Kalenderhane Mosque

Kalenderhane Mosque () is a former Eastern Orthodox church in Istanbul, converted into a mosque by the Ottomans. With high probability the church was originally dedicated to the Theotokos Kyriotissa. The building is sometimes referred to as Kalender Haneh Jamissi and St. Mary Diaconissa. This building represents one among the few extant examples of a Byzantine church with domed Greek cross plan.
Location.
The mosque is located in the Fatih district of Istanbul, Turkey, in the picturesque neighborhood of Vefa, and lies immediately to the south of the easternmost extant section of the aqueduct of Valens, and less than one km to the southeast of the Vefa Kilise Mosque.
History.
The first building on this site was a Roman bath, followed by a sixth-century (the dating was based on precise coin finds in stratigraphic excavation) hall church with an apse laying up against the Aqueduct of Valens. Later – possibly in the seventh century – a much larger church was built to the south of the first church. A third church, which reused the sanctuary and the apse (later destroyed by the Ottomans) of the second one, can be dated to the end of the twelfth century, during the late Comnenian period. It may date to between 1197 and 1204, since Constantine Stilbes alluded to its destruction in a fire in 1197. The church was surrounded by monastery buildings, which disappeared totally during the Ottoman period. After the Latin conquest of Constantinople, the building was used by the Crusaders as a Roman Catholic church, and partly officiated by Franciscan clergy.
After the conquest of Constantinople in 1453, the church was assigned personally by Mehmed II to the "Kalenderi" sect of the Dervish. The Dervishes used it as a zaviye and "imaret" (public kitchen), and the building has been known since as "Kalenderhane" ().
The Waqf (foundation) was endowed with several properties in Thrace, and many hamams in Istanbul and Galata. Some years later, Arpa Emini Mustafa Efendi built a "Mektep" (school) and a Medrese.
In 1746, Hacı Beşir Ağa (d. 1747), the "Kizlar Ağası" of the Topkapı Palace, built a mihrab, minbar and mahfil, completing the conversion of the building into a mosque. Ravaged by fire and damaged by earthquakes, the mosque was restored in 1855 and again between 1880 and 1890. It was abandoned in the 1930s, after the collapse of the minaret due to lightning, and the demolition of the Medrese.
The conservation of the building dates from the 1970s, when it was extensively restored and studied in a ten-year effort by Cecil L. Striker and Doğan Kuban, who restored its twelfth-century condition. Moreover, the minaret and the mihrab were rebuilt, which allowed the mosque to reopen for worship.
The restoration also provided a solution to the problem of the dedication of the church: while before it was thought that the church was named after "Theotokos tēs Diakonissēs" ("Virgin of the Deaconesses") or "Christos ho Akatalēptos" ("Christ the Inconceivable"), the discovery of a donor fresco in the southeastern chapel and of another fresco over the main entrance to the narthex both bearing the word "Kyriotissa" (Greek for "Enthroned"), makes highly probable that the church was dedicated to the Theotokos Kyriotissa.
Architecture and decoration.
The building has a central Greek Cross plan with deep barrel vaults over the arms, and is surmounted by a dome with 16 ribs. The structure has a typically middle Byzantine brickwork with alternating layers of brick and stone masonry. The entry is via an esonarthex and an exonarthex (added much later) in the west side.
An upper gallery over the esonarthex, following the same plan of the one existing in the Church of the Pantokrator, was removed in 1854. Also the north and south aisles along the nave were destroyed, possibly during the nineteenth century too. The tall triple arches connecting the aisles with the nave are now the lower windows of the church.
The sanctuary is on the east side; however, the reconstructed mihrab and minbar are in a corner to obtain the proper alignment with Mecca.
Two small chapels named "prothesis" and "diakonikon", typical of the Byzantine churches of the middle and late period have survived.
The interior decoration of the church, consisting of beautiful colored marble panels and moldings, and of elaborated icon frames, is largely extant. The building possesses two features which both represent a unicum in Istanbul: a mosaic, one meter square, representing the "Presentation of Christ", which is the only pre-iconoclastic exemplar of a religious subject surviving in the city, and a cycle of frescoes of the thirteenth century (found in a chapel at the southeast corner of the building, and painted during the Latin domination) portraying the life of Saint Francis of Assisi. This is the oldest known representation of the saint, and may have been painted only a few years after his death in 1226. Both have now been detached and partially restored, and can be seen in the Archaeological Museum of Istanbul.
As a whole, the mosque of Kalenderhane represents – together with the Gül Mosque in Istanbul, the Church of Hagia Sophia in Thessaloniki and the Church of the Dormition in ("Koimesis") in Iznik (Nicaea), one of the main architectural examples of a domed Greek cross church from the Byzantine middle period.


