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Tom Tower seen from Tom Quad
Print of 1675, before Wren's additions, David Loggan, Oxonia Illustrata
Tom Tower seen from St Aldates

Tom Tower is a bell tower in Oxford, England, named after its bell, Great Tom. It stands over Tom Gate, on St Aldates, the main entrance of Christ Church, Oxford, which leads into Tom Quad. This square tower with an octagonal lantern and facetted ogee dome was designed by Christopher Wren and built 1681–82. The strength of Oxford architectural tradition and Christ Church's connection to its founder, Henry VIII, motivated the decision to complete the gatehouse structure, left unfinished by Cardinal Wolsey at the date of his fall from power in 1529, and which had remained roofless since. Wren made a case for working in a Late Gothic style—that it "ought to be Gothick to agree with the Founders worke"[1]—a style that had not been seen in a prominent building for a hundred and fifty years, making Tom Tower a lonely precursor[2] of the Gothic Revival that got underway in the mid-18th century.[3] Wren never came to supervise the structure as it was being erected by the stonemason he had recommended, Christopher Kempster of Burford.[4]

Tom Tower seen from immediately adjacent to the St Aldates entrance to Tom Quad
Tom Gate, the main entrance to Christ Church, beneath Tom Tower, looking in towards Tom Quad

In 1732–34, when William Kent was called upon to make sympathetic reconstruction of the east range of Clock Court in Wolsey's Tudor Hampton Court Palace, he naturally turned to the precedent of Tom Tower for his "central ogee dome with its coronet of pilaster-like gothick finials".[5] The tower of Dunster House at Harvard University is a direct imitation of Tom Tower, though its details have been Georgianised, and stones from Christ Church are installed in one of the house's main entryways.

Tom Tower was the inspiration for the Clock Tower (formally the Old Arts Building) at the University of Auckland.[6]

Great Tom

[edit]

Great Tom, housed in the tower, is the loudest bell in Oxford. It weighs six and a quarter tons[7] and was moved from the 12th-century Osney Abbey after the dissolution of the monasteries. Aside from a student prank in 2002 [citation needed] when the clapper was lagged (enclosed or covered with a material providing insulation), Tom has sounded every night since the Second World War. Originally called "Mary", Great Tom was moved from Osney Abbey to St Frideswide's Priory in 1545, after which at some point it was renamed "Tom". It had caused problems since its first casting, wearing out its clapper, and was recast in 1626 and 1654, but without solving the problem (there is no evidence of a recasting in 1612[8]).

In 1678–79, Richard Keene of Woodstock tried three times to recast the bell, in the process increasing its weight from two to over six tons, but it was not until a final recasting in 1680—by Christopher Hodson, a bell-founder from London—that success was achieved, and the resulting bell, Great Tom, was hung in the newly completed Tom Tower. It was rehung in May 1953. There is an inscription on the bell in Latin, which translated reads:

"Great Thomas the door closer of Oxford renovated April 8, 1680 in the reign of Charles II. Deacon John, the Bishop of Oxford and sub-Deacon give thanks to the knowledge of Henry Smith and the care and workmanship of Christopher Hodson".

Great Tom is still sounded 101 times every night, which signifies the 100 original scholars of the college plus one (added in 1663). It is rung at 21:05 current UK time, which corresponds to 21:00 in what used to be "Oxford time" (local mean time for Oxford, noon in Oxford always occurring five minutes later than noon in Greenwich),[9] and was at one time the signal for all the Oxford colleges to lock their gates. The bell is only rung by swinging on very special occasions. The bell is the subject of a number of Oxfordshire Morris tunes and rounds, including "Old Tom of Oxford" (from Bampton), and the rounds "Great Tom Is Cast" and "Bonny Christ Church Bells", which were composed by the Dean of Christ Church, Henry Aldrich (1647–1710). However, "Great Tom Is Cast" is also credited to Matthew White as having been written in 1667. The two versions are identical except for two notes. Considering the dates, it is likely that White is the real author of the piece.[citation needed]

Clock

[edit]

A new clock mechanism was installed in 1889 by J. B. Joyce & Co.[10] The main wheel of the striking train was 24 inches (61 cm) in diameter, with the hour hammer weighing 300 pounds (140 kg). The clock was constructed with the double three-legged gravity escapement invented by Lord Grimthorpe. The variations of temperature in the pendulum were obviated by it being constructed of zinc and iron. The pendulum beat was 1½ seconds.

