Pontevedra City Hall

The Pontevedra City Hall in Pontevedra, Spain, is the seat of the City council of this Galician city. It is located at the eastern end of the Alameda de Pontevedra, on the edge of the old town. To the west it opens onto the pedestrian Square of Spain.
History.
In 1875, the idea of building a new headquarters for the Town Hall was born, located on the land occupied by the "Bastida Grande", a bastion of the Pontevedra walls next to the Saint Dominic's gateway, which was also used as the town hall and whose facade opened onto the old town. In 1876 it was decided to demolish the old building and the Pontevedra City Council approved the plans presented by the architect Alejandro Sesmero. During the work, the Town Hall was moved to the Casa del Barón, the palace of the Counts of Maceda.
The foundation stone of the building was laid on 10 October 1877 and the work continued until the last stone was laid on 25 July 1879. The work was completely finished on 3 August 1880 and the building was inaugurated on 24 August 1880. The new town hall opened onto the Alameda and the new middle-class neighbourhood created by the demolition of the city walls in 1855. The construction of other large buildings such as the Provincial Council Palace (Pontevedra Provincial Council), also by Sesmero, the Faculty of Fine Arts or the Valle-Inclán High School around the Alameda made this area the great leisure space for the city's bourgeoisie. This work led to the architect being awarded the Cross of the Royal Order of Charles III in 1880.
In 2009, the building was completely renovated, recovering elements of its original architecture. In 2012 and 2013, more extensive renovations were undertaken. The roof has been restored to its original zinc finish. During this renovation work, the original iron skylight of the building, which in 1953 had been hidden behind a Stained glass window with the coat of arms of the province of Pontevedra, was found.
Description.
The building belongs to the eclectic style that prevailed at the end of the 19th century with elements and concepts inspired by French architecture. The Town Hall was one of Alejandro Sesmero's first major projects, setting many of the guidelines for what would be his style, an eclecticism with a French flavour, giving the severity required by a public building, while its refined decoration underlines the building's political-administrative significance.
Sesmero inserted a small Parisian palace in the Second Empire style into the city. In fact, as the historian Jesús Ángel Sánchez García discovered, he partially plagiarised the design of the rear façade and interior of a mansion at number 8 of the former Parisian street of Valois-du-Roule (joined to the street of Monceau in 1868) designed by the architects F.-J. Nolau and Convents, adapting it to the required institutional function with the inclusion of the city's coat of arms, the main balcony and the clock at the top.
The building is a balanced ensemble with large Ionic (ground floor) and Corinthian (upper floor) columns that highlight its central part. The entrance door has a semicircular arch decorated with a crown of oak leaves, symbolising strength, and the windows are decorated with the city's coat of arms. The columns that frame the entrance are on a large raised pedestal and are crowned by highly decorated Ionic or Roman Corinthian capitals. Sesmero replaces the acanthus with vegetation (leaves, fruit) hanging from the column. The balustrade at the top contains four Kraters at the corners. The interior has a central staircase in the Empire style.
On the façade of the city hall there is an inscription on the legend of the Greek archer Teucer, the mythical founder of the town.


Lea County Courthouse

The Lea County Courthouse is an historic Art deco courthouse building located at 100 North Main Avenue in Lovington, New Mexico. It was designed in 1936 by architect Orville R. Walker of Lubbock and built by W. S. Moss. Until December, 1984, its second and third floors housed the county jail.
On December 7, 1987, it was added to the National Register of Historic Places.


Rytterhuset

Rytterhuset (lit. "The Rider's House"), located at Nordre Strandvej 230, Ålsgårde, Helsingør Municipality, Denmarkm was built in 1889 to a national romantic design by Martin Nyrop as summer residence for the painter Frants Henningsen. The property, including a detached atelier, a jetty with a bathhouse and a number of other outbuildings, were listed in the Danish registry of protected buildings and places in 1993. The ample use of wood ornamentation and polychromy are both tell-tale features of this particular architectural style. The name of the building was inspired by a relief of a horseman located above the main entrance.
Barbicaia at Nordre Strandvej 232 dates from the same year and was also designed by Nyrop but has undergone considerable alterations and is therefore not listed.
History.
Frants Henningsen and his friends P. S: Krøyer, Viggo Johansen and Kristian Zahrtmann visited Hornbæk in 1873. They were later coined by other artists, including Holger Drachmann and Carl Locher, forming what would become Denmark's first artist colony.
Nordre Strandvej was constructed in 1874–1879 as a more direct link between Helsingør and Hellebæk than Hammermøllevej (now Gammel Gellebækvej). The fashionable Hotel Marienlyst was located at the beginning of the new road and many of the first buildings along it were summer retreats for wealthy citizens from Copenhagen or Helsingør.
Henningsen did not follow Krøyer, Johansen and most of the other Hornbæk artists when they moved to Skagen in the early 1880s. In 1889, he commissioned Martin Nyrop to design a summer house for him and his family in Ålsgårde.
Henningsen's wife Thora was a daughter of the painter Frederik Vermehren. They had five children, including Thorkild Henningsen. The family lived in an apartment on the second floor at Østerbrogade 46 in Copenhagen when Rytterhuset was completed but moved to an apartment in the Behagen House on Strandgade the following year.
Architecture.
The two-storey house is constructed in yellow-washed brick contrasted by a wealth of carved wooden details painted in Swedish red and other strong colours. The red-painted bargeboards are decorated with blue- and white-painted carved animal heads. Above the covered main entrance in the south gable is a relief of a horseman. An outbuilding with kitchen and washroom projects from the west side of the building. and on its east side is a veranda.
Nyrop, who had a background as a carpenter, had just experienced his breakthrough as an architect with his design of the buildings for the 1888 Nordic Exhibition in Copenhagen. He constructed all his exhibition pavilions of wood at a time when iron and glass was favored for temporary structures, justifying the decision by claiming the result would be prettier for the same cost. Both Rytterhuset and many of his buildings for the Nordic Exhibition (cf. Det Norske Hus) were inspired by Nordic Vernacular architecture, wood ornamentation and polychromy which mirror the National romantic currents in architecture at the time.
Other buildings include a shed for firewood, an annex building, a garden pavilion. an atelier, a garage and a jettu with a bathhouse.


St Mary Abchurch

St Mary Abchurch is a Church of England church off Cannon Street in the City of London. Dedicated to the Blessed Virgin Mary, it is first mentioned in 1198–1199. The medieval church was destroyed in the Great Fire of London in 1666, and replaced by the present building.
History.
Medieval church.
The church dates back to the twelfth century and is dedicated to the Virgin Mary. The additional name "Abchurch" probably comes from the name of an early incumbent. An obsolete suggestion is that it is a variant of "Upchurch", referring to its position on comparatively high ground; this is unsupported by the early spellings.
The patronage of the church belonged to the convent of St Mary Overy, Southwark, until around 1455, when it passed to the master and chaplains of the college of Corpus Christi at the church of St Laurence Pountney. After the Reformation, Archbishop Parker persuaded Elizabeth I to grant the church to his college, Corpus Christi, Cambridge, which has appointed the incumbent ever since.
"Restored and beautified" in 1611 at the cost of the parishioners, St Mary's was destroyed in the Great Fire of London of 1666.
Rebuilding.
The church was rebuilt by Sir Christopher Wren, or under his aegis, in 1681–1686. The parish was united with that of the nearby church of St Laurence Pontney, also destroyed in the Great Fire but not rebuilt.
Wartime damage and repair.
A bomb hit the church in September 1940 during the London Blitz. The greatest damage was to the dome. W. Godfrey Allen repaired the church between 1948 and 1953.
The dome was restored by E. W. Tristan, and work on it was completed after his death in 1952 by the artist Walter Hoyle. Many sources describe the reredos as having been shattered into many pieces by the bombing and then carefully restored. In fact it was removed from the church by order of the church wardens, and kept in a place of safety for the duration of the war. The church was designated a Grade I listed building on 4 January 1950.
Exterior.
The church has a red brick exterior with stone dressings. There is a four-storey, 51-foot-high tower with a leaded spire. The church was originally intended to be much larger, with a structure similar to St. Stephen Walbrook; however for reasons unknown it was rebuilt on a smaller scale under the supervision of Robert Hooke.
Interior.
The ceiling of the church takes the form of a dished cupola pierced by four elliptical openings, which become almost circular externally in the dormer windows. The cupola springs from four plain brick walls, has no external thrusts, and spans more than forty feet across. It was painted with the present decorative scheme in 1708, when the whole church went under repair and beautification. The artist was almost certainly William Snow, a member of the Painter-Stainers' Company, who lived in a house just to the north of the church; the church's accounts from the time list payments totalling £170 to a "Mr Snow", without, however, specifying the services rendered. Painted in oils directly on the plaster, the decorations are divided in two horizontally by a painted "Trompe-l'œil" cornice. Above this a choir of angels and cherubs in adoration surrounds a golden glow, in the centre of which it the name of God in Hebrew characters. Below it are eight seated female figures painted in monochrome in imitation of sculpture; their precise symbolism has been variously interpreted. The painting was restored once in the 18th century and twice in the 19th. before the complete rebuild and repainting of the decorations following the end of the Second World War.
The pulpit is by William Grey, and the door cases, a font cover, rails and Royal Arms are by William Emmett. Its grand altar-piece is by Grinling Gibbons. Gibbons' original bill for what he called the 'Olter Pees' was rediscovered in the Guildhall Library in 1946. The motif of the gilded 'Pelican in her piety' makes its appearance both on the reredos and in the original copper weathervane made by Robert Bird, which was relocated to sit over the north door after being removed from the spire for safety reasons. Also to be seen there are original high box pews on three sides of the church. The church was without an organ until 1822, when public subscription allowed one to be built by J.C. Bishop. This sustained serious bomb damage during the Second World War and a new organ was made by N. P. Mander in the 1950s, using the 1717 organ casing once belonging to All Hallows, Bread Street.
The remains of the former Lord Mayor of London Peter Perchard and his family are buried at St Mary Abchurch.