Mornington House

Mornington House was the Dublin social season Georgian residence of the Earls of Mornington. It is Number 24 Merrion Street, close to Leinster House, the former city residence of the Dukes of Leinster, where the Irish parliament now sits.
Arthur Wellesley, the fourth son of the Earl of Mornington, later a Field Marshal(1813), then 1st Duke of Wellington(1814) and British prime minister, is said to have been born there, though other sources suggest he was born in the family's country seat, Dangan Castle, near Summerhill, County Meath. His mother gave 1 May as his birthday, and he himself so kept it, but the nurse affirmed that he was born on 6 March at Dangan Castle, Co. Meath. The registry of St. Peter's Church, Dublin, shows that he was christened there on 30 April 1769, and the May number of "Exshaw's Gentleman's Magazine" has "April 29. The Countess of Mornington of a son." The "Dublin Gazette" of 2–4 May dates the event "a few days ago, in Merrion Street".
The house was later sold and for most of the twentieth century was the headquarters of the Irish Land Commission. For some years it was considered as a possible residence for the Taoiseach (Prime Minister) of Ireland. It was, however, sold in the 1990s and is now a popular international hotel. The Merrion Hotel comprises a block of four houses in a terrace on Upper Merrion Street, of which Mornington House is the leftmost when viewed from the front. The houses were built in the 1760s by Charles Monck, 1st Viscount Monck for wealthy Irish merchants and nobility. He lived in No. 22, which became known as Monck House. The hotel also incorporates, as a separate business, Dublin's only 2-star Michelin restaurant, Restaurant Patrick Guilbaud.
The four houses forming the Main House of the hotel are typical of domestic Georgian architecture in Ireland. The plain exteriors rely for effect on the carefully worked out classical proportions of the timber sash windows and their relation to the whole façade. The doorcases, with their varied treatment and intricate fanlights, were where the builder could impose some individuality on the building. In most other areas, the normal lease laid down strict requirements.
Internally, there were no such restrictions. This explains the wealth of varied plasterwork and woodwork contained in the houses. The architectural detail of the houses clearly indicates the progression of their construction. No. 21 has intricate rococo plasterwork and a particularly heavy staircase. The detail lightens as one progresses along the terrace, although No. 22, the first to be built, is an exception. Here the main stair hall and the principal reception rooms have much lighter detailing, in the neo-classical, Adam style. In the midst of this lighter decoration, there are examples of heavier detail, such as the intricate Corinthian cornice in the stairwell and the third floor room with coved ceilings and dramatic rococo plasterwork. Monck House was "modernised" in the late 18th century or the beginning of the 19th century.
Others.
Another house called Mornington House in the Multyfarnham area of County Westmeath has no connection to the Earls of Mornington or their Dublin townhouse. It is in the townland of Monintown, a name which became corrupted.


