another form of logic puzzle, popular among puzzle enthusiasts and available in magazines dedicated to the subject, is a format in which the set-up to a scenario is given, as well as the object (for example, determine who brought what dog to a dog show, and what breed each dog was), certain clues are given ("neither Misty nor Rex is the German Shepherd"), and then the reader fills out a matrix with the clues and attempts to deduce the solution. These are often referred to as "logic grid" puzzles. The data set of a logic grid puzzles can be any number of categories, but are limited by the corresponding increase in complexity, with most having only two, three, or even four categories.

While designed more as a table-based puzzle than a matrix, the most famous example of a logic-grid puzzle may be the so-called Zebra Puzzle, which asks the question Who Owned the Zebra?.

Common in logic puzzle magazines are derivatives of the logic grid puzzle called "table puzzles" that are deduced in the same manner as grid puzzles, but lack the grid either because a grid would be too large, or because some other visual aid is provided.
For example, a map of a town might be present in lieu of a grid in a puzzle about the location of different shops.

See also
 :Category:Logic puzzles, a list of different logic puzzles
 List of puzzle video games
 Logic programming
 Mechanical puzzle
 Recreational mathematics
 Muddy Children Puzzle
 Survo puzzle

References

Informal logic

Logic puzzle


Phanerothyme is the ninth full-length studio album by the Norwegian band Motorpsycho. It was released through Stickman Records (Europe) and Sony (Norway). It was also released in Japan through P-Vine.

Track listing
"Bedroom Eyes" – 2:18
"For Free" – 5:13
"B.S." – 3:41
"Landslide" – 4:38
"Go To California" – 8:00
"Painting The Night Unreal" – 6:35
"The Slow Phaseout" – 4:30
"Blindfolded" – 3:44
"When You're Dead" – 4:52

 Nr. 1–3, 6 by Sæther.
 Nr. 4, 5, 7 by Sæther/Ryan.
 Nr. 8 by Ryan.
 Nr. 9 by Gebhardt.

Vinyl version
Due to space limitations, the track list was altered for the LP release.

Side A
Bedroom Eyes
For Free
B.S.
Landslide
The Slow Phaseout

Side B
Go To California
Painting the Night Unreal
Blindfolded
When You're Dead

Personnel
Bent Sæther: vocals, bass, guitars, mellotron, guitarmando, percussion, viscount organ, drums
Hans Magnus Ryan: guitars, vocals, piano, viscount organ, mellotron, bass
Håkon Gebhardt: drums, vocals, percussion, guitars, zither, banjo, lap-steel guitar
Helge Sten (Deathprod): audio virus, filters, ringmodulators, echoplex, theremin
Baard Slagsvold: piano, Wurlitzer, clavinette, Rhodes piano, backing vocals. Slagsvold did all the string/reed-arrangements, except for "When You're Dead," which was arranged by Lars Horntveth.
Øyvind Fossheim: violin
Vegard Johnsen: violin
André Orvik: violin
Hans Morten Stensland: violin
Jon W. Sønstebø: viola
Anne Britt Søvig Årdal: cello
Ketil Vestrum Einarsen: flute
Lars Horntveth: tenor sax and bass-clarinet
Anne-Grethe Orvik: oboe
Even Skatrud Andersen: trombone
Mathias Eick: trumpet and flugelhorn
Line Horntveth: tuba
Kim Hiorthøy: cover artwork

Videos
The band made videos for "The Slow Phaseout" and "Go To California", the latter showing them as Amish people walking, running and jumping through the Norwegian woods, whilst carrying surfboards around.

Singles
There were no single/EP releases for this album, but some of the additional songs recorded during the Phanerothyme sessions surfaced on the "Serpentine" EP (2002). Also an EP named "Barracuda" was released in February 2001, containing left over songs from the Let Them Eat Cake-sessions. Still, promotional only singles of "The Slow Phaseout" and "Go To California" (edited version, 2:53 mins) were pressed and sent to radio stations.

2001 albums
Motorpsycho albums

Phanerothyme


Barbarians at the Gate is a 1993 American biographical comedy-drama television film directed by Glenn Jordan and written by Larry Gelbart, based on the 1989 book of the same name by Bryan Burrough and John Helyar. The film stars James Garner, Jonathan Pryce, and Peter Riegert. It tells the true story of F. Ross Johnson, who was the president and CEO of RJR Nabisco.

Barbarians at the Gate received generally positive reviews from critics. The film earned nine nominations at the Primetime Emmy Awards (winning for Outstanding Made for Television Movie). It also won Best Miniseries or Motion Picture Made for Television and Best Actor in a Miniseries or Motion Picture Made for Television for Garner at the Golden Globe Awards.