Henry Adams Building

The Henry Adams Building, also known as the Land and Loan Office Building, is a historic building located in Algona, Iowa, United States. It was designed by Louis Sullivan in 1912.
Although it was not designed as a bank, and has never served as such, the building is nonetheless considered to be one of Sullivan's "Jewel Boxes," a series of banks designed and built in the Midwest between 1909 and 1919. As in the other "Jewel Boxes," Sullivan included many windows, both on the street side and in the skylight that allowed a great deal of natural light inside. The simple massing of this small, rectangular building with its clearly defined structure makes it typical of Sullivan's later work. The same massing and similar detailing, particularly the entrance, had been used by Sullivan's former associates Purcell & Elmslie in their slightly larger Exchange State Bank in Grand Meadow, Minnesota in 1910 and it is possible that this design influenced Sullivan. (Brooks) Sullivan was assisted in the design by his draftsman, Parker Berry, who drew the perspectives.
The building was added to the National Register of Historic Places in 1998, under the name of "Land and Loan Office Building." It is currently occupied by the Algona Chamber of Commerce.


Fortaleza de San Fernando

The Fortaleza de San Fernando (also known as the Castillo de San Fernando de Omoa) is a colonial-era Spanish fortress in Omoa, Honduras. Built between 1756 and 1775, the fortress guarded Spanish interests in the-then Captaincy General of Guatemala before being seized by the Honduran government in 1821. The fortress remains relatively intact, and is a major tourist attraction in Omoa.
History.
Following the Spanish conquest of Guatemala, the expanding Spanish Empire began to fortify its new holdings in the region. As part of this effort the Spanish constructed a small fort near the bay of Omoa, an important natural harbor, beginning centuries of Spain maintaining defensive works in Omoa. A native village existed in the area during the original fort's construction, but was soon depopulated, its inhabitants dispersed and put into forced labor under the "Repartimiento".
By the late 16th century, piracy had emerged as a major problem for the Spanish government in the new world. Seeking to safeguard the lucrative silver trade, Spain reinforced the fort at Omoa, and the bay became a major port of export from which silver was shipped to Spain. In 1609 Omoa was put under the administration of the Captaincy General of Guatemala.
In the 18th century, the Spanish Empire decided that the bay of Omoa was a suitable location for a new settlement, and as such the Spanish establish a new port town—this would mark the beginning of the modern town of Omoa. To defend the new port, a larger fortress was planned to be constructed alongside the smaller fort. This more extensive fortification, named the Fortaleza de San Fernando, was built between the mid-18th century (sources differ if construction began in 1756, 1759, or 1768) and 1775. The fortress was built of brick and coral.
The fort was first tested in 1779 when Spain - seeking to strike a blow against its longtime rival Britain - joined France and the nascent United States in the American Revolutionary War. Spain's entry into the conflict spurred the British to begin attacking Spanish colonies in Central America, including territories of Captaincy of Guatemala.
In October 1779, the fortress was besieged and captured by a small squadron of British ships. The Spanish counterattacked several weeks later, eventually forcing the British to withdraw.
By the 1820s, Spanish influence over its Central American colonies had waned significantly, with several former colonies gaining independence. The Fortaleza de San Fernando was one of the last Spanish strongholds to fall, with the fortress being captured by the First Mexican Empire in 1821. Control of the fort passed to the Federal Republic of Central America when the federation broke off from the Mexican Empire in 1823. When Honduras seceded from the federation in 1838, the fortress came under the control of the Honduran government, which used it as a prison.
The fortress was declared a nation monument in 1959, and is currently a tourist destination.


Van Buren Street station

Van Buren Street station is a commuter rail station in downtown Chicago that serves the Metra Electric Line to University Park, Blue Island, and South Chicago neighborhood; and the South Shore Line to Gary and South Bend, Indiana.
The station has three tracks, with one side and one island platform. During the morning rush hour, platform 1 serves all outbound trains. Platform 2 serves local trains arriving from South Chicago, and trains from Blue Island. Platform 3 serves trains from the University Park mainline, which are usually expresses. During the off-peak hours and evening rush hour, Platform 1 serves express trains serving the University Park mainline. Platform 2 serves local trains headed for South Chicago, and trains headed for Blue Island. Platform 3 serves all inbound trains. In addition, South Shore Line trains from Millennium Station use platform 1, while trains to Millennium Station use platform 3, regardless of the time of day.
One of the station's entrances is a replica of an Hector Guimard-designed, "Art Nouveau"-style Paris Métro entrance. The entrance was given to Chicago as a gift by the city of Paris in 2001.
Bus connections.
CTA Buses


Loseley Park

Loseley Park is a large Tudor manor house with later additions and modifications south-west of Guildford, Surrey, England in Artington close to the hamlet of Littleton. The estate was acquired by the direct ancestors of the current owners, the More-Molyneux, at the beginning of the 16th century. The house built for Sir William More is a Grade I listed building, the highest rank in architecture or heritage. Loseley appears in Domesday Book of 1086 as "Losele". It was held by Turald (Thorold) from Roger de Montgomery. Its domesday assets were: 2 hides. It had 4 ploughs, of meadow. It rendered £3. The papers of Sir Thomas Cawarden, Master of the Revels were formerly preserved in the house. Loseley Park is still the residence of the More-Molyneux family and is open to the public. The 17th century tithe barn is available for weddings.
The house.
The present house was built between 1562 and 1568 with stone brought from the ruins of Waverley Abbey. The new house replaced a smaller one which Elizabeth I declared was not 'adequate' for her to visit and requested something larger be built. The great hall is the principal room containing panelling from Henry VIII's Nonsuch Palace, a minstrel's gallery, carvings by Grinling Gibbons, panels from Henry VIII's banqueting tents and a collection of royal and family portraits.
The drawing room has a gilded ceiling that was commissioned for James I's visit and a massive chalk fireplace designed by Hans Holbein. The carvings above the library fireplace (dated 1570) commemorate one of Elizabeth I's visits. Sir William More's room contain an 18th-century Vauxhall mirror. Two bedrooms named the King's Room and the Queen's Room were used by James I and Elizabeth I respectively. The house contains one of the few paintings of Anne Boleyn.
The garden.
The walled garden, based on a design by Gertrude Jekyll, contains a series of "rooms" with different themes running through them. The redevelopment of the garden commenced in 1993/4 with the Rose Garden and continued with the Herb Garden, Flower Garden, White Garden and, most recently, the organic Vegetable and Cut Flower Garden. The gardens are surrounded by an old wall of similar age to the house and contain a vine walk, a huge spread of wisteria, the moat and moat walk, and the old mulberry tree around which a family prophecy revolves.
Film and television.
Loseley Park and house has been used as a filming location for several productions. One of the earliest was "The Counterfeit Plan" (1957). The Internet Movie Database also lists : "A Dandy in Aspic" (1968), "The Legacy" (1978), "Midsomer Murders" (1997 TV series), "The Worst Witch" (1998 TV series), "Agatha Christie's Marple": "Why Didn't They Ask Evans?" (2008) and "By the Pricking of My Thumbs" (2006), "Stately Suppers" (2006 TV series), "Sense and Sensibility" (2008 miniseries), "Emma" (2009 miniseries) and "The Special Relationship" (2010). In 2016, the house was featured in the Netflix series "The Crown". The films "The Favourite & Rebecca" were both partly shot here.
In 2020, Belgravia (TV series) filmed some scenes here; the character Anne Trenchard's manor house is fictional, so filming was done as the house at Loseley Park]].