Kildrought House

Kildrought House is an early Georgian house and museum located in Celbridge, Ireland.
Location.
Kildrought House is located on Celbridge's main street, on the left bank of the River Liffey and 1.1 km southwest of Castletown House.
History.
Kildrought House was built in 1719–20 by to the design of Thomas Burgh, for upholsterer and tapestry weaver Robert Baillie: his works depicting the Siege of Derry and the Battle of the Boyne still hang in the Irish House of Lords chamber. Baillie was a tenant of William Conolly.
From 1782 to 1814 it was John Begnall's Celbridge Academy, offering education, among others, future bishop John Jebb and the sons of George Napier. It also served as a fever hospital (cholera), vicarage and dispensary at various times, and as an Irish Constabulary barracks from 1831 to 1841. After 1861 it was leased by Richard Maunsell of Oakley Park.
The interior was restored in 1985–95 by the owners, the Stuart family. In 2003 funding of €7,500 was acquired from the Irish Georgian Society for restoration.
Description.
Kildrought House is a house of two storeys to the front elevation and three to the rear (including a basement). It is five bays wide with a central Palladian window. The building has lime-based, wet dash rendered walls. The roof is of slate tiles. There is a formal garden with brick summer house. A statue of brewer Arthur Guinness stands in the street outside.


Shottesbrooke Park

Shottesbrooke Park is a Grade II* listed country house and park in Shottesbrooke, Berkshire, England, southwest of Maidenhead. The house is a Tudor mansion, built in the 16th century. St John the Baptist Church, Shottesbrooke lies next to the grounds of Shottesbrooke.
History.
A 17th century Speaker of the House of Commons, Henry Powle, lived at the Park.
In the 18th century and early 19th century, the estate was owned by the Vansittart family and was the seat of Arthur Vansittart, one of the verderers of Windsor Forest. Vansittart was reported to have been 79 years of age upon his death in 1804, and his son and grandson shared the same name. In 1858, it was known to have been occupied by Francis Cherry, guardian of Thomas Hearne, who owned the house for well over 40 years. In 1874, it was reported that house was often repaired by a Robert Nelson.
Until his death in 2007, the Park was the home of their heir and relation-by-marriage, Sir John Smith, the founder of the Landmark Trust which has its headquarters in the adjoining farmhouse.


