This silver coin was printed in 1737 to celebrate the end of the flood and famine in Silesia in 1736/1737. The front shows the biblical scene of the dove returning to Noah’s Ark with a German text from Psalm 37, which translates as “Put your life in the hands of the Lord; have faith in him and he will do it.” The back side depicts a sacrifice and the Ark on Mt. Ararat in the back.
12/26/838
First documented storm surge in the North Sea; Approximately 2,500 deaths in what is now the Netherlands.
2/17/1164
First Julian flood: 20,000 dead; First collapse of the Jade Bay, major damage in the Elbe area.
1/16/1219
First Marcellus flood: 36,000 dead: major floods also in the Elbe area; first conveyed eyewitness report.
12/28/1248
Allerkindslein flood: High loss of human life. The historic Elbe island of Gorieswerder is divided into several parts.
12/14/1287
Lucia Flood: Beginning of the formation of the Dollart, 50,000 dead.
11/23/1334
Clemens Flood: Expansion of the Jade Bay.
1/16/1362
Second Marcellus Flood, Grote Manndranke: 100,000 dead: first collapse of the Dollart, expansion of Leybucht, Hariebucht, Jade Bay and Eider Estuary, sinking of large parts of North Frisia.
10/09/1374
First Dionyslus flood: Largest extent of the Leybucht up to the city of Norden, sinking of the village of Westeel near Norden.
9/10/1377
Second Dionysiusflut: Dikes near Lütetsburg and Bargebur
torn, the waves hit the walls of the Dominican monastery in Nord.
11/21/1412
Cacilien flood: An entire village at the mouth of the Este was destroyed, and the Elbe island of Hahnöfersand was separated from the mainland.
11/1/1436
Allerhelligen flood: Flooding on the entire North Sea coast, especially in Eiderstedt and Nordstrand.
1/6/1470
Epiphany Flood: Flooding in Eiderstedt, no permanent land losses.
09/26/1509
Cosmas and Damian flood: Breakthrough of the Ems
near Emden, largest expansion of the Dollart, last expansion of the Jade Bay to the northwest.
01/16/1511
Antonius flood, ice flood: breakthrough between Jade and Weser.
10/31 and 11/1/1532
Third All Saints Flood: Several thousand dead in North Frisia, first peak value recorded in the church of Klibüll; Sinking of Osterbur and Ostbense in East Frisia.
11/01/1570
Fourth All Saints Flood: Flooding of the marshes from Flanders to Eiderstedt: large dike breaches in the Altes Land as well as in the Vier- und Marschenlanden; Sinking of the villages of Oldendorf and Westbense near Esens: 9,000 to 10,000 dead between Ems and Weser. High tide mark at the Suurhusen church at NN +4.40 m.
2/26/1625
Carnival flood: An ice flood, dike breaches and major damage in East Frisia and Oldenburg, in the Altes Land and Hamburg, many dikes breaches on Jade and Weser.
10/11/1634
Second Grote Manndranke: Strand Island sinks; What remains are the islands of Nordstrand and Pellworm; at least 8,000 dead.
2/22/1651
Petri flood: “Dane chains” broken on Juist and Langeoog, Dornumersiel was destroyed, there were dike breaches on the mainland.
11/12/1686
Martin’s Flood: Severe damage to dikes from the Netherlands to the Elbe.
12/24 to 12/25/1717
Christmas flood: 11,150 dead from Holland to the Danish coast: the largest storm surge known to date with flooding and devastation of enormous proportions.
12/31/1720 to 01/01/1721
New Year’s flood: higher than Christmas flood; Destruction of the dikes that were poorly repaired after 1717; Sinking of the villages Bettewehr II and Itzendorf
2/3 to 2/4/1825
February flood: 800 dead; There were many dike breaches along the coast and severe loss of dunes on the islands. Highest storm surge on the Elbe until 1962.
1/1 to 1/2/1855
January flood: Heavy destruction on the East Frisian Islands, storm surge mark on Norderney at NN +4.26 m.
3/13/1906
March flood: highest storm surge recorded to date on the East Frisian coast.
1/31 to 2/1/1953
Dutch flood: worst natural disaster of the 20th century in the North Sea area. In the Netherlands approx. 1,800 dead, England and Belgium more than 2,000 dead; Total damage more than €500 million: no major damage to the German coast, but an impetus to check the dikes.
2/16 to 2/17/1962
February storm surge, Second Julian flood: 340 dead, 19 of them in Lower Saxony, approx. 28,000 apartments or houses damaged and 1,300 completely destroyed; highest storm surge to date East of the Jade with 61 dike breaches in Lower Saxony; The Elbe area and its tributaries were particularly affected.