Baclaran Church

The National Shrine of Our Mother of Perpetual Help (), also known as the Redemptorist Church and colloquially as Baclaran Church, is a prominent national shrine dedicated to Our Lady of Perpetual Help along Roxas Boulevard in Baclaran, Parañaque, a city in the southern part of Metro Manila, the capital of the Philippines.
The church enshrines the icon of Our Mother of Perpetual Help, and is one of the largest Marian churches in the Philippines. Devotion to Our Mother of Perpetual Help is popular amongst Filipino Catholics, and gave rise to the throngs of devotees who flood the church every Wednesday to attend Mass and pray the Novena to Our Mother of Perpetual Help. In Manila, Wednesdays are popularly called "Baclaran Day" due to congested roads brought on by pilgrims to the shrine.
The original icon enshrined above the main altar came from Germany, and passed through Ireland and Australia before priests of the Redemptorist Order brought it to what was then the United States territory of the Philippine Islands in 1906. It bears the Papal arms in the back paneling.
Since the Feast of the Immaculate Conception 1958, the shrine has been authorised by the Holy See to remain open 24 hours a day throughout the entire year. The shrine itself was blessed by Pope John Paul II during his first Apostolic Visit to Metro Manila in 1981. The shrine complex serves as the headquarters of the Manila Vice Province of Congregation of the Most Holy Redeemer, while the Cebu Province of the Redemptorists is headquartered in Cebu. The shrine's current rector is the Rev. Fr. Victorino Cueto, C.Ss.R. The shrine celebrates its annual feast day on 27 June, the liturgical feast day of the icon.
History.
According to the Catholic Bishops Conference of the Philippines, the Shrine and its attached convent were initially dedicated to Saint Thérèse of Lisieux; a grotto statue of the saint on the shrine grounds memorialises her patronage.
The first Redemptorists came to the Philippines in 1906 and set up a community at Opon, Cebu. Irish and Australian Redemptorists came to Manila in the 1900s. The Redemptorists community went first to a Malate parish in 1913 where they had a small, popular shrine to Our Mother of Perpetual Help.
In 1932, the community transferred to Baclaran. Rev. Fr. Denis Grogan, , the builder, was dedicated to St. Thérèse and made her the patroness of the church and parish house. However, the Ynchaustí family, long-time supporters and friends, donated a high altar on condition that it enshrine the icon of Our Mother of Perpetual Help. When the church opened, the shrine became very popular.
The Redemptorist priests replaced the Mother of Perpetual Help icon with a larger version to accommodate the growing number of devotees.
During the Japanese occupation of the Philippines during the Second World War, the invading Japanese troops overran the church, and the congregation was dispersed. Australian and New Zealander priests were interred in the concentration camp at University of the Philippines – Los Baños. The icon was removed from the church and given to a family for safekeeping; their home was later burned and ransacked towards the end of the Occupation. The icon was initially thought lost until a De La Salle brother found it among other valuable artifacts that the Japanese had seized and left at the Old Bilibid prison.
Contrary to popular belief, the Perpetual Help Novena did not originate in Baclaran, but at the Redemptorist Church dedicated to Saint Clement Hofbauer in La Paz, Iloilo City celebrated on May 6, 1946. After witnessing the devotion of the Ilonggos to the icon, the Australian Redemptorist Rev. Fr. Gerard O'Donnell, introduced the novena to Baclaran. Linguist Rev. Fr. Leo J. English, C.Ss.R. conducted the first Baclaran Novena with 70 participants on Wednesday, June 23, 1948, giving rise to Wednesday's local moniker of "Baclaran Day".
The present Modern Romanesque church is the third to be built on the same site. It was designed by architect César Concio. It took six years to build because most of the money came from small donations—the suggestion from the pulpit was 10 Philippine centavos per week—that often ran out, requiring construction to stop. The foundation stone was laid on 11 January 1953 and on 1 December 1958, the new church was consecrated. The church was dedicated on December 5, 1958, and has been open 24 hours ever since.
In the early 1970s, Cardinal-Archbishop of Kraków Karol Wojtyła, said Mass in the Shrine during a brief, unofficial stopover in Manila. In 1981, Wojtyła, as Pope John Paul II, returned to the Shrine as part of his Apostolic Visit to the Philippines.
The Shrine was notably the refuge of several computer engineers from the Commission on Elections during the controversial 1986 Snap Elections. Thirty-five technicians who were operating the COMELEC's electronic quick count staged a walkout from their headquarters at the Philippine International Convention Center to protest the alleged electoral fraud by supporters of dictator President Ferdinand Marcos. Marcos's wife, Imelda, was a benefactress of the Shrine, having often brought her children there to perform the "Visita Iglesia" during Holy Week.
In 2015, a belfry was built as part of the Shrine's redevelopment plan. The structure, which houses a 24-bell carillon cast from the world-famous bellfoundry Grassmayr, was blessed on September 8 of the same year by Luis Antonio Cardinal Tagle, the Archbishop of Manila. This is the first time the Shrine has had a bell tower since it was built. The carillon bells are automatically programmed to ring 15 minutes before every Mass or Novena service.
Architecture.
The modern, Modern Romanesque building has a full seating capacity of 2,000, but as many as 11,000 people (including those standing) can fit inside during Masses. An estimated 120,000 devotees are currently affiliated with the Shrine.
The belfry, which has mosaics of the icon on its four faces, is built closer to Roxas Boulevard some distance from the Shrine. It also hosts the Sinirangan coffee shop at its base.
Organization.
The Shrine is under the territory of Santa Rita de Cascia Parish, located a few blocks away from the Redemptorist Church. Both are part of the Vicariate of Santa Rita de Cascia in the Diocese of Parañaque. The Shrine is situated along Roxas Boulevard in Baclaran, Parañaque, Metro Manila. It is primarily financed by donations and Mass intention donations from Filipinos in the country as well as Overseas Filipinos, and in turn funds charitable social programs for the poor.
When the early Redemptorists settled at Baclaran they insisted that the church besides their convent will not become a parish but a mission station in order to free them from sacramental work, except for the Eucharist and Reconciliation. Redemptorists chose this arrangement in order to concentrate on fostering devotion to Our Mother of Perpetual Help, the administering of sacrament of reconciliation and the giving of missions particularly to the poor in Manila and Tagalog region.
The Canon Law of the Catholic Church defines a shrine as “a church or other sacred place which, with the approval of the local Ordinary, is by reason of special devotion frequented by the faithful as pilgrims (Can. 1230). Canon Law explains the implications of being a shrine: “As shrines the means of salvation are to be more abundantly made available to the faithful: by sedulous proclamation of the word of God, by suitable encouragement of liturgical life, especially by the celebration of the Eucharist and penance, and by the fostering of approved forms of popular devotion” (Can 1234 §1). “In shrines or in places adjacent to them, votive offerings of popular art and devotion are to be displayed and carefully safeguarded” (Can 1234 §2).
Rectors.
Services are simulcast on TV Maria every first Wednesday of every month.


Palazzo San Giacomo, Naples

The Palazzo San Giacomo, known as the Municipio (city hall) is a Neoclassical style palace in central Naples, Italy. It stands before the fortress of the Maschio Angioino, stradling the zones of Porto and San Ferdinando. It houses the mayor and the offices of the municipality of Naples. The entire office complex spans from largo de Castello to Via Toledo, along via di San Giacomo.
In 1816, King Ferdinand I of the Two Sicilies commissioned the construction of a centralized building to house the various ministries of the government. The area for this palace was chosen, and the buildings therein were either demolished or incorporated including the monastery and church of the Concezione (once known as Santa Maria Fior delle Vergini), the Hospital of San Giacomo, and the offices of the Bank of San Giacomo. The church of San Giacomo degli Spagnoli was incorporated into the palace.
The architects were Vincenzo Buonocore, Antonio De Simone, and Stefano Gasse. Work was only completed in 1825. In the atrium are two statues of Kings Ruggiero the Norman and Frederick of Swabia. The statues of the Bourbon Kings, Ferdinand I and Francesco I of the Two Sicilies, that once stood in niches here, were substituted by allegorical figures. The entry way also has a head from a bust which has been assigned to the mythical representative of Naples, the siren Parthenope.


Normans Hall

Normans Hall is a Tudor house which stands to the southwest of the village of Prestbury, Cheshire, England. It is an L-shaped house, the south range dating from the 16th century. Additions were made in the 17th century, and repairs were carried out in the early 18th century. The east range was built in 1921 for H. B. Crook, and was designed by Henry Boddington. The south range is partly timber-framed, and partly brick, standing on a stone plinth. The east wing is in brick, with a timber-framed gabled bay dated 1921 at the junction of the ranges. The roofs are in Kerridge stone slate. The hall is recorded in the National Heritage List for England as a designated Grade II listed building.


Banff National Park Pavilion

The Banff National Park Pavilion, was designed by Frank Lloyd Wright and Francis Conroy Sullivan, one of Wright's only Canadian students. Designed in 1911, in the Prairie School style, construction began in 1913 and was completed the following year. The pavilion was built on the Recreation Grounds near the south end of the Bow River Bridge on the edge of the town of Banff, itself located within Banff National Park in Alberta. The last of only two Wright designs in Canada, the pavilion was demolished in 1938.
History.
Banff National Park had been established in 1885 as Banff Hot Springs Reserve. Expanded in 1887 as Rocky Mountains Park under the Rocky Mountains Park Act the area became the first national park in Canada, and the second in North America behind Yellowstone. As a national park the controlling authority became the Federal Government of Canada, rather than the province of Alberta.
Sullivan, unrelated to Wright's previous employer Louis Sullivan, had worked in Wright's Oak Park Studio before leaving for Ottawa in 1908 to work for the government as an architect for, as it was then known, the Department of Public Works.
By the 1900s Banff National Park, as it had become known, was increasing in popularity and, by 1911, had become accessible by automobile. A visitor pavilion was commissioned by government officials in Ottawa. A concept plan had been submitted by residents of Banff to Ottawa, but officials rejected it. Envisioning a more refined structure Wright and Sullivan were hired. The building contract was awarded to Bennett, Debman, & Co., of Calgary who aimed to use local labour and purchase building supplies from local merchants.
After completion, in 1914 during World War I, the pavilion was used as a Quartermaster's store by the Department of National Defence. After the War the main function of the pavilion became a gathering area for tourists waiting on trains.
Wright and Sullivan worked together on four built projects. While the Banff National Park Pavilion is attributed to Wright with Sullivan's assistance, the other three are attributed to Sullivan with Wright's assistance.
Design.
The pavilion featured a rustic style over a frame construction, and was an elongated visitor shelter of wood and stone. Supported by low stone walls the length of the building was constructed of wood, in a board-and-batten fashion. Steel beams supported the cantilevered roof.
The interior was primarily an assembly lounge 100 ft by 50 ft in size. A row of art glass windows ran the entire length of the wall opposite the main entrance, and three cobblestone fireplaces featured on the remaining three. Clerestory windows contributed additional light, through the exposed beams of the roof.
A ladies' powder room was at one end of the lounge, with a gentlemen's retiring room at the other. Each room measured 50 ft by 25 ft. The pavilion also featured public lockers.
The finished product was only usable four months of the year, suitable only for a few summer sports, and as a picnickers' lounging area.
Similar in design to the River Forest Tennis Club, in River Forest, Illinois, the pavilion is also considered comparable to the Lake Geneva Hotel, in Lake Geneva, Wisconsin, also designed in 1911 and itself demolished in 1970.
Destruction.
Built on the shore of the Bow River, on swampy ground, the pavilion was subject to flooding, severe frost, and consequent decay.
The "Banff Crag and Canyon" reported in July 1920 that;
The pavilion suffered severe flood damage in 1933, and deterioration progressed to the point that the building was torn down in 1938. Ruins of the pavilion were visible until the early 1960s, but by 1965 all traces had been washed away or sunk into the bog.
Controversy.
During its life residents saw the building as a symbol of Ottawa's contempt for their concerns. Wanting a building designed for local recreational needs, the original and unused plans included areas for curling and ice hockey, calling for a building that could be used year-round. Those plans were overseen by locals and approved by Banff residents after a public meeting at the National Park Theatre. In December 1913, just months after construction began the "Banff Crag and Canyon" reported that;
Years later, in July 1920, the "Banff Crag and Canyon" reported of the building and grounds that;
Nevertheless, the building was reasonably popular with local residents, and in the last thirty years, interest has grown in the structure and Wright's short-lived career and legacy in Canada.
See also.
E.H. Pitkin Cottage – Wright's only other Canadian work located at Sapper Island


Giovanni Battista Landolina

Giovanni Battista Landolina, "Marchese di S. Alfano", was a Sicilian landowner and intellectual instrumental in having the city of Noto removed from its former site on Mount Alveria to a more level location following the earthquake in 1693 centred on the Val di Noto. He is commemorated by a piazza in the city named in his honour.
Ultimate responsibility for the re-building of Sicily at this time was however in the hands of the Spanish viceroy, Duke of Camastra; but Landolina successfully argued his case for the rebuilding to be some 10 km. from the former site. He is credited with having designed the city with the help of three local architects. It is based on three parallel streets, interconnected by a series of narrower streets at right angles, thus producing a grid pattern, providing vistas to the three piazzas, each with their own church, the largest having a cathedral. Landolina's town planning philosophy was based on the Baroque system, in which the town was divided according to social rank and position, the aristocracy were given the highest sites, the church the town centre, to reflect their position at the centre of one's life, and the poor the periphery of the town where no one else wanted to live. Later the architects Giovanni Battista Vaccarini, and Rosario Gagliardi designed many buildings in the city.
Landolina rule was broken in 1730 when his son Francesco Landolina, Marchese di S. Alfano, built his new house the "Palazzo Landolina", in the town centre next to the new cathedral. Today, Noto is a great tourist attraction owing to the many examples of Sicilian Baroque built during Landolina's time as town planner.