The Mermaid Inn, Rye

The Mermaid Inn is a Grade II* listed historical inn located on Mermaid Street in the ancient town of Rye, East Sussex, southeastern England. One of the best-known inns in southeast England, it was established in the 12th century and has a long, turbulent history. The current building dates from 1420 and has 16th-century additions in the Tudor style, but cellars built in 1156 survive. The inn has a strong connection with the notorious Hawkhurst Gang of smugglers, who used it in the 1730s and 1740s as one of their strongholds: Rye was a thriving port during this period. Some of the smugglers, their mistresses and other characters are reported to haunt the inn.
The AA Rosette-winning restaurant serves British and French cuisine and features medieval-style artwork in the interior by the Slade School of Fine Art. It has been owned by Judith Blincow since 1993.
Geography.
The Mermaid Inn is located on Mermaid Street, which was once the town's main road. Mermaid street of present day, must have been the Middle street of 1670. Middle Street used to include the present Mermaid and Middle streets; in fact, the original Middle street was the present Mermaid street, as the Mermaid Inn is described as abutting on the south towards that street. The inn is situated on the north side of Mermaid street, and abutted to Middle Street towards the south. Other close-by establishments, which were also used by the Hawkhurst Gang, included the London Trader Inn, the Flushing Inn, and the Olde Bell Inn.
History.
Early years.
The cellars of the Mermaid Inn date from 1156, believed to be the year that the original inn was built, or shortly afterwards: Nikolaus Pevsner and English Heritage identified them as 13th-century. In its original form, the building was constructed of wattle and daub, lath and plaster. It was a notable alehouse during medieval times, brewing its own ale and charging a penny a night for lodging. The inn became popular with sailors who came to the port of Rye, and the port also provided ships for the Cinque Ports Fleet.
In the 1420s, the inn was rebuilt but retained its cellars. It underwent further renovation in the 16th century, much of which remains today. Catholic priests who had fled from Continental Europe escaping from the Reformation during 1530 stayed in the inn, which is testified by (Jesus Homnium Salvator) inscribed in the oak-panelled "Syn's Lounge". Between 1550 and 1570, the Town Corporation organised many functions such as the "Sessions Dinner", the "Gentlemens Freeman's Dinner", "Mayoring Day" and the "Herring Feast". Queen Elizabeth I was also a guest at the inn around this time.
The inn had a strong connection with the notorious Hawkhurst Gang which used the premises during the 1730s and 1740s. This large group of smugglers controlled territory from Kent to Dorset from their base at the Oak and Ivy Inn in Hawkhurst, but they used the Mermaid Inn as a secondary location. There are a myriad of secret tunnels, including one which ran from the cellars to the Old Bell Inn (built 1390) in The Mint, a street which runs parallel to the north of Mermaid Street. A revolving cupboard at the end of the tunnel in the Olde Bell would then be used by the gang for a quick getaway. A resident of Rye remembered the smugglers as; "when the Hawkhurst Gang were at the height of their pride and insolence having seen them (after successfully running a cargo of goods on the seashore), seated at the windows of this house (the Mermaid) carousing and smoking their pipes, with their loaded pistols lying on the table before them; no magistrate daring to interfere with them".
By 1770, the building ceased functioning as an inn. By 1847, it was in use as a house and was owned by Charles Poile; the yard at the back, through which there was a footway leading to High Street, was called the Mermaid Yard.
Later years.
The inn functioned as a club in 1913, after it came under the ownership of May Aldington, mother of the novelist Richard Aldington. It was then a popular locale for many artists like Dame Ellen Terry, Lord Alfred Douglas (Oscar Wilde's "Bosie"), A.C. and E.F. Benson and Rupert Brooke. In 1945, during World War II, the inn functioned as a garrison for Canadian officers. It was later purchased by Mr L. Wilson, a Canadian, who had been garrisoned there. The Mermaid Inn had the honour of hosting a luncheon to Her Majesty the Queen Mother when she was named as the Lord Warden of the Cinque Ports during her visit to Rye in 1982.
Under the name "Mermaid House and The Mermaid Hotel", the Mermaid Inn was listed at Grade II* by English Heritage on 12 October 1951. This defines it as a "particularly important" building of "more than special interest". As of February 2001, it was one of 75 Grade II* listed buildings, and 2,106 listed buildings of all grades, in Rother—the local government district in which Rye is located. The Mermaid Inn is presently owned by Judith Blincow and Robert Pinwill, who bought it in 1993.
In late 1982, the exterior of the inn was used in the post Monty Python film "Yellowbeard", alongside its neighboring church square and infamous cobbled Mermaid Street leading to the inn. The film turned out to be Marty Feldman's last ever project, after he died in Mexico during production.
Architecture and fittings.
The black and white timber-framed and tiled building, with dark oak and carved stone chimney pieces, was constructed in the mid-15th century; the author of "Old Sussex Inns" identifies 1426 as the date. Some of the timber was taken from ships that had been broken up. The south-facing elevation, the oldest section apart from the cellars, has a five-window range to the upper storey and attic space above. The upper storey is jettied, and the section to the west extends over the entrance to the inner courtyard and former stable area. This overhang is supported on wooden columns with brackets and cross-beams. The north-facing section, beyond courtyard, is also timber-framed but with brick facing and infilling. It rises to two storeys with two windows on each and a dormer above. This, and the east and west ranges, are 16th- and 18th-century. The tiled roof has one gable end.
The chimney is made of Caen stone and embellished with decorations. The secret passages that existed in the inn have now been converted into fireplaces. The Giant's Fireplace Bar features an inglenook fireplace which is supported by a beam that traverses the room. Other low panelled rooms, contain large Tudor fireplaces and dog grates (a freestanding basket grate intended to hold wood for the fireplace). Monogram, names and dates are carved on the stone fireplaces, including "1643", "1646", and "Loffelholtz". Some of the chairs are elaborately carved and were made from ships' timbers.
There are 31 rooms, each of different design, spread over several floors. Eight bedrooms have 4-poster beds. The bathrooms are fitted with modern amenities. The ceiling has thick and dark teak wood beams while the windows are made of lead frames. Diamond-paned windows are situated at the back. The floors creak.
Haunting.
The Mermaid Inn is well known for its hauntings and has been subject to an investigation by "Most Haunted". The events in one room have been described as "one of the most well-organised ghostly scenarios anywhere".
Judith Blincow, who owns the inn and has worked there since 1980, states, "Although I have not personally seen ghosts, I certainly have met some very convinced and frightened guests."