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tom Tower

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from Grokipedia
Tom Tower is a prominent Gothic Revival bell tower located at the main entrance to , , crowning the 16th-century Tom Gate and housing the university's largest bell, Great Tom. Designed by the renowned architect Sir Christopher Wren in 1681 and completed in 1682, it was commissioned to finish an unfinished gatehouse originally initiated by Cardinal in the early 1530s, blending seamlessly with the existing through its Gothic stylistic elements. The tower stands as an iconic landmark of , often compared to London's for its cultural significance, and forms the centerpiece of , the largest quadrangle in the university at 264 by 261 feet. Great Tom, the massive seven-ton bell within the tower's belfry, originated from the dissolved Oseney Abbey in 1545 and was recast multiple times before its final form, measuring over seven feet in diameter. It first rang from the new tower on 29 May 1684 and continues a centuries-old tradition by chiming 101 times each evening at 9:05 p.m. Oxford time—five minutes behind Greenwich Mean Time—to signal the curfew for the college's students, originally marking the 100 scholars of Wolsey's foundation plus one added in 1663. The tower's architectural features include a fan-vaulted ceiling in the gatehouse adorned with 48 coats of arms of benefactors, such as those of Wolsey, Henry VIII, and Charles II, as well as later additions like a statue of Queen Anne installed in 1706 and a 19th-century statue of Wolsey. As a symbol of Christ Church's enduring legacy—founded by in 1546 as a with cathedral status—Tom Tower not only serves a practical role in timekeeping but also evokes Oxford's rich academic and heritage, drawing visitors to the year-round. Its was partly funded by a £1,000 gift from King Charles II, underscoring the tower's ties to British monarchy and architectural innovation during the Restoration era.

History

Origins under Wolsey

Cardinal , of and , founded Cardinal College in on 15 July 1525, after securing a in 1524 to suppress the Augustinian priory of St Frideswide and repurpose its site for a grand new institution aimed at educating 70 scholars and housing a dean, canons, and . The college was envisioned as a magnificent Renaissance-style foundation, surpassing existing colleges in scale, with Wolsey personally overseeing the project using revenues from dissolved religious houses. Construction commenced immediately after the foundation stone was laid, focusing on the core quadrangle known today as , measuring approximately 264 by 261 feet and intended to form the heart of the college. The , serving as the principal entrance to Cardinal College from St Aldate's, was commissioned as an integral part of this ambitious build, reflecting Tudor Gothic influences with its turreted design and emphasis on symmetry and grandeur in the tradition of royal works. Designed primarily by architects Henry Redman and John Lubbins, with William Jonson supervising on-site, work on the lower portion of the gatehouse progressed steadily; by 1526, the arched entrance and square tower base were substantially complete, featuring robust stonework that blended defensive elements with ornamental detailing to frame the approach to . This structure was meant to symbolize Wolsey's patronage and authority, positioned at the western end of the quadrangle to create a cohesive architectural ensemble that would impress visitors and underscore the college's status. Wolsey's sudden fall from power in October 1529, amid charges of and his opposition to 's divorce, abruptly terminated the project, leaving the gatehouse roofless and the college unfinished, with only three sides of nearing completion and no further elevations on the tower. Following Wolsey's death in 1530, seized the assets in 1532 and refounded the institution as King 's College, but comprehensive work stalled until the king's intervention in 1546, when it was re-established as Christ Church with a new charter and status, repurposing Wolsey's foundations while halting expansion in line with the original vision. The incomplete gatehouse base thus stood as a remnant of Wolsey's Tudor-era ambitions until its upper portions were added in the .