Marks Hall

Marks Hall was a Jacobean country house some north of Coggeshall in Essex, England. Previously a timber manor house, the 17th-century brick building was demolished in 1950.
History.
In 1163 the manor house and estate of Markshall were granted to the Markshall family after being confiscated from Hugh de Essex. They descended in the Markshall family until the estate was sold to John Cole, who renovated parts of the house. It was then sold to Edward Deraugh in 1581. In 1605 Robert Honywood purchased Marks Hall from Deraugh's grandson, William, pulled down part of the old timber-framed house and built a new brick building in 1609.
The estate then descended in the Honywood family to John Lamotte Honywood who, dying childless by suicide in 1694, left it to his cousin Robert. Robert, the MP for Essex, modernised the house and died in 1735. Several generations later it passed to Philip Honywood and then via his cousin, Filmer Honywood, the MP for Kent to Frances Emma, who died unmarried at Marks Hall in 1895.
Thomas Phillips Price (1844-1932), a Welsh landowner, mine owner, and Liberal politician, purchased Marks Hall, then a mansion and deer park, at auction in 1898. He made provision in his Will to leave the Marks Hall estate to the nation in the interest of agriculture, arboriculture and forestry. During the Second World War, Earls Colne Airfield was built on the edge of the deer park and much of the property requisitioned for used as the headquarters for a number of local airfields. The 97th Bombardment Wing headquarters was initially located at the manor. By 1949, the mansion was neglected and said to be in a dangerous state, and was demolished in 1950.
The Marks Hall Estate is now the site of gardens and an arboretum.


All Saints Church, Berrington

All Saints Church is in the village of Berrington, Shropshire, England. It is an active Anglican parish church in the deanery of Condover, the archdeaconry of Ludlow, and the diocese of Hereford. Its benefice is united with those of twelve other parishes to form the Wenlock Team of Parishes. The church is recorded in the National Heritage List for England as a designated Grade I listed building.
History.
The presence of a church in Berrington is recorded in the Domesday Book. The present church dates from the 13th century, with additions and alterations during the following two centuries. In 1858 Richard Dodson inserted a timber screen in place of a chancel arch. The church was restored in 1877 by E. Haycock, junior, when the south porch was also rebuilt.
Architecture.
Exterior.
All Saints is constructed in red sandstone, with tiled roofs. Its plan consists of a four-bay nave, a south aisle, a south porch, a two-bay chancel, and a west tower. The tower is in Perpendicular style. It has two stages, with diagonal buttresses, a battlemented parapet and a pyramidal roof. There is a three-light west window, and the bell openings contain Y-tracery. In the north wall of the nave is a single lancet window. The south porch contains the re-used former 13th-century doorway of the nave. The chancel dates from the 14th century, and its east window has three lights.
Interior.
Inside the church is a three-bay arcade between the nave and the south aisle. In the south aisle is a trefoil-headed piscina. The font is Norman, and is set on the base of a Roman column. It is round and carved with the depiction of a beast. The pulpit dates from 1861 to 1862. The stained glass in the east window dates from before 1820, and is by Betton and Evans. On the north side of the chancel is a window of 1877 by Hardman. The monuments include the wooden effigy of a knight, dating possibly from the early 14th century, locally known as 'Old Scriven'; the knight was said to have fought a lion and received the damage to the face thereby. There is a later monument from the early 19th century by John Bacon, junior. The two-manual pipe organ was made in 1913 by Blackett and Howden. There is a ring of eight bells. Six of these were cast in 1796 by Thomas Mears I, and the other two in 1951 by Mears and Stainbank, all at the Whitechapel Bell Foundry. A plaque records that in 1928 the existing bells were restored and rehung in memory of Gilbert Culceth Holcroft who was killed in World War I.
External features.
Associated with the church are seven structures that have been listed at Grade II. To the south of the church is a sundial dating from the 18th century. Also to the south of the church is the chest tomb of Benjamin Bromley, dated 1779, two chest tombs of members of the Meire family, dating from the late 18th century, and a group of six more chest tombs dating from the late 18th and the early 19th centuries. To the southeast of the church is the chest tomb of members of the Wigley family, dating from the early 19th century. The other structures are a pair of chest tombs, and the Leake Memorial, both of which date from the 18th century.
The parish war memorial to local dead of both World Wars, in the form of an obelisk sculpted by Landucci and Sons, stands in the older churchyard; among the names listed being Pilot Officer Montague Hulton-Harrop, victim of the World War II friendly fire incident known as the "Battle of Barking Creek". The churchyard's extension contains the war graves of two soldiers of World War I.


Casa Vicent

Casa Vicent is a historic building in the civil parish of Santo Ildefonso, in the Portuguese city of Porto. Located in the historic lower town (), the shop is notable for the Art Nouveau and Rococo elements and undulating forms of its iron facade; it is similar to the facades of the "Ourivesaria Cunha" and "Ourivesaria Reis" along the same road, all constructed by the "Companhia Aliança".
History.
At the beginning of the 20th century, Porto boasted several refined and well provided for cosmopolitan neighbourhoods, largely due to the development of the Port wine trade and the strong British influence upon the city.
As in the main European cities of the day, it was at the dawn of the 20th century that Porto experienced the blossoming of the Art Nouveau movement. Its architects tried to harmonize decorative expression with plants and flowers, often choosing commercial buildings and cafés for their work. New materials such as iron and glass evoked the power of industry and advances in science and technology since the previous century. Some examples of such emblematic buildings are the Café Majestic, the Ourivesaria Cunha (Goldsmiths) and Reis & Filhos, where techniques used with carved and chiseled silver were replicated with cast iron.
Founded in Porto around 1852, Companhia Aliança was established by the Baron of Massarelos and Gaspar da Cunha Lima. The "Rua 31 de Janeiro" became an important commercial artery, where many foreign merchants installed their businesses, including Vicent, Delage, Buisson, etc. The building's name came from the foreign occupant, who early on installed his business in the spaces, a Spanish merchant named "Vicent".
Between 1914 and 1915, Companhia Aliança offered to the first occupants of the Casa Vicent several artifacts to Ourivesaria Miranda & Filhos.
On 24 August 1995, a dispatch was opened in order to begin the process to classify the property as patrimony. The classification process expired on 23 October 2009, under terms of article 78, decree-law 309/2009.
Architecture.
Located in the urban expanse of Porto, it is flanked by several buildings that define the "Rua 31 de Janeiro", a two-story building, constructed at the beginning of the 20th century. To the west of the building is a two-story structure, while a three-story building stands to the wast; the rear of the building is aligned with the "Rua da Madeira".
The principal facade is oriented to the south, along "Rua 31 de Janeiro"; a structure made of golden cast iron, with contours made up of a variety of ornate floral motifs. These are crowned with shell-like forms complemented by decorative plant designs of Rococo inspiration. It includes a central portico along its main axis, surmounted by flag, flanked by two large undulating frames. Its perimeter is constituted by large curved pieces, vegetal or shell-like in form, decorated in the center. Between the shell and door flag is a sign stating "VICENT". The interior spaces still maintain the furniture and furnishings of the period including gilded counters, lamps and windows. Further notable features include the original wallpaper, decorated ceilings and wooden floors.
Casa Vicent constitutes one of the rare examples of ironwork commercial architecture referencing the Art Nouveau period. Similar styles were constructed along the same roadway, including the "Ourivesaria Cunha" and "Ourivesaria Reis & Filhos". The ironwork is comparable the styles of these buildings in worked silver and polished metal.


Wilson Road Synagogue

The Wilson Road Synagogue was the largest synagogue in Sheffield in England for much of the twentieth-century.
Sheffield had a Jewish population from the 1780s, and its first synagogue was built in 1851 on Fig Tree Lane in the city centre. However, communal disputes led to a second congregation being established on North Church Street in 1914. This group constructed a synagogue on Wilson Road, near Hunters Bar, in 1930.
The building was designed by Mansell Jenkinson in a classical style, featuring a portico in the Doric order. It is built of brick, with faience dressings, and also has notable internal features, including a granite ark, choir gallery and hardwood pews. The sukkah is in a neighbouring building, designed so that its flat roof can be slid open.
During World War II, the city centre synagogue was destroyed by bombing, and much of its community came to worship at Wilson Road. However, they later established a new building, Kingfield Hall, in Nether Edge. The Jewish population of the city reached about 1,500 in the 1950s, but then entered a long decline. In the 1960s, the two communities joined together, and in 2000, the resulting independent congregation moved to a new building at the Kingfield Hall site. The Wilson Road Synagogue was subsequently converted into a church.
Both synagogue and sukkah were listed at grade II in 1992, along with the boundary wall and gates.


Viktor Hartmann

Viktor Alexandrovich Hartmann (Russian: Ви́ктор Александро́вич Га́ртман; 5 May 1834, Saint Petersburg – 4 August 1873, Kireyevo near Moscow) was a Russian architect and painter. He was associated with the Abramtsevo Colony, purchased and preserved beginning in 1870 by Savva Mamontov, and the Russian Revival.
Life.
Victor-Edouard Hartmann was born in Saint Petersburg into a family of German ancestry. He was orphaned at a young age and grew up in the house of his mother's sister, L. Hemilian, and her husband , who was a well-known architect. He studied at the Academy of Fine Arts in Saint Petersburg and at first started working by illustrating books.
He also worked as an architect and sketched, among other things, the monument to the thousandth anniversary of Russia in Novgorod, which was inaugurated in 1862. He made most of his water colors and pencil drawings on journeys abroad in the years 1864 to 1868. Together with Ivan Ropet, Hartmann was one of the first artists to include traditional Russian motifs in his work.
Since Vladimir Stasov had introduced him to the circle of Mily Balakirev in 1870, he had been a close friend of the composer Modest Mussorgsky. Following Hartmann's early death from an aneurysm at the age of only 39, an exhibition of over 400 of his paintings was displayed in the Academy of Fine Arts in Saint Petersburg, in February and March 1874. This inspired Mussorgsky to compose his suite "Pictures at an Exhibition". Most of the works shown at the 1874 exhibition are now lost.