Palazzo della Prefettura, Naples

The Palazzo della Prefettura or Palace of the Prefecture is a monumental palace located in the central Piazza del Plebiscito in Naples, Italy. It stands in front and to the north of the Royal palace.
History.
The palace previously called "Palazzo della Foresteria", was commissioned by Ferdinand I of the Two Sicilies as a guest house in the gardens of his royal palace. It had previously housed a 14th-century convent of Basilian Monks. The present Neoclassical building and its twin across the piazza were designed by the 19th century architects Leopoldo Laperuta and Antonio De Simone. In 1890 Antonio Curri decorated the first floor Caffè Gambrinus, noted in the 19th century for attracting artists.


James Cook House

The James Cook House, at 1017 11th in Las Vegas, New Mexico, was listed on the National Register of Historic Places in 1985.
It is a "Hipped Box" style house, which may be termed New Mexico vernacular in style.


Antrim House

Antrim House of Wellington, New Zealand, was completed in 1905 for Robert Hannah (1845–1930) and his wife Hannah Hannah (1852–1928).
History.
This house was named after the original owner-builder's home county of Antrim in what is now Northern Ireland. Notwithstanding the name or the origins of its commissioner, the house is styled in neither of Ulster's then dominant vernacular styles (namely Irish vernacular architecture and Ulster-Scots baronial). Rather the house is styled to the then popular eclectic mix of Victorian/Edwardian Italianate. Features of the structure corresponded to the earlier tastes for Queen Anne and Second Empire styles, as seen in the heavy interior cornices, the original though lost upper iron detailing and the central tower. The structure itself is mainly of kauri and heart totara, lying on concrete foundations.
Until the leaving of the Hannah family from the residence, Antrim served as exactly as intended: a fine display of not only taste but also the wealth of a self-made man. The central location served to highlight this, while the original garden on the sloping site in front of the house helped to enhance the features and the property itself. Inside, one found gas piping, electric light and the most modern convenience of a piped bathroom. Paired with pressed Zinc ceilings, stained glass lead lighting and turned features, it epitomised what was considered both modern and high taste.
With the Hannah family departing the house in the 1930s, its central location and size worked against it. The house had fallen from fashion, and subsequently became a boarding house – a fate that many grand houses in urban areas have shared. During this time, the building suffered its largest ignominy – the fire of 1940. Features that had survived the departure of the Hannahs were now lost to this – and in reconstruction much of its decorative originality was not replaced: two examples are the asymmetry of the originally symmetrical windows on top of the tower, and the oddly placed Art Deco styled arch above the formal stair.
Cultural Heritage.
Later the house was owned by New Zealand Historical Places Trust, Heritage New Zealand. The organisation has both restored features of this now rare town residence, and it is currently their central office. What was once a site bordered by other homes in now encased by Post Modern structures.
The building is classified as a "Category I" ("places of 'special or outstanding historical or cultural heritage significance or value'") historic place by Heritage New Zealand.