Wren's completion and early modifications

In 1681, Dean John Fell commissioned Sir to complete the tower that had remained unfinished since Cardinal Wolsey's era in the 1520s, driven by a desire to uphold Oxford's longstanding architectural traditions and to reflect Christ Church's close royal associations, underscored by a £1,000 gift from King Charles II toward the project. Work commenced that year under Wren's direction, with plans approved in late spring and the structure finished by 1682; the design added a square tower surmounted by an octagonal lantern and dome atop Wolsey's original base, executed by mason Christopher Kempster. Early adaptations included provisions for housing the Great Tom bell, which was relocated and first rung from the new tower on 29 May 1684, while the royal funding covered much of the estimated costs. Wren's approach blended Gothic forms with subtle Baroque flair to ensure compatibility with the existing Tudor elements, as he explained in correspondence with Fell: "I resolved it ought to be Gothic to agree with the Founder’s work," resulting in a harmonious elevation reaching approximately 100 feet. This stylistic fusion not only resolved the incomplete gateway but also anticipated later Gothic Revival trends in English architecture.

19th- and 20th-century restorations

In the mid-19th century, Tom Tower underwent modifications as part of broader efforts to address the college's bell accommodation needs. In 1875, architects G.F. Bodley and Thomas Garner were commissioned to design a new belfry following a competition, with their scheme approved that year; this work included the restoration of the pinnacles on the inner face of Tom Tower in 1876, using Clipsham stone to refit and uniform the structure alongside the adjacent belfry additions. These interventions reinforced the tower's structural integrity while integrating it with the new Gothic Revival belfry, which rose to a height comparable to the original design. Early 20th-century maintenance focused on stone decay from environmental exposure. In 1901, repairs to the tower incorporated Doulting stone, a durable sourced from , to replace weathered sections and prevent further erosion. Funding for such works typically drew from Christ Church's endowment, supplemented by targeted heritage contributions.

Architecture

Overall design and layout

Tom Tower features a square base constructed in the 1530s as part of Cardinal Wolsey's original design, which topped with an octagonal lantern stage in 1681–1682, creating a cohesive structure rising to a total height of 46 metres (150 feet). This layout integrates seamlessly with Tom Gate, the arched main entrance to Christ Church on St Aldates, where the tower's base forms the gateway flanked by turrets, providing passage for both pedestrians and vehicles into the adjacent Tom Quadrangle, the largest college quad in at 264 by 261 feet. The tower's proportions emphasize verticality and dominance, with the octagonal lantern and facetted dome enhancing its Gothic silhouette to command the local , making it prominently visible from St Aldates and nearby areas such as Oxford's . As a key element in the city's renowned "dreaming spires" vista, the design establishes Tom Tower as a focal point that harmonizes with surrounding medieval and , drawing the eye upward and framing the approach to Christ Church. Functionally, the tower serves as the primary entrance to the , accommodating an internal spiral for access to upper levels, including , while its clock face orients toward to signal time for the community. Wren's adaptation of Gothic elements for this collegiate gateway contrasts with his classical designs, such as the dome of , but scales the grandeur appropriately for an academic setting, blending reverence for historical styles with practical utility.

Key structural elements

The base of Tom Tower, constructed during Cardinal Wolsey's tenure in the late 1520s, incorporates elements including a wide four-centred entrance arch flanked by turrets and a broad stone vault overhead, all built from local quarried nearby. This foundational structure provides essential load-bearing capacity, distributing forces through its ribbed vaulting and sturdy piers to support the overlying weight. Wren's completion of the upper tower in 1681–82 features a square shaft rising to an octagonal stage, with progressively diminishing dimensions in the upper tiers to enhance vertical stability and reduce wind loads. Executed in durable limestone by mason Kempster under Wren's design, the core and facing integrate seamlessly to form a cohesive load path from base to summit. The crowning elements include a facetted dome and distinctive gothick finials, engineered to cap the structure while maintaining balance against lateral forces. These components, combined with the tower's overall massing, facilitate effective weight distribution to accommodate the approximately 7-ton Great Tom bell housed within, ensuring long-term structural integrity without excessive strain on the foundations.