Temple Emanuel Sinai (Worcester, Massachusetts)

Temple Emanuel Sinai (Hebrew: עִמָנוּאֵל סִינַי, "God is with us Sinai") is a medium-sized Reform (progressive) Jewish synagogue located in Worcester, Massachusetts, New England's second largest city (population 181,045).
A product of the 2013 integration of Worcester's two original Reform congregations (Temple Emanuel and Temple Sinai), the synagogue traces its roots to 1921 and is affiliated with the Union for Reform Judaism (URJ), a network of over 900 progressive congregations representing the largest denomination (38%) of affiliated American Jews.
The congregation worships and studies at 661 Salisbury Street, adjacent to the Worcester Jewish Community Center, where Temple Sinai acquired property for its permanent home in 1962. Temple Emanuel's building at 280 May Street was sold to the Worcester State University Foundation in 2013, though the terms of the sale allowed the congregation to use the building for two additional years, until June 2015. Planning to determine a final siting for the synagogue concluded during the fall of 2014, resulting in a plan to expand and renovate the Temple Sinai facility at 661 Salisbury Street (rather than share a campus with Conservative Congregation Beth Israel at Beth Israel's location on Jamesbury Drive).
Temple Emanuel Sinai's first rabbi, Matthew Berger, also served as the last rabbi of Temple Emanuel, who hired him in 2009. In February 2014, Rabbi Valerie Cohen, spiritual leader since 2003 at Jackson, Mississippi's Beth Israel Congregation accepted an offer to replace Berger at the end of his contract in June 2014. A near-unanimous vote in favor of ratifying Rabbi Cohen's contract was held during a special congregational meeting at the May Street campus on March 9, 2014.
Temple Emanuel.
Founded in 1921, Emanuel was the first of two Reform congregations founded in Worcester and was the largest synagogue (of any kind) in the city from the 1940s until 2013 when it integrated with its own offshoot, Temple Sinai. The congregation's third and most majestic home was constructed and consecrated in 1949 and greatly expanded in 1961 to accommodate a burgeoning religious school enrollment of nearly 1,000 students. Membership peaked at 1,340 families in 1957, making it one of the largest Reform congregations in the country at the time. As late as 1982, Temple Emanuel was still the second-largest Reform congregation in New England. As of 2009, membership was at 425 families.
Notably, Temple Emanuel had two long-tenured rabbis who were influential in the larger Worcester community, and in the Reform movement. Levi Olan (1929–1948) became the first Jewish president of the Worcester Ministerial Union and grew Temple membership from less than 200 families to 610 families during his tenure. Joseph Klein (1949–1996) continued Olan's tradition of interfaith leadership and also served as president of the Worcester Ministers' Association and the Greater Worcester Clergy Association. Membership grew during his tenure from 610 families to 1,340 families in 1957, before seeing a gradual decline.
Temple Sinai.
In a letter dated December 16, 1957, the "Steering Committee of Temple Sinai", a small group of Temple Emanuel members who felt that the close family atmosphere of the Temple had been lost and that religious observance had become more conservative over the years, informed the secretary of the board of Temple Emanuel that they intended to create a second Reform congregation in Worcester. Temple Sinai's Statement of Principles indicated it would limit membership to 500 families.
Integration.
Due to declining membership and increasing financial hardship resulting from demographic changes in Worcester's Jewish community, Temple Emanuel and Temple Sinai members engaged in re-integration discussions on December 9, 2011, when after 54 years of separation and at least 20 years of coaxing from the URJ, Temple Sinai leadership officially contacted Temple Emanuel to pursue it.
Temple Emanuel's leadership began to pursue opportunities to sell its May Street complex in 2012 when integration discussions with Temple Sinai concluded that Sinai's campus at 661 Salisbury Street was an ideal location for the new congregation. At a congregational meeting on May 30, 2013, the sale of the building at 280 May Street to the Worcester State University Foundation was approved by Temple Emanuel membership. The proposed re-integration with Temple Sinai was approved by the members of both congregations in June 2013. Both congregations had already voted to name the new entity "Temple Emanuel Sinai".
Temple Emanuel history.
Early history (1920–1948).
On June 29, 1920, sixty men whose families had moved from the Jewish enclave of Union Hill on Worcester's working class East Side to the more fashionable West Side met at the Bancroft Hotel in downtown Worcester to discuss plans to raise funds for the establishment of a synagogue on the West Side. In 1921, they began holding services (in a Modern Orthodox style) above Easton's tea room at Harrington Corner in downtown Worcester. In 1921, the group officially incorporated as the "Worcester Modern Congregation" and in 1922 opened its first synagogue in a home at 22 Suburban Road in Worcester, calling it the "West Side Community House". By 1923, the congregation had outgrown its facility and moved into the former Bancroft School building at 111 Elm Street, naming it Temple Emanuel. The congregation gradually adopted Reform practices and affiliated officially with the national movement, under the leadership of Rabbi Levi Olan, in 1937. In 1949, the congregation moved to its final home at the junction of May and Chandler Streets.
Temple Emanuel was active in the Civil Rights Movement from very early in its history. In March 1931, the Temple's Brotherhood hosted a symposium of four lectures on the "Foundations of the Race Problem", including a lecture by NAACP co-founder W. E. B. Du Bois on March 11.
Joseph Klein era (1949–1977).
The Temple's longest-serving rabbi, Joseph Klein, began his duties on January 1, 1949, retired in 1977, and would remain on the pulpit as Rabbi Emeritus until his death in 1996. Klein is famously credited with inspiring at least eight young congregants at Temple Emanuel to attend Hebrew Union College, the Union for Reform Judaism's Rabbinical seminary, including the immediate past President of the Union for Reform Judaism, Rabbi Eric Yoffie.
Rabbi Klein also mentored Yoffie's predecessor, Rabbi Alexander M. Schindler who was hired in 1953 as Temple Emanuel's first Assistant Rabbi. Schindler served as Assistant Rabbi from 1953 to 1955 and as Associate Rabbi from 1955 to 1959 when he left the congregation to become Executive Director of the New England Region of what was then known as the UAHC. Rabbi Schindler was elected president of the UAHC in 1973, serving as the leader of North America's Reform Jews until 1996.
In 1957, Temple Emanuel's membership peaked at 1,340 member families (including 42 families who were also members of the Conservative Congregation Beth Israel). Worcester's ten other Jewish congregations, including Shaarai Torah, had a combined family membership of 1,410.
In his retirement, Klein went on to serve (part-time) as the first Rabbi of Temple Beth-El in Las Cruces, New Mexico until 1984 when he and his wife Rose returned to Worcester. He then served, actively, as Rabbi Emeritus of Temple Emanuel until his death at the age of 84 on Sunday September 29, 1996. Also of note, Klein was the great-grandfather of Hollywood actress Alisan Porter (Curly Sue) who won season 10 of NBC's The Voice.
Significant events.
From 1959 to 1962, Temple Emanuel hosted a series of lectures called Temple Forum which saw Hubert Humphrey (April 12, 1959), Martin Luther King, Jr. (March 12, 1961), Theodore Bikel (1962), and Eleanor Roosevelt (1962) all speak to the congregation.
In 1965, Herbie Hancock and other jazz legends accompanied 17-year-old congregant and conductor Jonathan Klein to record "Hear O Israel: A Prayer Ceremony in Jazz."
Temple Emanuel was the site, on August 25, 1967, of the funeral for Dr. Gregory C. Pincus, an American biologist and researcher who co-invented the birth-control pill.
Post-Klein era (1977–2013).
In 1977, Temple Emanuel elected Rabbi Stanley Davids to succeed Klein as its 5th spiritual leader. Rabbi Davids introduced the Temple's Chavurah program and brought the Gates of Prayer - New Union Prayerbook to the congregation. Rabbi Davids left in 1986 to become Rabbi of Central Synagogue in New York City.
On April 19, 1989, the funeral for Abbie Hoffman, the famous 1960's radical, founder of the Yippies and member of the Chicago Seven who had died at the age of 52 one week earlier, was held in Temple Emanuel's Persky sanctuary. Over 900 people were in attendance and an overflow crowd of hundreds more listened outside the temple over a loudspeaker. In attendance were basketball star Bill Walton, folk singer Pete Seeger, movie producer Bert Schneider, fellow Yippie Aron Kay, Republican political consultant Jay Severin, Hoffman's cousin and Pulitzer Prize-winning journalist Sydney Schanberg, and Jerry Rubin, fellow Chicago Seven member.
Temple Emanuel celebrated its 70th anniversary on October 25, 1991, by honoring four people who had made significant impacts on the congregation. Then-Vice President of the Union for Reform Judaism Rabbi Eric Yoffie, who grew up in the congregation, gave the sermon. Klein and past presidents Milton S. Sheftel, Judith S. Yoffie and Wallace W. Wolf (posthumously) were honored.
On June 12, 2003, the congregation officially installed Carlton Watson, a black man who had converted to Judaism, as its president. Watson, executive director of the Henry Lee Willis Community Center in Worcester, is believed to be the first black person to serve as president of a synagogue in the United States.
Longmeadow native Rabbi Matthew L. Berger served as Temple Emanuel's ninth and last spiritual leader from July 2009 through June 2013. Berger served as the rabbi of Temple Emanuel Sinai for its first year of existence (June 2013 through June 2014) until he was replaced by Rabbi Valerie Cohen. Cohen had previously been the rabbi of Temple Israel in Memphis, Tennessee, and Beth Israel Congregation of Jackson, Mississippi.
Education.
Historically, Temple Emanuel's renowned Religious School met three days per week during the school year (Monday and Wednesday afternoons for Hebrew and Saturday mornings to study Torah, liturgy, Israel and Jewish culture) in the Temple's three-story classroom wing. In the mid-2000s the schedule was reduced to just Wednesday afternoons and Saturday mornings. The school worshipped together at the conclusion of classes every Saturday in the Temple's Stacey A. Cohan youth center.
In 2012, Temple Emanuel joined Congregation Beth Israel and Temple Sinai in creating PaRDes - The Worcester Jewish Community Religious School, under the auspices of the Jewish Federation of Central Massachusetts. The school's roughly 130 students attended Monday and Wednesday afternoon classes at Beth Israel and Saturday mornings at Temple Emanuel Sinai until the community school was disbanded in 2016.
Facilities.
Temple Emanuel's home from 1949 to 2013, designed by Boston architect Charles R. Greco, is located at the junction of May and Chandler Streets in the heart of Worcester's leafy, residential West Side, adjacent to Worcester State University. The original structure, built in brick and designed in the Colonial Revival style, was consecrated in 1949. A 1,000-seat auditorium, a second classroom wing, and a suite of clergy offices were added in 1961.
The Temple's two-story 1961 classroom wing was leased to a series of educational institutions once religious school enrollment began to decline in the 1970s, including Worcester State University, the Abby Kelley Foster Charter Public School, Y.O.U., Inc.'s Kathleen Burns Preparatory School, and Quinsigamond Community College's Training and Education center.
Dedicated spaces.
In 2011, the Persky sanctuary underwent its only major renovation. The first 6 rows of pews were removed to make room for an extended, lower bimah (speaker's platform) that was intended to create a more intimate atmosphere and enable the congregation to use the space more frequently. This reduced the capacity of the sanctuary from 918 to 626.
Parsonage.
Temple Emanuel did not own a parsonage, but Rabbis Olan and Klein both resided at 5 Montvale Road in Worcester's exclusive Montvale Historic District.
Worship.
Daily Minyan.
Temple Emanuel was unique among American Reform synagogues in that for most of its history, it offered its members and the Worcester Jewish community the opportunity to attend a worship service seven days per week. In addition to clergy-led Shabbat services every Friday evening and Saturday morning, the congregation had a regular lay-led weekday minyan, which was held five days every week (Sunday through Thursday) from 1954 until 2011 when the 9:30 AM Sunday Shacharit (morning prayers) service was discontinued due to low attendance.
The "Daily Minyan" was originally instituted by Rabbi Klein on January 4, 1954, though it was led exclusively by lay leaders of the congregation. Temple Emanuel Sinai has continued the tradition of holding weekday services, though Mincha (afternoon prayers) and Maariv (evening prayers) are only read in the Salisbury Street sanctuary on Mondays at 5:45 PM. (The Tuesday evening service was discontinued by Temple Emanuel in 2012 and Wednesday and Thursday evening services were discontinued by Emanuel Sinai in early 2014.)
Shabbat.
Regular Shabbat services are typically held Friday evenings at 7:00 and Saturday mornings at 10:30.
Temple Emanuel auxiliary rabbis.
Due to a decline in membership, Temple Emanuel's full-time assistant rabbi position was eliminated in June 1998. From that time through June 2009, the Temple was served by one full-time Rabbi with the assistance of a part-time Auxiliary Rabbi (or 2002–2004, a full-time cantor). From 2009 to 2013, all pastoral duties were performed by the Rabbi.
Temple Sinai history.
Temple Sinai held services for its first 5 years (1957 to 1962) at the Worcester Jewish Community Center, which had moved in 1951 to Temple Emanuel's old building at 111 Elm Street. In 1962, Sinai moved to a 42-acre estate the congregation had purchased at 661 Salisbury Street, holding services and religious school in a large mansion. In 1980, the congregation opened its first purpose-built synagogue on the site, keeping the mansion intact for offices and religious school use. The Jewish Community Center, also outgrowing the facility on Elm Street, built on land next door at 633 Salisbury Street and moved in 1967.
Temple Sinai at first embraced many of the customs of "Classical" Reform Judaism that Temple Emanuel did not practice. For example, Sinai members shed traditional religious garments like Kippot (skullcaps) and Tallitot (prayer shawls), though those customs returned over the years.
The congregation hired its first rabbi, Leonard Helman, previously an assistant rabbi at what was then known as Temple Beth Israel in West Hartford, Connecticut, in 1958. He was succeeded by Rabbis John Rosenblatt and Michael Berenbaum. David Kaplan served as Cantorial soloist in its early days. Rabbi Gary Glickstein followed as rabbi from 1977 to 1985 and was succeeded by Rabbi Seth Bernstein, Temple Sinai's longest tenured spiritual leader, from 1986 to 2011. Cantor Wendy Autenrieth served the congregation as Cantor/Educator from 1987 to 1999.
Worcester West Side Synagogue history.
Worcester has five operating synagogues, with two other organizations holding regular Jewish worship services in the city.
Worcester East Side Synagogue history.
Before the Jewish population of Worcester shifted from Union Hill to the West Side, the community had established 12 Orthodox synagogues on the East Side.