Plot
Self-made multimillionaire F. Ross Johnson, CEO of RJR Nabisco, decides to take the tobacco and food conglomerate company private in 1988 after receiving advanced news of the likely market failure of the company's smokeless cigarette called Premier, the development of which had been intended to finally boost the company's stock price.

The free-spending Johnson's bid for the company is opposed by two of the pioneers of the leveraged buyout, Henry Kravis and his cousin. Kravis feels betrayed when, after Johnson initially discusses doing the LBO with Kravis, he takes the potentially enormous deal to another firm, the Shearson Lehman Hutton division of American Express.

Other bidders emerge, including Ted Forstmann and his company, Forstmann Little, after Kravis and Johnson are unable to reconcile their differences. The bidding goes to unprecedented heights, and when executive Charles Hugel becomes aware of how much Johnson stands to profit in a transaction that will put thousands of Nabisco employees out of work, he quips, "Now I know what the 'F' in F. Ross Johnson stands for." The greed is so evident, Kravis's final bid is declared the winner, even though Johnson's was higher.

The title of the book and movie comes from a statement by Forstmann in which he calls Kravis' money "phoney junk bond crap" and how he and his brother are "real people with real money," and that to stop raiders like Kravis: "We need to push the barbarians back from the city gates."

Cast
 James Garner as F. Ross Johnson
 Jonathan Pryce as Henry Kravis
 Peter Riegert as Peter Cohen
 Joanna Cassidy as Linda Robinson
 Fred Dalton Thompson as Jim Robinson
 Leilani Sarelle as Laurie Johnson
 Matt Clark as Edward A. Horrigan, Jr.
 Jeffrey DeMunn as H. John Greeniaus
 David Rasche as Ted Forstmann
 Tom Aldredge as Charles Hugel
 Graham Beckel as Don Kelly
 Peter Dvorsky as George R. Roberts
 Mark Harelik as Peter Atkins
 Joseph Kell as Nick Forstmann
 Rita Wilson as Carolyne Roehm-Kravis
 Ron Canada as Vernon Jordan

Awards and nominations

Notes

References

External links

1993 films
1993 television films
1993 comedy-drama films
1990s business films
1990s biographical drama films
American comedy-drama television films
American business films
American biographical drama films
Biographical films about businesspeople
Biographical television films
Television films based on books
Films based on non-fiction books
Films directed by Glenn Jordan
Films scored by Richard Gibbs
Films set in the 1980s
Films with screenplays by Larry Gelbart
HBO Films films
Columbia Pictures films
Wall Street films
R. J. Reynolds Tobacco Company
Best Miniseries or Television Movie Golden Globe winners
Primetime Emmy Award for Outstanding Made for Television Movie winners
American drama television films
1990s English-language films
1990s American films

Barbarians at the Gate (film)


Our Man in Havana is a 1959 British spy comedy film shot in CinemaScope, directed and produced by Carol Reed, and starring Alec Guinness, Burl Ives, Maureen O'Hara, Ralph Richardson, Noël Coward and Ernie Kovacs. The film is adapted from the 1958 novel Our Man in Havana by Graham Greene. The film takes the action of the novel and gives it a more comedic touch. The movie marks Reed's third collaboration with Greene.

Plot
In pre-revolutionary Cuba, James Wormold, a vacuum cleaner salesman, is recruited by Hawthorne of the British Secret Intelligence Service to be their Havana operative. Instead of recruiting his own agents, Wormold invents agents from men he knows only by sight and sketches "plans" for a rocket-launching pad based on vacuum cleaner parts to increase his value to the service and to procure more money for himself and his expensive daughter Milly.

Because his importance grows, he is sent a secretary, Beatrice, and a radioman from London to be under his command. With their arrival, it becomes much harder for Wormold to maintain his facade. However, all of his invented information begins to come true: his cables home are intercepted and believed to be true by enemy agents who then act against his "cell". One of his "agents" is killed, and he is targeted for assassination. He admits what he has done to his secretary, and he is recalled to London. At the film's conclusion, rather than telling the truth to the Prime Minister and other military intelligence services, Wormold's commanders (led by Ralph Richardson) agree to fabricate a story claiming his imagined machines had been dismantled. They bestow an OBE on Wormold and offer him a position teaching espionage classes in London.