Decorative features and inscriptions

The gatehouse of Tom Tower features prominent sculptural elements, including statues of key figures associated with Christ Church's foundation and history. Above the entrance on the inner façade facing is a statue of (added in 1879), flanked by two angels holding coats of arms. A statue of Queen Anne, installed in 1706 by Robert Harley, overlooks the main entrance from the tower. The lower portion of the tower, built in the early , incorporates Gothic-style gargoyles and pinnacles that serve both decorative and functional purposes, such as water spouting, enhancing the ornamental character of the arched gateway. Inscriptions and symbolic text are integrated into the tower's design, particularly within the fan-vaulted ceiling of the gateway passage, which displays 48 heraldic shields representing benefactors including Wolsey, , and Charles II; these coats of arms function as both decorative motifs and historical dedications from Wren's era. The royal arms of Christ Church and associated appear throughout the ornamentation, underscoring the institution's royal patronage. The upper lantern stage, designed by , includes Baroque-inspired decorative motifs such as urns at the corners and foliated carvings around the dome and panelled clock , blending Gothic revival with contemporary embellishments to crown the structure. Over time, decorative features have undergone restorations to preserve their integrity. In the late , statues were added and cleanings conducted, while the early 20th-century refacing of the west front and top (1909–12) by W.D. Caröe involved replacing weathered elements with replicas in Clipsham stone to match the original Taynton stone detailing. Modern preservation efforts continue to employ replicas for damaged sculptures and carvings, ensuring the longevity of these artistic elements without altering the historical appearance.

Great Tom

Casting and installation

The origins of Great Tom trace back to the bells of Osney Abbey, an Augustinian near , from which several bells, including a large bourdon bell, were transferred to Christ Church Cathedral in 1546 after the monastery's dissolution. This early bell served as the predecessor to the current Great Tom and was initially hung in the cathedral's tower alongside other transferred bells. Efforts to recast the aging Osney bell began in the early , with a notable recasting around 1625 by James Keene of Woodstock, but further modifications were needed by the late 1600s due to wear and structural issues. In 1678–1679, Keene's son attempted three successive recastings in , each increasing the bell's size and weight from approximately two tons to over six tons; however, these efforts failed, reportedly due to cracks and poor tonal quality, prompting Christ Church to commission a new casting elsewhere. The successful recasting occurred in 1680 by London bellfounder Christopher Hodson, who used metal salvaged from the previous iterations, including the Osney origins, to produce a bell measuring 85 inches in and tuned to the note A. Weighing approximately 6 tons 9 cwt (14,448 pounds) at the time, the newly cast Great Tom was transported to and hoisted into the belfry of Tom Tower upon its completion in 1682, under the architectural oversight of Sir Christopher Wren. Positioned as the tower's principal bell, it marked a significant engineering feat for the era, filling the space vacated by smaller bells in the cathedral ring and establishing its role as Oxford's loudest.

Technical specifications

Great Tom measures 85 inches (7 feet 1 inch) in diameter at the and approximately 69 inches (5 feet 9 inches) in from the lip to the crown, with a thickness of 6 inches at the sound-bow. It weighs 6 tons 4 cwt 2 qr (approximately 6.23 long tons or 13,944 pounds) following the 1946 retuning. The bell is cast from , a composed of approximately 78% and 22% tin, which contributes to its resonant qualities and durability. Acoustically, Great Tom has a strike note of A, producing a deep, resonant tone characteristic of large bourdon bells. Its sound profile includes multiple partial harmonics—such as the hum (an below the strike note), prime, tierce, quint, and nominal—that blend to create the perceived deep , though the partials are not fully harmonic by modern tuning standards due to the bell's 17th-century . As one of the largest bells in , Great Tom exceeds the size and volume of the tenor bell at , which has a of 59 inches and a strike note of F. Maintenance involves periodic inspections and tuning; the bell was repaired and partially retuned in 1847 by C. and G. Mears and again in 1946 by Mears and Stainbank to preserve its tone. The clapper, with an early version weighing 211 pounds from the , has been modified multiple times, including enlargements and replacements, to optimize striking force against the sound-bow.