Jewish Center of Coney Island

Jewish Center of Coney Island, also known as the Jewish Center of Brighton Beach, is a historic synagogue and community center located in the Brighton Beach neighborhood of Brooklyn, Kings County, New York. The synagogue was built in 1929–1930, and is a four-story-with-basement trapezoidal shaped building in the Renaissance Revival style. The front facade is clad in golden-colored stone and features a grand staircase and second story loggia. The building is capped by a hipped roof of red tile.
It was listed on the National Register of Historic Places in 2013.


Tuxlith Chapel

Tuxlith Chapel, also known as Milland Old Church, is a redundant Anglican church in the village of Milland, West Sussex, England (). It is recorded in the National Heritage List for England as a designated Grade II listed building, and is under the care of the Friends of Friendless Churches.
History.
It has been stated that the church was built as a chapel of ease to St George, Trotton, in the 16th century. However, there must have been an earlier building on the site because during conservation work a blocked window dating from the 12th century, and herringbone masonry in the north wall in Norman style were found. The earliest surviving documentary evidence relating to the church is a bequest in a will dated 1532 to "the Church of Tyklyth". The parish registers go back to 1581. In the 17th century a gallery was added, approached by steps from outside the church. During the following century a north transept was built. However, during the 19th century, due to growth of the local population, the building became too small for the size of the congregation, and a new church dedicated to St Luke was built to the west of it in 1879.
The old church was used as a Sunday school until the 1930s, when it became unused and its fabric deteriorated. It was listed as Grade II listed building in 1959, at which time it was described as being "disused and neglected". The church was declared redundant in 1974. It was one of the first churches to be owned by the charity, the Friends of Friendless Churches. At that time the charity was only a pressure group, but its constitution was changed so that it could instigate repair and renovation of the churches in its possession. The charity holds a 99-year lease with effect from 1 January 1974. After its acquisition the building was immediately made waterproof. Money has since been raised for further restoration work, helped by the Friends of Tuxlith Chapel, a group founded in 1993. It is now used as a community centre, and it hosts concerts and meetings. Improvements to the furniture of the church have been undertaken, including restoration of the pulpit in 1993, and a new altar designed by Sir Hubert Bennett.
Architecture.
Tuxlith Chapel is constructed in plastered stone rubble with ashlar dressings and has a tiled roof. Its plan is L-shaped, consisting of a chancel with a north transept and a north porch, and a nave with a south porch. On the south wall are stone steps which led up to the former gallery. On the west gable is a bellcote. On the sides of the east window are Commandment Boards containing the Creed and the Lord's Prayer.
Contrasting it favourably with St Luke's Church, its 19th-century replacement, architectural historian Nikolaus Pevsner described it as making "a very telling contrast between true piety and 19th-century religious advertisement".


Accademia Nazionale di Santa Cecilia Musical Instruments Museum

The Accademia Nazionale di Santa Cecilia Musical Instruments Museum (MUSA) is the museum holding the instruments collection of musical instruments of the Accademia Nazionale di Santa Cecilia.
Its location is the Auditorium Parco della Musica in Rome, Italy. It was designed by architect Renzo Piano and inaugurated in February 2008. In the exhibition gallery some 130 instruments are on display and about 50 luthiery tools in an open-air laboratory where the museum luthiers work.
The exhibition path moves through plucked string instruments, bowed, winds, harps, lyres and also includes keyboards. Amongst the most important instruments in the collection is the violin known as the 'Tuscan Strad' built by Antonio Stradivari in 1690 together with the four instruments forming the so-called 'Maedicean quintet', built for the Grand Prince Ferdinando de' Medici. Another outstanding piece is the viola by David Tecchler, the German born luthier who worked in Rome in the first half of 1700 and maker of some of the best instruments of the time. His is also one of the fine mandolins from the private collection of queen Margherita di Savoia who left as legacy to the museum.
Audio Tour: Users can hire a PDA with an audio tour of the museum presenting twenty remarkable examples with pictures of the instruments.


Pen-y-Clawdd Court

Pen-y-Clawdd Court is a Grade I listed country house in Llanvihangel Crucorney, Monmouthshire, Wales, situated to the southwest of the village off the A465 road. It is a Tudor manor house, which lies within the bailey of what was Penyclawdd Castle, and is thought to date from circa 1625.
History.
The remains of an adjoining Norman motte and bailey castle known as Penyclawdd Castle are still discernible. Its history is not well documented, but it is thought to date from the late 11th century when Roger de Hastings was building castles in the area.
According to the "Inquisito post mortem" of 1349, conducted during the 22nd year of the reign of Edward III, the manor at the time was in the possession of Laurence Hastings, 1st Earl of Pembroke.
The current house probably dates from the early 16th century, and began as a heavily timber-framed structure, but underwent major restructuring between about 1610 and 1625. A wing with a stair tower was added, though it is possible that the other kitchen wing was older and was simply refurbished at that time. It was subject to minor refurbishment in the 19th century.
In the early 20th century it was described by Joseph Bradney in his History of Monmouthshire as a "roomy mansion with the remains of walls enclosing gardens but the whole had become sadly neglected."
On 5 June 1952 it became a Grade I listed building. Further repair work was done between 1984 and 1997, mainly to the stonework and to replace the old oak windows. It has since become a bed and breakfast hotel.
The hilly area of Bryn Arw, to the west of the house, has been investigated by archaeologists. By 2000, some 183 flints, including 39 scrapers and 9 blades had been found on the site.
Architecture.
Pen-y-Clawdd Court, described by "The Welsh Academy encyclopaedia of Wales" as "a memorable manor house with splendid chimney stacks", is built in an L-shaped plan on the site of a medieval manor. It comprises three main sections, with a rectangular entrance, a tall wing, known as the Stuart wing on the left, and a kitchen wing on the right. It is built from coursed red sandstone rubble, with a Welsh slate roof. Near the road at the entrance of the estate is a red brick arch, dated to May 1861.
The interior is a maze of rooms set at different levels with low ceilings and a wealth of architectural detail. It retains its 17th century ambience, though many changes were made during refurbishment between 1984 and 1997. The Dining Room is to the right and the Sitting Room to the left of the hall. Both feature beams across the ceiling, flagstone floors, and fireplaces with chamfered stone lintels. The Grand staircase, with oak steps, is situated in the Stuart wing. On the upper floor are bedrooms with chamfered ceiling beams. The largest room, the Court Room, features a compartmented ceiling with a moulded surround fireplace.


