History
Before the bridge opening, commuters would go from one bank to the other either by using the ferry that ran between Hull and New Holland, Lincolnshire or driving via the M62, M18 and M180 motorways, crossing the River Ouse near Goole (connected to the Humber) in the process. There was also a short-lived hovercraft service; Minerva and Mercury linked Hull Pier and Grimsby Docks from February to October 1969, but suffered frequent mechanical failures.
Plans for a bridge were originally drawn up in the 1930s, and were revised in 1955, but work did not begin until 27 July 1972. The Humber Bridge Act, promoted by Kingston Upon Hull Corporation, was passed in 1959. This established the Humber Bridge Board in order to manage and raise funds to build the bridge and buy the land required for the approach roads. However raising the necessary funding proved impossible until the 1966 Hull North by-election. To save his government, Labour Prime Minister Harold Wilson prevailed upon his Minister of Transport Barbara Castle to sanction the building of the bridge. Dismay at the long wait for a crossing led to the writing by Christopher Rowe of a protest song entitled "The Humber Bridge".
The bridge opened to traffic on 24 June 1981. It was opened officially by Elizabeth II on 17 July 1981. The consulting engineers for the project were Freeman Fox & Partners — now Hyder Consulting. The main contractor was Sir William Arrol & Co. at that time part of Northern Engineering Industries plc.
With a centre span of 1,410 metres (1,542 yd) and a total length of 2,220 metres (2,428 yd), the Humber Bridge was the longest single-span suspension bridge in the world for 16 years. The road-distance between Hull and Grimsby was reduced by nearly 50 miles (80 km) as a consequence of the bridge.
Read more about this topic: Humber Bridge
Famous quotes containing the word history:
“I cannot be much pleased without an appearance of truth; at least of possibilityI wish the history to be natural though the sentiments are refined; and the characters to be probable, though their behaviour is excelling.”
—Frances Burney (17521840)
“The history of modern art is also the history of the progressive loss of arts audience. Art has increasingly become the concern of the artist and the bafflement of the public.”
—Henry Geldzahler (19351994)
“I am ashamed to see what a shallow village tale our so-called History is. How many times must we say Rome, and Paris, and Constantinople! What does Rome know of rat and lizard? What are Olympiads and Consulates to these neighboring systems of being? Nay, what food or experience or succor have they for the Esquimaux seal-hunter, or the Kanaka in his canoe, for the fisherman, the stevedore, the porter?”
—Ralph Waldo Emerson (18031882)