Building at 2005 Montezuma

The Building at 2005 Montezuma, at 2005 Montezuma Avenue in Las Vegas, New Mexico, was listed on the National Register of Historic Places in 1985.
It is or was an L-shaped building with transitional style between Anglo-American versus Hispanic influences within New Mexico Vernacular type. A feature "generally dates to the 1870s, sometimes to the 1880s."
The building may no longer exist.


Fern Lake Patrol Cabin

The Fern Lake Patrol Cabin in Rocky Mountain National Park was designed by National Park Service landscape Daniel Ray Hull and built in 1925. The National Park Service Rustic cabin was used for a time as a ranger station.. It was destroyed by the East Troublesome Fire in 2020.
See also.
National Register of Historic Places listings in Larimer County, Colorado


Riverside South (Canary Wharf)

Riverside South is a proposed skyscraper development in Canary Wharf, London. Some below ground-level work was completed by 2014 on behalf of investment bank J.P. Morgan & Co., which bought a 999-year lease on the site with the intention of making the building its London office, but the firm has now moved into an existing Canary Wharf building. Future plans for Riverside South have not been publicised.
Planning.
The development is being planned by J.P. Morgan & Co., which purchased a 999-year lease on the site from Canary Wharf Group in November 2008. It will be located on the western side of the Isle of Dogs, immediately south of Westferry Circus on the edge of the River Thames. This is one of the few sites left in the Docklands area which has been identified as suitable for the construction of skyscrapers.
The original proposal consisted of two buildings of and , designed by the Richard Rogers Partnership. These were approved in the summer of 2004.
In April 2007, Canary Wharf Group submitted a new planning application to increase the size of the scheme by to . The application confirmed work was underway on site. Tower 1 of the scheme was increased from to , while Tower 2 was reduced from to . The middle building adjoining the towers was increased from to . The new design was granted planning permission by the London Borough of Tower Hamlets on 21 June 2007. A further minor revision was submitted for approval in October 2008, which would reduce the height of the middle building by .
The taller tower could become the tallest building in Canary Wharf, exceeding One Canada Square by a metre (on an AGL basis; One Canada Square is higher AOD, so will still appear taller on the skyline). The combined development will have the longest river frontage of any building in London, and in terms of floorspace will be among the largest offices in Europe.
Construction.
In early 2007, JPMorgan considered the development as an option for their new London premises, which would involve relocating from their various City of London offices. The company initially decided to remain in the City, but in August 2008, the company announced that it had signed heads of terms to move to Riverside South, and in November 2008 JP Morgan signed an agreement to purchase a 999-year lease on the site for £237 million.
Canary Wharf Contractors Limited were contracted to construct the basement structure up to ground level. Work on the basement slab for Tower 1 began in July 2009, with concrete being poured for the basements. Two crane bases appeared on site in September 2009, but work ceased in 2010. In December 2010, JP Morgan said that it would be moving its London staff into 25 Bank Street, a smaller building on the Canary Wharf estate that was once the London office of the collapsed investment bank Lehman Brothers. In April 2011, JP Morgan announced their intention to complete the building up to street level with work due to start in October 2011. , work on the basement levels is complete but it is unclear if JP Morgan intend to commence with full construction.


24-26 Lower Fort Street, Millers Point

24-26 Lower Fort Street, Millers Point are heritage-listed terrace houses located at 24, 26 Lower Fort Street, in the inner city Sydney suburb of Millers Point in the City of Sydney local government area of New South Wales, Australia. The property was added to the New South Wales State Heritage Register on 2 April 1999.
History.
Millers Point is one of the earliest areas of European settlement in Australia, and a focus for maritime activities. This property was constructed , forming part of a row of substantial Georgian townhouses. First tenanted by the NSW Department of Housing in 1991.
Description.
Two storey late Georgian townhouse with attic roof behind parapetted facade, two storey timber verandah with cast iron balustrading. Townhouse converted to four one-bedroom units. Storeys: Two; Construction: Painted rendered masonry, corrugated galvanised iron roof, iron lace, painted timber joinery. Style: Victorian Georgian.
The external condition of the property is fair.
Modifications and dates.
External: Dormer modified, timberwork attached.
Heritage listing.
As at 23 November 2000, this townhouse was constructed , and is part of a substantial row of Georgian townhouses.
It is part of the Millers Point Conservation Area, an intact residential and maritime precinct. It contains residential buildings and civic spaces dating from the 1830s and is an important example of 19th century adaptation of the landscape.
24-26 Lower Fort Street, Millers Point was listed on the New South Wales State Heritage Register on 2 April 1999.