Puerta del Sol, Toledo

Puerta del Sol is a city gate of Toledo, Spain, built in the late 14th century by the Knights Hospitaller.
The medallion above the arch of the gate depicts the ordination of the Visigothic Ildephonsus, Toledo's patron saint. The name of the gate comes from the sun and the moon that were once painted on either side of this medallion.
This gate was named because of its orientation to the east, where the sun always rises. The gate is no longer there, but the entrance is.


Mobberley Old Hall

Mobberley Old Hall is a country house in the village of Mobberley, Cheshire, England. It was built in 1612 and extended later in the 17th century. The house stands in gardens which retain part of the moat and ancient yew trees. The house is recorded in the National Heritage List for England as a designated Grade II* listed building, and the grounds contain two Grade II listed buildings.
History.
The house dates from the 17th century, and was built in two phases. The first stage was built in 1612 for Robert Robinson, the son of a Yorkshire wool merchant. This is now the service wing. The second stage is larger and grander, and was built later in the century, probably for Laurence Wright of Offerton. A barn was probably built at the same time, and is dated 1686. The house eventually passed to Jane Wright, who with her husband John Blakiston built a new house called Mobberley Hall in 1845; at which point the older house became known as Mobberley Old Hall. During the later part of the 19th century the house was owned by Rev Herbert Leigh Mallory, father of the mountaineer George Mallory, who sold it in 1900. In 1924 the house was bought by Miss Elsie H. Bishop. She died in 1955 and bequeathed it to Manchester University. The house was then rented by Professor John Frederick Wilkinson (1897-1998) and his wife Marion (née Crossfield, 1920–2003), until 2003. (They were married in 1964 but they separated in the 1990s.)
In the following year the house and its estate were bought by Mohammed Isaq. In 2005 they were purchased by a different buyer for £3 million.
Architecture.
The architectural historian Nikolaus Pevsner describes the plan of the house as being "irregular", and that it is "evidently only a fragment". Figueirdo and Treuherz note that the house does not have a "proper entrance front", and this suggests that "the house has been truncated or that it was intended to have been larger". The architectural style is Jacobean. The house is constructed in red and orange brick, with stone dressings, and has stone slate roofs. There are two storeys, plus an attic and a basement. The left hand portion of the northwest front dates from 1612 and consists of four bays with a central gable. The two bays at the right hand date from the later extension. This projects slightly and contains a two-storey semi-octagonal bay window. The south west front is symmetrical with three bays and a central arched doorway containing the entrance door.
External features.
The house stands in gardens that include lawns, a kitchen garden, a paved garden, and woodland. Part of the moat is still present, and the line of the rest of it is marked by an ancient yew hedge. Associated with the house are two structures that are designated by English Heritage as Grade II listed buildings. The barn dated 1686 is constructed in brick with stone dressings and has a stone slate roof. The wall and gate piers to the northwest of the house date from the 17th century. They are also constructed in brick, and have stone a coping.


Hotel Indigo Hong Kong Island

The Hotel Indigo Hong Kong Island is the newest addition to the Hotel Indigo chain of boutique hotels, part of the InterContinental Hotels Group, which is promoted as being "the industry's first branded boutique hotel experience".
Features.
This hotel has 29 floors, with 138 rooms and 6 suites. It is situated on the original coastline of the Queen's Road East in Wan Chai.
The hotel has a glass-bottomed rooftop infinity pool adjacent to the Skybar. There is a restaurant on the second floor called the Cafe Post.
The hotel is unique in that it uses the shading effect of neighbouring buildings to create a pattern of sun and shade, which result is the image of a dragon folded around the exterior of the building. The hotel is designed by Aedas.
Awards.
The hotel received the Asia Pacific Property Award in 2013 for Best Hotel Architecture, Hong Kong.


James H. Clark Center

The James H. Clark Center (also abbreviated to the Clark Center) at Stanford University, California, United States, is a building, completed in 2003, that houses interdisciplinary research in the biological sciences.
History.
The former Stanford computer scientist and entrepreneur James H. Clark donated $90 million of the total cost of $150 million to fund construction of the James H. Clark Center for interdisciplinary biomedical research. Construction started in 2001 and was completed in the summer of 2003, as part of the Stanford University Bio-X program. In September 2001, Clark rescinded $60 million of his initial 1999 pledge of $150 million to Stanford University for Bio-X, citing anger over President George W. Bush's restrictions on stem cell research. The building opened on October 24, 2003.
The building was designed by Foster and Partners in collaboration with MBT Architecture, and was funded by donations from James H. Clark and Atlantic Philanthropies.
Tenants.
The Clark Center is home to Stanford's Bio-X Program, which seeks to encourage researchers in the biological sciences to interact with researchers in other fields.
Some of the researchers who are members of the Bio-X program include Robert Sapolsky, Ami Bhatt, Jonathan K. Pritchard, Molly Schumer, Natalia Gomez-Ospina, Lynette Cegelski, and Julie Baker.