Ringing tradition and mechanism

The ringing of Great Tom forms a central part of Christ Church's daily traditions, with the bell tolling 101 times each evening to commemorate the original 101 members of the foundation (100 scholars plus the Dean). This tolling begins at 9:05 p.m. , preserving the historic "Oxford time" of 9:00 p.m., a five-minute lag rooted in the city's position approximately 2.5 degrees west of Greenwich; the adjustment maintained this local custom even after the nationwide adoption of in 1852. The mechanism employs an automated clock-driven to chime the bell in a stationary position, enabling the repetitive tolls without full-circle swinging or peal ringing, a system integrated since the tower's completion in the late and reliant on the structure's original clock works for precision. Occasionally, for special events, Great Tom is swung full-circle, such as in June 2022 for the —the first time since 2016. Historically, the tolling served as the signal for Christ Church, requiring undergraduates to return to college before the gates closed, a practice tied to discipline and echoed in academic rituals such as periods; today, while the is no longer enforced, the ringing persists as a symbolic marker of Oxford's communal life.

Significance and legacy

Role in Oxford's landscape

Tom Tower stands as an iconic element in Oxford's skyline, epitomized in Matthew Arnold's 19th-century description of the city as one of "dreaming spires," where its distinctive octagonal lantern and dome contribute to the Gothic silhouette visible from numerous viewpoints across the historic center, including St Aldates and elevated spots like the Westgate rooftop terrace. This prominence enhances the tower's role as a navigational and aesthetic landmark, framing the broader academic landscape of the . Positioned directly over Tom Gate, the main entrance to Christ Church on St Aldates, the tower integrates seamlessly with its surroundings by defining the threshold to , the largest quadrangle in at 264 by 261 feet. This architectural placement not only channels pedestrian traffic through the historic core but also influences daily movement patterns, as visitors and students alike pass beneath its arches, reinforcing the spatial rhythm of 's medieval street layout. As a key attraction, Tom Tower serves as a prime photographic vantage point, drawing crowds eager to capture its Wren-designed facade against the college's grandeur, which bolsters Christ Church's status as 's most visited site with over 500,000 annual visitors as of 2025. Its accessibility from the street amplifies its appeal in guided tours and self-directed explorations, contributing significantly to the local tourism economy centered on the university's heritage. Designated a Grade I listed building on , 1954, Tom Tower's protected status imposes stringent planning restrictions, ensuring that nearby developments preserve its visual dominance and setting within Oxford's conserved historic environment. These safeguards, including the city's view cone policies that prioritize the spires' skyline contribution, limit high-rise intrusions and maintain the tower's integral role in the urban fabric.

Cultural and symbolic importance

Tom Tower symbolizes the seamless continuity between the Tudor and Stuart eras in British , bridging the ambitious vision of Cardinal , who initiated the structure's lower portions in the 1520s as part of his Cardinal College (later refounded as Christ Church by ), with its completion by in 1681–1682 during the reign of Charles II. This architectural fusion not only perpetuates Wolsey's Gothic design but also embodies Oxford's deep-rooted royal patronage, as evidenced by the frequent visits from Tudor monarchs like and Stuart rulers, including James I and Charles I, who reinforced the college's status as a center of and monarchical influence. The tower's adornment with a of Wolsey further underscores this heritage, serving as a tangible link to the Reformation-era transitions that shaped England's religious and political landscape. In the academic realm, Tom Tower serves as an enduring emblem of Christ Church's unparalleled prestige within the , marking the entrance to an institution that has educated 13 British Prime Ministers—more than any other college—including luminaries such as Sir Robert Peel and William Gladstone. This symbolic prominence extends to the college's broader influence, having produced kings, Nobel laureates, and cultural icons, thereby representing the pinnacle of excellence and intellectual legacy. The tower's daily ringing of Great Tom, tolling 101 times at 9:05 p.m. to honor the original number of foundation scholars, reinforces this academic tradition by signaling and evoking the college's historical commitment to scholarly discipline. Tom Tower is entwined with Oxford's rich and literary myths, particularly through its association with Christ Church's haunted reputation and Lewis Carroll's . Legends of spectral figures, including whispers of Cardinal Wolsey's restless spirit wandering the college grounds in remorse for his fall from power, contribute to the tower's mystique as a portal to the supernatural, drawing on the dramatic history of Wolsey's tenure and downfall. More enduringly, the tower connects to Carroll's whimsical world, as the author—Charles Lutwidge Dodgson, a longtime lecturer at Christ Church—drew inspiration from the college's and daily life there, where he first told the Alice stories to Dean Henry Liddell's daughter in 1862; the structure's imposing presence over Tom Gate evokes the dreamlike thresholds central to the narrative. These mythic layers enhance the tower's cultural resonance, transforming it from a mere architectural feature into a beacon of imaginative heritage.

