Lincoln's Touch Of Glass

This is Tom Küpper, Lincoln Cathedral's Works Department Stained Glass Artist... everything became clear as we discovered the world of restoration, conservation, and preservation of stained glass windows at Lincoln Cathedral...

With the second largest Cathedral works department in England, Lincoln Cathedral boasts a dedicated and loyal team of 27 stonemasons, carvers, stained glass window conservators, stone conservators, lead workers, engineers, carpenters, and joiners - all of whom are responsible for the day to day upkeep and maintenance of the county's most spectacular landmark.

The Cathedral - which dates back to 1072 - houses a staggering 720 plain and historic stained glass windows, all of which are maintained by a highly skilled team using traditional methods who work to retain as much of the windows' original glass as possible. The glass, its stain, and the metal frame holding the window together are all vulnerable and constantly at risk of day to day wear and tear.

The Dean's Eye is perhaps the most prestigious and widely recognised of the Cathedral's windows - possessing a seven and a half metre diameter, and consisting of 77 panels. A major restoration project was completed on this window in April 2006 - an assignment which spanned a 16 year period, at a cost of over £2 million.

We spoke to Tom Küpper, whose invaluable experience in the conservation industry has earned him an esteemed position within the department. He spoke of the day to day tasks involved in his job, and how the processes and techniques of glazing have changed very little since medieval times.

The team of three window conservators work on various projects throughout the year which are assigned as and when any problems on the site are identified. They have a self-set agenda, and work very closely with the other trades within the department.

A common task which the team spoke of was the cementing (or waterproofing) of the Cathedral's glass windows. Each window has to be completely removed from the building, and carefully relocated to their studio which is conveniently situated just across the road on Eastgate.

When asked how long -on average - each window took to repair, Tom spoke of how each window varied, and the time allocated to restore each one is dependent upon the size, age, and condition of the glass; "The condition of each one is dependent upon how well made the window was made in the first place," he said.

"The key to successfully restoring a window lies in the knowledge of how a window is made from scratch - one can only fully understand how to repair it, if there is an awareness of how it was constructed in the first place."

"Broken glass is fixed with copper foiling, and quarry glazing is used to keep the glass from weathering. Cementing waterproofs the windows."

"But the most prevalent concern is definitely to ensure the frame is in good condition."

The Eastgate based workshop is the only one in the UK which has been set up specifically for the glazing needs of an ecclesiastical building. The group also works to maintain the glasswork of the 70 odd Estate buildings.

What is particularly interesting about stained glass conservation is that many of the tools, methods, and techniques have not changed over the centuries.

"Knives for lead cutting, pliers, and oil filled cutters are all very similar to the original tools used in the trade." Tom said.

"Whilst modern technology has superseded conventional processes in many trades, it is fascinating that glass conservators still largely exercise medieval practice."

The work done by Tom and his fellow glaziers is fundamental to maintaining the county's cultural heritage.

Whilst stained glass is one of the most stunning forms of architectural embellishment, they are also one of the most susceptible forms of decor.

Before work is carried out on the windows, careful consideration of the historic value, and specific details of each different window is necessary - especially as many of the Cathedral's windows are centuries old.

When asked if the overwhelming responsibility of handling such valuable historic artefacts concerned him - much of the Cathedral's glass dates back to the 13th century - Tom responded; "We all have responsibilities in life - this is my chosen occupation, and I am confident that I can do my job, and do it well!"

At present, the cathedral's works department is planning a £400,000 restoration of all four lancets underneath the Bishop's Eye Window, in the South Transept.

Stonework at the Stump

Bostonians feel a great deal of pride towards The Stump,  but without the tireless work of brothers Phil and Tony Leonard, the upkeep of the building would not be possible. The pair is responsible for all carving, cleaning, fixing, and complete maintenance duties... and with a tower measuring 273 feet high, there is no room for vertigo!

Dating back to 1309, St Botolph's celebrated its 700th anniversary last year, making its maintenance more important now than ever before.

First impressions are always important, and this is certainly true of Saint Botolph's. "When visitors first lay eyes on Boston Stump they seem genuinely awe-struck - their mouths drop open."

"It is so unusual to find such a large church tower in a relatively small town. It's virtually unprecedented."

Stonemasons by trade, the brothers have had invaluable experience in the industry having initially trained in Nottingham, and having previously worked on other prestigious landmarks; Southwell Minster, Selby Abbey, and the Clumber Park Estate. They will celebrate 31 years at Saint Botolphs in May of this year, and are renowned in the local community for their hard work;

"Most people in Boston know us by sight - I have no idea whether they think we're doing a good job, but I'd like to think so!" says Phil.