1/3/1976
January flood: highest storm surge to date on almost all pegs on the German North Sea coast: numerous dike breaches in Kehdingen and the Haseldorfer Marsch.
11/24/1981
November flood: Highest peak water level in North Frisia with NN +4.72 m at the Dagebüll gauge.
1/28/1994
January flood: Highest peak water levels on the Ems with NN +4.75 m at the Weener gauge and on the Wese with NN +5.33 m at the Vegesack gauge.
12/3/1999
Anatol: short-term increase with very high water levels in the entire North Sea region; The storm subsided before the astronomical flood occurred in Cuxhaven, otherwise the values of 1976 had been exceeded in the Elbe area.
11/01/2006
Fifth All Saints Flood: Very severe storm surge with water levels exceeding the 1994 levels in the Ems area, dike collapses on the East Frisian islands of Juist, Langeoog and Wangerooge…
This list was assembled by Christian von Wissel of Bremer Zentrum für Baukultur. It was part of the exhibition “Deichstadt #1” in spring 2024.
The erupting mount Vesuvius in Italy is one of the most popular motives in modern art history, particularly throughout the 18. and 19. Century – at least as far as disasters go. Between 1766 and 1779 the volcano erupted several times, giving artists occasions to witness the event personally. The topic and it’s visual representation have played a major role in Europe’s public imagination of natural disasters.
Here are a couple of examples, mostly taken from the 2018 exhibition “Entfesselte Natur” (Nature Unleashed) at Kunsthalle Hamburg, Germany.
above: Pierre-Henri de Valenciennes (1750–1819): “Eruption of Vesuvius with the death of Plinius”, 1813
above: Michael Wutky (1739–1822): “Vesuvius Eruption”, around 1796
Joseph Wright of Derby (1734–1797): “Eruption of Vesuvius”, between 1776 and 1780.
Pierre Jacques Volaire: “The Eruption of Vesuvius”, 1771
Jakob Philipp Hackert (1737 – 1807): “Vesuvius Eruption in the year 1774”, 1774
For more information and the philosophical ideas behind the eruption of mount Vesuvius in art history see my post here.
Every year at Ascension Day (Ascensione di Cristo, or “Festa della Sensa” as the Venetians say, it is celebrated in May) the Republic of Venice celebrates itself but also it’s intimate relationship to the sea.
In the age of Renaissance the head of state, called the Doge, would be rowed out to the island Sant Elena in a boat. Upon entering the open sea, he would throw a golden ring in to the water as a sign of matrimony to the Mediterranean Sea.
This tradition stopped when the independent republic dissolved in the so called Fall of the Republic in 1797. Since the 1960’s Venice has picked up the tradition and the ritual is enacted anualy by the mayor of Venice.
The tradition is believed to be more then 1.000 years old and probably has origins in even older pagan rituals. There are various related stories and rituals of sacrificial offerings to the sea, often with the intent of making it more lenient for sea travels.
See the respective Wikipedia article here.
“Hundreds of tsunami stones stand along the coast of Japan, stark warnings and reminders of the devastating impact of the country’s all too frequent tidal waves. The oldest were erected more than 600 years ago; some have been washed away by ever more powerful waves.”
This is a quote and image from an online article about this cultural heritage that came to prominence as a shocking example of the negligence of cultural heritage in our age. Of course these stones can be found as well in Kesennuma, the province that was hit hardest by the 2011 Tsunami, which also caused the Fukushima Nuclear Accident. I unfortunately do not remember, in which text I first found the reference.
The article goes on with the following list:
“Japan has borne the brunt of some of the worst tsunamis in history. In 1707, a tsunami caused by the Hōei earthquake killed more than 5,000 people. The Great Yaeyama Tsunami of 1771 killed 8,439 people on Ishigaki Island and 2,548 more on Miyako. In 1896, the Sanriku earthquake sent two tsunamis crashing into coastal settlements, destroying some 9,000 homes and killing at least 22,000. More recently, the Tōhoku earthquake and tsunami of 2011 left 15,894 dead, 6,156 injured, and 2,546 missing.”
But there are also apparently cases, where people were smart enough to do follow the advice enscribed on the century old stones:
“One particularly well-documented tsunami stone stands in the village of Aneyoshi on Japan’s northeastern coast. Aneyoshi had endured two devastating tsunamis, one in 1896 and another in 1933. The stone was placed shortly after the 1933 tsunami, a four-foot-high marker located just above the tsunami’s highest reach. It reads: “High dwellings are the peace and harmony of our descendants. Remember the calamity of the great tsunamis. Do not build any homes below this point.”
When the stone was placed, the remaining residents of Aneyoshi—there were only four—moved uphill for good. Heeding the advice of the tsunami stone, they moved above the reach of the last tsunami, which undoubtedly saved them from being devastated once again in the tsunamis of 1960 and 2011.”