Modern usage and preservation

In contemporary usage, Tom Tower serves as the iconic main entrance to , welcoming visitors through guided tours that highlight its architectural significance and the adjacent . Guided tours, available in formats such as the 60-minute "College and " option priced at £22 per adult, pass directly under the tower and contribute directly to the maintenance and preservation of Christ Church's historic structures, including ongoing repairs and conservation work. Additionally, the tower frames access to seasonal events at the nearby , such as the annual services held in December, which draw crowds for traditional choral performances and foster community engagement with the site's heritage. In 2025, marked the 500th anniversary of its foundation with a series of public events, including lectures, banquets, and a , which highlighted the tower's historical role and attracted additional visitors to the site. Tom Tower has appeared prominently in popular culture, symbolizing Oxford's academic prestige. In the Harry Potter film series, the tower and surrounding Tom Gate provided the visual backdrop for the grand entrance to Hogwarts School of Witchcraft and Wizardry, evoking a sense of ancient mystery in scenes from the first two films. Similarly, Evelyn Waugh's 1945 novel Brideshead Revisited and its adaptations feature Christ Church—including views through Tom Tower—as the setting for the protagonist's university life, capturing the tower's role in evoking nostalgia and elite tradition. Preservation efforts for Tom Tower in the 2020s focus on addressing environmental wear from exposure and the physical impacts of high volumes, with initiatives emphasizing sustainable to protect its 17th-century stonework and lead dome. In 2023, Christ Church undertook a targeted restoration of the adjacent Mercury statue in , involving specialist cleaning and repair to mitigate effects, as part of broader site-wide conservation strategies. Revenue from visitor tours and events supports these activities, regular inspections and repairs to counteract tourism-related foot and atmospheric degradation. While no large-scale digital modeling projects specific to Tom Tower were documented by 2025, ongoing collaborative work with conservation firms like Cliveden Conservation underscores a proactive approach to long-term structural integrity amid increasing visitor numbers.

References

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  25. http://www.towerbells.org/data/GBGreatBells.html
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  29. https://blog.ricksteves.com/blog/oxford-always-five-minutes-late/
  30. https://www.youtube.com/watch?v=Ce3UR8PLbsU
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  32. https://www.tripadvisor.com/Attraction_Review-g186361-d566348-Reviews-Tom_Tower-Oxford_Oxfordshire_England.html
  33. https://www.westgateoxford.co.uk/en/dreaming-spires-oxford-2
  34. https://www.airial.travel/attractions/united-kingdom/tom-tower-wCKJERNN
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  36. https://www.cntraveler.com/activities/oxford/christ-church-college
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  38. https://www.chch.ox.ac.uk/500
  39. https://oxfordvisit.com/university-and-colleges/oxford-colleges/christ-church-college/
  40. https://www.chch.ox.ac.uk/news/christ-church-receives-remarkable-lewis-carroll-donation
  41. https://www.chch.ox.ac.uk/college/library-archives/lewis-carroll-collection
  42. https://www.chch.ox.ac.uk/visit/guided-tours
  43. https://www.chch.ox.ac.uk/events/nine-lessons-and-carols-christ-church-2025
  44. https://www.insightguides.com/destinations/europe/england/oxford/highlights
  45. https://cambridgealumnitours.co.uk/2021/12/02/oxfords-iconic-architecture/
  46. https://www.chch.ox.ac.uk/news/restoration-mercury
  47. https://clivedenconservation.com/project/christ-church-cathedral-tower-building-conservation/
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