Phil and Tony are currently undergoing a five month stone carving project in the church's chancel, which is due for completion in early March. Their most memorable project they've worked on was an unexpected discovery quite some years ago whilst cleaning the inside of the main tower; "We were using a high pressure washer, and suddenly one of the water jets dislodged a small bottle from the structure."

"On closer inspection it contained the names of those involved in the construction of the tower." An exciting discovery for such a hard-working pair!

The stone used in The Stump's masonry is all locally sourced at nearby Clipsham, where it is sawn into blocks ready for them to use, as they don't have the facilities to do this at St Botolph's itself. Phil told us about the traditional nature of the methods used within the trade; "If a stonemason from the 1500s came back today, it's fair to say they'd fit right in and be able to do the job!"

"All carving is still done completely by hand using wooden mallets and chisels," he adds.

In addition to all the stonework, the Leonard brothers also deal with other maintenance projects within the church.

For instance, last year they took a window out of the north side of the building, and fully re-carved, renewed and repaired the window themselves, resolving the structural cracks which had formed due to the window's movement.

"I certainly consider it one of the county's most beautiful landmarks," Phil said. "I'm proud to be a part of it."

The Forgotten Lighthouse

Overlooking Grimsby on Spurn Point is a forgotten lighthouse... it's currently the property of the Yorkshire Wildlife Trust, but has most recently found a friend in the form of its new resident artist, Lincolnshire born Mary Rogers, who is now working from the run-down and windswept 19th century structure...

On the most southern tip of South Holderness, overlooking Lincolnshire lies a three and a half mile spit of land known as Spurn Point. Whilst lighthouses have been located on Spurn for over five hundred years, never before has the distinct landmark been used for the unique purpose that it is today.

After climbing its 145 steps, one discovers that the lighthouse is no longer home to the conventional lighthouse keeper, but rather Lincolnshire artist Mary Rogers.

Although the lighthouse is currently awaiting a decision from the Heritage Lottery Fund to receive financial backing for its restoration, the building is visually striking and it is immediately clear why it has such a prolific impact on so many people in the area, including is new artist-in-residence Mary Rogers.

"When I'm here I feel as though I'm an artist in the truest form. Spurn is a benevolent place." She recalls first seeing it on walks as a child, but says that she is still "Awe struck.. by its natural beauty."

On a clear day, the lighthouse provides spectacular views of the North Lincolnshire coastline, which means that on Mary's overnight visits, the born and bred Grimsby girl doesn't feel too far from home!

Sunrises, sunsets, and the movement of the moon are Mary's main focus, and these inevitably require 24 hour attention - so the lighthouse really is the perfect sanctuary.

"The passage of the sun and the moon are symbolic of hope, of new beginnings, and of optimism" she says.

As a Grade II listed building, The Yorkshire Wildlife Trust is keen to bring the lighthouse into the public view-they want to use it to enhance people's enjoyment of the area, brining it back into use after it was de-commissioned in 1985. "There is so much history here - Spurn means a lot to so many different people," says Andrew Gibson, Spurn's Nature Reserves Officer.

The lighthouse is no longer characterised by the traditional roof beacon, and whilst back in the Nineteenth Century the structure worked constantly to reflect light to guide sailors from across the world, it has now assumed a rather different role. With the modernisation of ships - now much larger - the port is not used in the same way, and it the lighthouse's navigational role is now redundant.

The lighthouse and its surrounding land is currently owned by the Yorkshire Wildlife Trust, and Nature Reserve Officer Andrew Gibson spoke of the flourishing flora and fauna of the area.

The reserve's sand dunes are a scarce habitat, which boasts various plants, beetles, and special ecosystems. It is hoped that use of the lighthouse will boost people's enjoyment of the nature reserve - it has the potential to be an educational centre.

The opportunities that Spurn can offer both up-and-coming, and established Lincolnshire artists are fantastic - the lighthouse is hosting a forthcoming exhibition of students' artwork from Scunthorpe based John Leggott college, whilst Mary will also continue to occupy the building's beacon.

The Brains Behind the Bridge

Bridgemaster Peter Hill on the behind the scenes work which keep this Lincolnshire structural masterpiece up and running...

With an annual day-to-day maintenance spend of £3.5 million on the Humber Bridge and the Board's Estate, the average spend on major maintenance projects lies at about £3million, which is a telling indication of the hard work being put into the bridge and its estate each and every day.