Giacomo Leoni

Giacomo Leoni (1686 – 8 June 1746), also known as James Leoni, was an Italian architect, born in Venice. He was a devotee of the work of Florentine Renaissance architect Leon Battista Alberti, who had also been an inspiration for Andrea Palladio. Leoni thus served as a prominent exponent of Palladianism in English architecture, beginning in earnest around 1720. Also loosely referred to as Georgian, this style is rooted in Italian Renaissance architecture.
Having previously worked in Düsseldorf, Leoni arrived in England, where he was to make his name, in 1714, aged 28. His fresh, uncluttered designs, with just a hint of baroque flamboyance, brought him to the attention of prominent patrons of the arts.
Early life.
Leoni's early life is poorly documented. He is first recorded in Düsseldorf in 1708, and arrived in England sometime before 1715. Between 1715 and 1720 he published in installments the first complete English language edition of Palladio's "I Quattro Libri dell'Architettura", which Leoni entitled "The Architecture of A. Palladio, in Four Books". The translation was a huge success and went into multiple editions in the following years ("illustration, left") Despite Leoni's often eccentric alterations to Palladio's illustrations, his edition became a main vehicle for disseminating the essence of Palladio's style among British designers. The direct impact of Palladio's text was upon building patrons, for these expensive volumes were out of the reach of most builders, who could consult them only briefly in a gentleman's library. In 1738 Isaac Ware, with the encouragement of Richard Boyle, third Earl of Burlington, produced a more accurate translation of Palladio's work with illustrations which were faithful to the originals, but Leoni's changes and inaccuracies continued to influence Palladianism for generations.
On the frontispiece of his edition of Palladio, Leoni titled himself "Architect to his most serene Highness the Elector Palatine." This claim, however, remains unsubstantiated.
Leoni followed his Palladian volume with an English translation of Alberti's "De Re Aedificatoria" ("On Architecture"), the first modern book on the theories and practice of architecture.
Works.
Giacomo Leoni's principal architectural skill was to adapt Alberti's and Palladio's ideals to suit the landed classes in the English countryside, without straying too far from the principles of the great masters. He made Palladian architecture less austere, and adapted his work to suit the location and needs of his clients. The use of red brick as a building component had begun to replace dressed stone during the William and Mary era. Leoni would frequently build in both, depending on availability and what was indigenous to the area of the site.
Leoni's first commissions in England, though for high-profile clients the Duke of Kent and James, Earl Stanhope, first lord of the Treasury, remained unexecuted. His first built design in England was Queensberry House, 7 Burlington Gardens, for John Bligh, Lord Clifton, in 1721. This was to be an important architectural landmark, as the first London mansion to be built in a terrace with an "antique temple front."
Throughout this career in England, Leoni was to be responsible for the design of at least twelve large country houses and at least six London mansions. He is also known to have designed church monuments and memorials.
Lyme Park.
In the early 1720s, Leoni received one of his most important challenges: to transform a great Elizabethan house, Lyme Hall, into a Palladian palace. This he did so sympathetically that internally, large areas of the house remained completely unaltered, and the wood carvings by Grinling Gibbons were left intact. In the central courtyard Leoni achieved the Palladian style by hiding the irregularities and lack of symmetry of the earlier house in a series of arcades around the courtyard.
The transformation at Lyme was a success. However, it has been claimed that the central Ionic portico, the focal point of the south front, was a little spoiled later by English architect Lewis Wyatt's 19th-century addition of a box-like structure above its pediment. This squat tower, known as a "hamper," is on the site of Leoni's intended cupola, which was rejected by the owner.
Leoni reconstructed Lyme in an early form of what was to become known as the Palladian style, with the secondary, domestic and staff rooms on a rusticated ground floor, above which was a piano nobile, formally accessed by an exterior double staircase from the courtyard. Above the piano nobile were the more private room and less formal rooms for the family.
In a true Palladian house (one villa designed by Palladio himself), the central portion behind the portico would contain the principal rooms, while the lower flanking wings were domestic offices usually leading to terminating pavilions which would often be agricultural in use. It was this adaption of the wings and pavilions into the body of the house that was to be a hallmark of the 18th-century Palladianism that spread across Europe, and of which Leoni was an early exponent. At Lyme, while the central portico, resting upon a base reminiscent of Palladio's Villa Pisani, dominates the facade, the flanking wings are short, and of the same height as the central block, and the terminating pavilions are merely suggested by a slight projection in the facade. Thus in no way could the portico be seen as a corps de logis. This has led some architectural commentators to describe the south front as more Baroque than Palladian in style. However, at this early stage his career Leoni appears to have been still following the earlier and more renaissance-inspired Palladianism which had been imported to England in the 17th century by Inigo Jones. This is evident by his use of classical pilasters throughout the south facade, in the same way that Jones had used them, a century earlier, at the Whitehall Banqueting House and Leoni's mentor, Alberti, had employed them at the Palazzo Rucellai in the 1440s. These features, coupled with the heavy mannerist use of rustication on ground floor with segmented arches and windows, is the reason that Lyme appears more "Italian" than many other English houses in the Palladian style and has led to it being described as "the boldest Palladian building in England."
Clandon House.
In 1730 Leoni was commissioned by the 2nd Lord Onslow to build what is probably his masterpiece, Clandon House, near Guildford in Surrey. The result was a house of "exuberant grandeur and at the same time endearing naivety". This coupling of grandeur and naivety was to become Leoni's own style, as he mixed the Baroque and Palladian styles. Clandon was built of a fiery red brick, with the west front dressed with stone pilasters and medallion ornamentation. The interiors contrasted with the exterior: the huge double-height marble hall is in muted stone colours, to provide a foil for the vibrant colours of the adjoining suite of state rooms. The interiors were altered slightly later in the 18th century, but here the house was fortunate; the changes were made in the style of Robert Adam, so were sympathetic to Leoni's original intentions. The marble hall is considered one of the most imposing 18th-century architectural features in England, as are the magnificent plaster work ceilings. From this point in time the house was largely unaltered, until the 2015 fire. A fire in April 2015 left the house gutted, apart from one room. Much of the architecture, walls, ceilings, floors and historic artifacts that the building housed were destroyed. The house currently remains a shell.
Moor Park.
Leoni designed Moor Park, Hertfordshire, during the 1720s, assisted by the painter Sir James Thornhill. The commission was received from Bengamin Styles, an entrepreneur later to lose his fortune in the South Sea Bubble. Leoni completely redesigned the house, originally built for the Duke of Monmouth in 1680, giving it a massive Corinthian portico which leads into a vast hall with a painted and gilded ceiling, with a trompe-l'œil dome, painted by Thornhill.
The house was to have similarities with one of Leoni's more ambitious projects, Lathom House. Both were similar in concept to Andrea Palladio's never-built Villa Mocenigo, with great spreading and segmented colonnaded wings embracing a cour d'honneur. Today, the wings have been demolished but the square corps de logis remains.
Lathom House (demolished in 1929) was a truly Palladian house with a large corps de logis, from which spread twin segmented colonnades linking it to two monumental secondary wings of stables and domestic offices. The secondary wings or blocks, each crowned with a cupola, were similar in style to those built by Henry Flitcroft for the Duke of Bedford twenty years later at the far larger Woburn Abbey.
Miscellaneous works.
However, Leoni's clients were not always satisfied, especially when he designed for clients unaware of the intricacies of Palladian architecture. Leoni had been commissioned by Edward and Caroline Wortley to rebuild the decayed Wortley Hall in South Yorkshire. A magnificent residence arose. However, in 1800, the Wortleys complained they were unable to move in, as the architect had forgotten to build a staircase. One hundred years later, a Duchess of Marlborough made the same complaint against Sir John Vanbrugh's Blenheim Palace. Both owners had rather missed the point of a house built on a 'piano nobile' design. A piano nobile is the principal floor, usually above a lower floor or semi-basement. It contains all the rooms necessary for the grandees who inhabit the house. It usually consists of a central salon or saloon (the grandest room beneath the central pediment); on either side of the saloon (in the wings) there is often a slightly less grand, withdrawing room, and then a principal bedroom. After that perhaps would follow a smaller more intimate room, a "cabinet". The point both the Duchess and owners of Wortley had failed to grasp was that the owners lived in 'state' on the 'piano nobile' and had no need to go upstairs, hence only secondary/back staircases would reach the floors that were occupied by children, servants and less favoured guests. Indeed, these houses often did have a grand staircase, but it was external—the elaborate flights of stone steps to the main entrance on the piano nobile. From photographs of Wortley Hall, one can see the large, tall windows of the 'piano nobile' on the lower floor, and the much smaller windows of the secondary rooms above. It did not require a 'grand' staircase'. Wortley Hall survives today as an hotel; the owners still tell the story of the forgetful architect. Among Leoni’s other designs is Alkrington Hall in Middleton, now in Greater Manchester. Leoni also designed the longtime US Consolate building in Istanbul, the Palazzo Corpi.
Influence.
Leoni was not the first to import Palladian Architecture to England; that accolade belongs firmly to Inigo Jones, who had designed the Palladian Queen's House at Greenwich in 1616 and the more ornate Banqueting House in Whitehall in 1619. Nor was he the only architect practising the concept during the Palladianism. William Kent designed Holkham Hall in 1734 in the Palladian manner; Thomas Archer was also a contemporary, although his work tended toward the baroque style that had been popular in England prior to the Palladian revival. Palladian architecture was able to flourish in England though, as it was suited to the great country houses being built or re-modelled; because unlike the French, the British aristocracy placed primary importance on their country estates.
For all his work and fame, Leoni did not achieve great financial benefit. It is recorded that in 1734, Lord Fitzwalter of Moulsham gave him £25 to ease his "being in distress.". Later, as Leoni lay dying in 1746, Lord Fitzwalter sent him a further £8 "par charité" He is known to have had a wife, Mary, and two sons, one of whom is "thought" to have been a clerk to the great exponent of Palladianism Matthew Brettingham.
Leoni did not only design grand mansions. His lesser designs included an octagonal garden temple at Cliveden for Lord Orkney, in 1735; an elegant arch in purest Palladian tradition, at Stowe, for the Marquis of Buckingham; and a Portland stone bridge at Stone Court, Carshalton. Leoni is thought to have designed a new church when working for the 8th Lord Petre at Thorndon Hall, Essex. The original church had been swept away to make room for the new mansion he was designing there.
Today, it is difficult to assess Leoni's works as much has been destroyed. Amongst his country houses, Moulsham, built in 1728, was pulled down in 1816; Bodecton Park, completed in 1738 was razed in 1826 and Lathom, completed circa 1740, was lost like so many other English country houses in the 20th century. By the early 20th century, the style of Palladianism which Leoni's books and works did so much to promote, was so quintessentially English that the fact that it was regarded as purely Italian at the time of its inception was largely forgotten. So indigenous to England does it seem, that in 1913 – a time of huge pride in all things British – Sir Aston Webb's new principal facade at Buckingham Palace strongly resembled Leoni's 'Italian palazzo.'
Death and legacy.
Giacomo Leoni died in 1746 and was buried in Old St Pancras Churchyard in London. His name is listed on the Burdett-Coutts Memorial, erected in that churchyard in 1879 by Baroness Burdett Coutts, listing the important graves lost.
By the time of his death, Palladianism had been taken up by a whole new generation of British architects working in the classical forms, and was to remain in fashion until it was replaced by the Neoclassical interpretations of such architects as Robert Adam.
His final intended publication, which would have added to an evaluation of his work ""Treatise of Architecture and ye Art of Building Publick and Private Edifices—Containing Several Noblemen's Houses & Country Seats"’ was to have been a book of his own designs and interpretations. It remained uncompleted at the time of his death.


Upper Granite Canyon Patrol Cabin

The Upper Granite Canyon Patrol Cabin was built by the Civilian Conservation Corps about 1935. The log structure is located in the extreme southwest backcountry of Grand Teton National Park. The cabin was built according to a standard design for such structures, in the National Park Service Rustic style. The Moran Bay Patrol Cabin is similar.
The patrol cabin is a one-story log cabin on a log sill foundation using logs. The cabin is square in plan with asphalt roll roofing on the gabled roof. The door retains its original wrought iron hardware. The interior is floored with boards, cut to a length of to fit a pack saddle. The interior logs are trimmed with split-pole chinking. The ceiling is open, with exposed log framing.
The Upper Granite Canyon Patrol Cabin was placed on the National Register of Historic Places on August 19, 1998.


Bagheria

Bagheria (; ) is a town and "comune" in the Metropolitan City of Palermo in Sicily, Italy, located approximately 10km to the east of the city centre.
Etymology.
According to some sources, the name "Bagheria" (by way of old Sicilian "Baarìa") originates from the Phoenician term "Bayharia" meaning "land that descends toward the sea." Other sources claim that it derives from the Arabic "Bāb al-Gerib", or "windy gateway." However, the most plausible explanation is that it derives from Arabic ', meaning 'of the sea, marine'. According to "Deciphering the English Code", Joseph Aronesty, the BAGH refers to a "base or bottom". Eria is just "earth" or land, from Hebrew "eretz" and many old languages. Also "area" Latin. Bagheria therefore means what it is, a land at the bottom of mountains.
History.
Since its founding, the town has gone by the names of "Bayharia", "Baharia", and "Baarìa". In 1658 Giuseppe Branciforti, Prince of Butera and former Viceroy of Sicily, built a large villa and established the region as the preferred location for the vacation homes of Palermo's elites. Villas like the fortified Villa San Marco (designed by Andrea Cirrincione) with angled bastions and a drawbridge soon followed. The area experienced a boom in villa building roughly coinciding with the period of Savoyard (1713–21) and Habsburg (1721–30) rule and continuing for several decades thereafter. The two most striking baroque residences, Villa Valguarnera and Villa Palagonia were designed by the architect Tommaso Napoli in 1712 and 1715 respectively. Both were completed only decades later. Napoli had been influenced by his experiences in Rome and Vienna and this is reflected in his designs. Other architects and clients like Giuseppe Mariani and the Prince of Aragona also looked to prints of Roman exemplars when constructing the Villa Aragona (now Cutò) in 1714.
By 1763, tastes were changing. The Villa Villarosa, supervised by the young G. V. Marvuglia, was directly modeled on more neoclassical plans published by Jean-François de Neufforge in 1760. In 1769, one of the descendants of the original Prince of Butera redesigned his estate into a well-planned town, allowing him to collect rents from the inhabitants. Bagheria was a preferred stopping point for Europeans pursuing the Grand Tour in Sicily including Patrick Brydone, Johann Wolfgang von Goethe, John Soane, Karl Friedrich Schinkel and many others.
In the 20th and 21st centuries, the Baroque and Neoclassical architecture of Bagheria was largely obscured by unregulated building.
Religion.
Although the official feast day of St. Joseph, the town's patron saint, is March 19, it is celebrated in Bagheria the first Sunday of August; religious celebrations are held throughout the week leading up to Sunday, when more solemn ceremonies are initiated; the following Monday evening festivities conclude with a fireworks display.
Culture.
Bagheria was the birthplace of many well-known 20th century figures: poet Ignazio Buttitta, photographer Ferdinando Scianna, artists Renato Guttuso and Nino Garajo (1918—1977, Rome), gangster Joe Aiello, and film director Giuseppe Tornatore.
Tornatore portrayed his love for his town in the multiple award-winning film Nuovo Cinema Paradiso in 1989 and the 2009 film "Baarìa", featuring the history of the town from the 1930s to the 1980s through the life of a local family.
The town is also depicted in "The Godfather Part III".
Bagheria is the setting of Dacia Maraini's eponymous autobiographical work.