A common theme in Northern European flood myths are the church bells of submerged cities. This motive can be found all along the ccoasts of Brittany, Wales, England, Germany and Poland. The popular folk song “Bells of Aberdovey” relates to the legend of the sunken kingdom Gwydneu (more commonly known as Cantr’er Gwaelod) off the coast of Wales. The song is most likely not an original folksong at all but a composition from 1785 for an English Opera with lyrics in English not Welsh. The today popular Welsh version was first printed in 1905.
About the motif of submerged bells see also the art installation by Marcus Vergette in this post.
In 1783 an unsual seismic event sequence occured along the Strait of Messina between the island Sicily and mainland Italy. Katrin Kleemann from LMU Munich writes: “Between 5. February and 28. March 1783, five strong earthquakes shook Calabria and Sicily and were followed by hundreds of aftershocks in the following years. The earthquakes caused ten tsunamis.”
That same year additional earthquakes were reported from western France and Geneva on July 6., in Maastricht and Aachen on August 8., and in northern France on December 9. This was not too long after the disastrous earthquake and tsunami that hit Lisbon in 1755.
All these events were widely communicated and written about all across Europe. It was the age of enlightment and the disasters challenged religious, philosophical and political views of the time but also sparked artistic creativity.
Societies were in high demand for images of the disasters and artists, who naturally could not work from first hand observation and experience, were forced to invent formal solutions for this problem.
One strategy was to combine different temporal levels in one painting: the moment before the event, the aftermath, and sometimes even events that had no logical connection other than in the public mind.
Katrin Kleemann writes about this image: “This hand-colored copper engraving portrays the Strait of Messina from the north at the moment the earthquake struck. To the left it depicts the coast of Calabria, to the right the harbor of Messina, and to the far right an erupting Mount Etna, although it did not actually erupt in 1783”, but in 1780 and then again in 1787.
Another striking example is the painting »Vue
de la Palazzata de Messine au moment du tremblement
de terre« by French artist Jean Houel.
Hans-Rudolf Meier writes: “Jean Houel published in his »Voyage pittoresque« one year after the earthquake in the Sicilian port. Houel, who had traveled in Sicily before the earthquake and had not himself seen the extent of the destruction—to say nothing of the event itself—successfully recorded before and after in one picture by depicting the palace in the margins as a ruin, but showing it still intact in the middle of the picture. Here the special quality of buildings for impressive representations of the effect of a disaster becomes evident: on a building the sudden transformation from a consummate cultural achievement to a ruin can be perceived as a symbol of transience. In Houel’s engraving the observer, similar to today’s television viewer, witnesses the moment of destruction from a secure distance. The churning sea in the foreground cannot bridge this distance either, but
it is intended to suggest something of the danger—and
thus the authenticity—to which the fictive recorder of
the scene might have been exposing himself.
From:
Katrin Kleemann, Living in the Time of a Subsurface Revolution: The 1783 Calabrian Earthquake Sequence (2019)
Hans-Rudolf Meier, The Cultural Heritage of the Natural Disaster: Learning Processes and Projections from the Deluge to the »Live« Disaster on TV (2007)
In her essay on the motive of Mount Vesuvius, Valerie Hammelbacher traces the beginning of the image of disaster in art history back to the Britsh enlightment and the philosophy of physico-theology. More often referred to as natural theology, this school of thought challenged the prior concept of natural disaster as divine punishment and instead tried to find scientific explanations while maintaining the idea of divine power. Thomas Burnets treaty “The Wisdom of God manifested in the Works of Creation” (1691) ushers in the age of physico-theology. According to Burnets and his colleagues, any natural phenomenon is logical, useful, immaculate and thus beautiful. This includes a disaster like the eruption of Mount Vesuvius which could now become a topic for fine arts. Consequently, natural disasters were a popular, technically challenging yet rewarding motiv for painters in the following decades. In his painting from 1780 English painter Jospeh Wright of Derby (1734 – 1797) depicted the eruption of Mount Vesuvius as a sacred epiphany.
After the famous earthquake of 1755 that destroyed much of the city and could be felt all across the Mediterranean and much of continental Europe, the people of Lisbon had to rebuild the city. Portugal’s chief minister Sebastia Jose de Carvalho e Mello (1699 – 1782) was particularly influential in modernizing the old city. He conducted a survey among local priests to find out as much as possible about how people experienced the disaster. He also changed the layout of the city significantly.
This map shows Lisbon before the disaster:
This is a plan for the new Lisbon after the earthquake by architects Eugénio dos Santos and Carlos Mardel:
Contemporary etching of the Lisbon harbour during the 1755 earthquake and tsunami. Artist unknown.