Cast

 Alec Guinness as Jim Wormold
 Burl Ives as Dr. Hasselbacher
 Maureen O'Hara as Beatrice Severn
 Ernie Kovacs as Captain Segura
 Noël Coward as Hawthorne
 Ralph Richardson as 'C'
 Jo Morrow as Milly Wormold
 Grégoire Aslan as Cifuentes
 Paul Rogers as Hubert Carter
 Raymond Huntley as General
 Ferdy Mayne as Professor Sanchez
 Maurice Denham as Admiral
 Joseph P. Mawra as Lopez
 Duncan Macrae as MacDougal
 Gerik Schjelderup as Svenson
 Hugh Manning as Officer
 Karel Stepanek as Dr. Braun
 Maxine Audley as Teresa
 Timothy Bateson as Rudy
 John Le Mesurier as Louis the Waiter

Production
Alfred Hitchcock tried to get the film rights to the novel but felt they were too expensive. A deal was done with Carol Reed, who had made several successful films based on Graham Greene's novels, and Columbia Studios, for whom Reed had just made The Key. Greene and Reed worked on the script together in Brighton and London.

Columbia wanted actors in the cast familiar to American audiences, which led to the casting of such names as Maureen O'Hara, Burl Ives, and Ernie Kovacs, and making the daughter character American. Reed wanted the daughter played by Jean Seberg but she had signed to make Breathless. Kovacs recommend Jo Morrow, who was under contract to Columbia.

Filming started on location in Havana in March 1959 just two months after the overthrow of the Batista regime. Shooting was relatively smooth, with some difficulties. Fidel Castro visited the film crew on 13 May 1959, while they shot scenes at Havana's Cathedral Square. The unit then moved to London and filmed at Shepperton Studios.

Alec Guinness wrote that Reed wanted him to play his part differently to how the actor envisioned.
I had seen, partly suggested by the name, an untidy, shambling, middle-aged man with worn shoes, who might have bits of string in his pocket, and perhaps the New Statesman under his arm, exuding an air of innocence, defeat and general inefficiency. When I explained this Carol said, 'We don't want any of your character acting. Play it straight. Don't act.' That might be okay for some wooden dish perhaps but was disastrous for me. 'Mustn't act, mustn't act,' I kept repeating to myself; and didn't. The director, particularly a world-famous one like Carol, is always right. Or often so.
Graham Greene later said:
My books don't in fact make good films, and when I write a novel I never think about whether it might adapt to the screen. The only book written with the screen in mind, It's a Battlefield, was never made into a film. The only good films, The Third Man and The Fallen Idol, are those which I wrote as screenplays. The rest were nearly all made in America and were, with one exception, deplorable. As for Our Man in Havana and Brighton Rock, this may sound pretentious, but all that saved them was the fact that I took a close hand in their production.

Reception

Critical
Our Man in Havana was positively received by film critics; it has a "fresh" rating of 95% (with 20 reviews) at the review aggregator website Rotten Tomatoes. However according to Guinness:
When the film was released we both received a well-deserved poor press. On the morning the critics flayed us Carol invited me round to his Chelsea home for a drink. We stood side by side rather despondently, looking out of a window at small children scampering in the Kings Road. 'At least they can't read,' Carol said. We shrugged the whole thing off. The only person I felt sorry for was Graham, who had been lucky with Carol in the past but was to continue to be unlucky with me.
Sight and Sound magazine later said:
Sir Carol Reed, resuming his partnership with Greene after several years, has been given a subject more or less hand-made for him. He could scarcely go wrong; but it is a little sad, when one looks back to the evenly matched teamwork of The Third Man, to note that the writer now seems more agile than the director. Greene's novel scored as cleanly as a knock-out. Sir Carol's film wins on points, but it is sometimes a near thing; and it is the director's footwork, his ability to manoeuvre his way through all the shifting moods of the story, which seems to have slowed up with the years.
Graham Greene blamed the performance of Jo Morrow for wrecking the film.

Awards
The film was nominated for the Golden Globe best picture (comedy or musical) award, and Reed was nominated for best director by the Directors Guild of America, losing both prizes to The Apartment.

Box Office
Kine Weekly called it a "money maker" at the British box office in 1960.

References

Notes

External links

1959 films
1950s spy comedy films
British spy comedy films
British satirical films
Cold War spy films
British black-and-white films
Films set in Havana
Films shot in Cuba
Films directed by Carol Reed
Films based on works by Graham Greene
Films based on British novels
Films with screenplays by Graham Greene
1959 comedy films
Films about MI6
1950s English-language films
1950s British films
English-language spy comedy films

Our Man in Havana (film)