Alvar Aalto Cultural Centre

The Alvar Aalto Cultural Centre (German: "Alvar-Aalto-Kulturhaus") is a cultural venue in the city of Wolfsburg, Lower Saxony, Germany, designed by the renowned Finnish architect Alvar Aalto in 1958 and inaugurated in 1962. It comprises a library, educational and youth facilities, municipal offices and retail premises.


Palladium Riga

Palladium Riga is a concert venue and former cinema in Riga, Latvia. It is located at 21 Marijas iela, Riga, and was opened as a music venue on September 28, 2011. Its capacity is 1600 to 2000. The venue was opened in the place of former cinema "Palladium", which was opened back in 1913, and was open until 2002.
History.
Cinema "Palladium" was established in 1913, in a former dwelling house. It was the largest cinema in Riga. The cinema had a futuristic design, a cafe, a balcony, and an unusually large hall for cinemas of that time. "Palladium" featured the latest movies, and there always was a line to get the tickets. In 1994 the cinema was privatized. The cinema closed at the end of 2001. Around 2006, construction of an ambitious nightclub had begun, but it did not experience its opening.
The new concert venue retains the name of the former cinema "Palladium", as well as the former theater's round shape. Two levels of spectator balconies have been renovated as well. "Palladium" opened its doors September 28, 2011 and the first artists who performed were James Blunt, Icelandic group FM Belfast, the English rock band Kaiser Chiefs and the British musician Anna Calvi.


Berlin Mexikoplatz station

Berlin Mexikoplatz (in German "Bahnhof Berlin Mexikoplatz") is a railway station in the Zehlendorf district of Berlin, Germany. It is served by the Berlin S-Bahn line S1 and several local bus lines. It is also planned to extend the U3 U-Bahn line here.
The station was erected in 1904 as one of the few genuine Art Nouveau buildings in Berlin and it is heritage listed. Its name changed several times: from "Zehlendorf-Beerenstraße" to "Zehlendorf-West" in 1911, to "Lindenthaler Allee" in 1958 and finally to "Mexikoplatz" in 1987.
History.
The station, which was built to plans by the architects Hart & Lesser, was opened on 1 November 1904 under the name of "Zehlendorf-Beerenstraße". Seven years later, on 15 December 1911, its name changed for the first name to "Zehlendorf-West". On 15 May 1933, electric operations commenced at the station.
An interesting detail in a decorative manner is an elaborate emblem in wrought iron with the letters "KPEV" on the railway bridge. These letters were once widespread as an emblem, with various variants, standing for the Royal Prussian Railway Administration ("Königlich Preußische Eisenbahn-Verwaltung"), thus indicating that it belonged to the Prussian state railways.
In March 1934, the bridge was one of the first in Germany to be examined with the aid of X-rays and breaks were discovered in the welds under the paint. The bridge railing, including its decorative emblem, was reconstructed as part of the restoration of the entire area to plans by the architects Stuhlemmer for the 750th anniversary of Berlin in 1987.
On 28 September 1958, the station was renamed "Lindenthaler Allee". On 18 September 1980, the station was closed as a result of a strike by the workers of Deutsche Reichsbahn who lived in West Berlin.
On 1 February 1985, the station was reopened by the West Berlin transit organisation, Berliner Verkehrsbetriebe (BVG). Two years later, in January 1987, the station's name was changed for the third time, this time to its current name of "Mexikoplatz", which is named after Mexikoplatz (“Mexico Square”), which received its current name on 23 September 1959.
On 1 June 2001, the Bundeseisenbahnvermögen sold the station building to two Berlin businessmen. The station's bookshop, which had been operating for 25 years, was closed and regularly scheduled lectures and discussion forums in the station hall were abandoned. A citizens' initiative to convert the station into a "Kulturbahnhof" (“culture station”), which would have meant that the station would have become "a cultural meeting place", was unsuccessful.
Future.
The planned extension of U-Bahn line U3 to Mexikoplatz station would turn it into an interchange between the S-Bahn (Wannsee Railway) and the U-Bahn and give it added importance. Despite the commitment to this project in land use plans, its implementation is uncertain. It is planned that the trains would terminate at the platform of the U-Bahn station and then reverse there, as currently happens at Ruhleben station (line U2 ) and Innsbrucker Platz station (line U4). The reversing facility at Krumme Lanke station would remain. A possible further extension of the U3 from Mexikoplatz towards Kleinmachnow has been abandoned due to the low forecast patronage.
Connections.
The S-Bahn station is on the S-Bahn line S1 on the Wannsee Railway. It is possible to change to bus routes operated by Berliner Verkehrsbetriebe and Havelbus.