The team are currently busy with the latest project - launched in March 2010 - which involves the dehumidification of the bridge's main cables, and is due for completion in December 2012. It is hoped that the work will prevent the deterioration of the wires - it will be the third bridge in the United Kingdom to have a main cable dehumidification system.

The Humber Bridge Board works independently from the local authorities, which means Peter and his dedicated team work around the clock to keep the bridge clear for the public to use and enjoy. In cold spells for example, the Board are autonomously responsible for clearing, gritting, and de-icing the bridge to ensure that it is safe for the public to use.

Many people underestimate the intricacy of the bridge's composition - the bridge is in fact suspended by 15,000 five millimetre cables. When you put that into perspective, the bridge is actually being held by wires the same diameter as a pencil! Whilst this might come as a surprise to many, Peter described how the bridge was designed to withstand the maximum possible load; "The model was devised to bear the weight of a four lane traffic jam consisting of a combination of cars and HGV's."

"In the last inspection measuring the cables' deterioration, just eight out of 15,000 had broken" he added.

Aside from the major repair projects, there is always painting, oiling, or lubricating to be done on the bridge.

The 28 man maintenance team have got their work cut out ensuring that the world's fifth longest main span bridge is fit to be used by some 120,000 vehicles every week.

"It takes two summer seasons to paint the whole thing" says civil engineer and bridgemaster Peter. "There are eight acres of surface to paint!"

The maintenance programme is ongoing, and there are various tasks scheduled year round. General inspections are conducted bi-annually, although the Board has plans to move over to a risk based assessment regime.

This would work on the basis that the elements of the bridge which pose greaterrisks will be given priority in the assessment schedule. "Each fundamental element will be rated for criticality" says Peter. "We aim to break the bridge down into its fundamental elements and then apply a timescale for each critical element - we believe this will be a more effective means of assessment."

As one of the largest and grandest houses of the first Elizabethan Age, this impressive Tudor mansion based in Stamford was built and largely designed by William Cecil, Lord High Treasurer to Queen Elizabeth I between the years of 1555, and 1587.

With 35 ground and lower floor rooms, 80 lesser rooms, countless bathrooms, halls, and passageways, a lead roof extending to three quarters of an acre, and 2,000 acres of land, it comes as no surprise that there is a dedicated team devoted to the upkeep of this spectacular building and its surrounding estate.

Leading the Burghley Estate Maintenance Team, and paying the estate a visit every single day of the year, is Alan Scott - who claims that his short four minute commute makes it no hard task! A carpenter by trade, Alan has worked on the estate since the 1980s, and leads a nine man maintenance team, whose trades range from carpentry and Collyweston slating, to painting and stonemasonry.

Whilst the house itself is closed between October and March, the team works through a winter programme when the house is shut, and the park is open 365 days a year, so it really is a full time job. "It sounds like a long period to be closed - but March soon comes around!" says Alan.

Perhaps the most unique aspect of the house's structure is its roof, which spans over a staggering area of three quarters of an acre. "The roof is so vast" says Alan, "With 29 chimney stacks and 72 columns; it really is such an intricate piece of architecture."

Although the roof requires little attention on a day to day basis, an independent architectural survey is carried out every five to seven years - and this determines the work which needs to be done on the roof specifically, and the team then work to this schedule. "Due to the intricacy of the house's roof, its maintenance and repair requires very specific skills." Alan says.

In the meantime, the maintenance team is kept extremely busy with a programme of projects which crop up throughout the year, and are prioritised in accordance with the Estate's budget.

One the most significant structural projects that Alan can recall at Burghley was the re-structuring and re-building of the lead roof, which began in 1983, and lasted for ten years. The roof is now compartmentalised into four or five sections, and was split up as a preventative measure should one its 29 chimney stacks happen to catch fire, although Alan maintains that this is very unlikely, as the entire house is completely fireproofed.

"After the shock of the Windsor Castle Fire in 1992, the risk of fire became a prominent concern for many working behind the scenes at historic buildings across the country", Alan said. "Such beautiful houses and their contents really are irreplaceable," he added.

When asked if he feels a great sense of pride in the upkeep of such a beautiful building, Alan responded; "When you work to preserve a building as prestigious as this, you really do cherish it."

With March fast approaching, we asked Alan whether the team were feeling under pressure in the run up to the start of the season - to which he cooly responded; "We're not in panic mode... yet!"