Margate railway station

Margate railway station serves the town of Margate in Thanet, Kent, England. It is down the line from . Train services are provided by Southeastern.
Trains from the station generally run to Victoria via or to via Ramsgate, Canterbury West and Ashford International. Peak hour trains run to St Pancras via Chatham and Gravesend and to .
History.
Trains first reached Ramsgate in April 1846 when the South Eastern Railway (SER) opened a line from Canterbury. It terminated at Ramsgate SER, later to be called Ramsgate Town. Later the same year the line opened across Thanet to Margate, to Margate SER, (later Margate Sands). Trains from Canterbury for Margate had to reverse at Ramsgate Town; a chord was built bypassing the station in 1864, costing £13,707. St Lawrence for Pegwell Bay railway station was opened in 1864 just before this chord but closed in 1916.
The London Chatham and Dover Railway (LCDR) reached Margate from Herne Bay on 5 October 1863. This called at Margate LC&DR (later Margate West), East Margate (later Margate East), Broadstairs and via a tunnel terminated at Ramsgate LC&DR (later Ramsgate Harbour), located near the harbour and beach.
This arrangement was inherited by Southern Railway on grouping in 1923. To simplify the arrangement in 1926 a new line was opened connecting the SER line from the site of St Lawrence to the LCDR line just south of Broadstairs. The current Ramsgate station and a new station at Dumpton Park were built on this new line. The Ramsgate Harbour station, line through the tunnel, and the Ramsgate Town station and old SER line across to Margate Sands were all closed in July 1926. Margate West station was renamed Margate in 1926. Margate East closed on 4 May 1953.
Until 1967 a service operated between Margate and Birkenhead Woodside via Ashford, Redhill, Reading, Oxford, Birmingham Snow Hill and Shrewsbury. The stock was provided on alternate days by successors to the Southern Railway and the Great Western being the Southern Region and the Western Region under British Rail. At Ashford a portion from Sandwich, Deal and Dover was attached/detached, likewise a Brighton portion at Redhill.
Architecture.
The station was rebuilt in 1926 by the SR's chief assistant architect, Edwin Maxwell Fry. The building is constructed in a monumental classical style from brown brick with a stone dressing and a hipped tiled roof. The booking hall was built in a similar manner, in a distinctive ellipse shape with pendant lighting. It was Grade II listed in 1987.
Cultural references.
The station was featured in "Only Fools and Horses", in the 1989 episode "The Jolly Boys' Outing". Del Boy and Rodney discover the station is closed due to a strike, after being stuck in Margate following their coach blowing up.
References.
Citations
Sources


Komische Oper Berlin

The Komische Oper Berlin is a German opera company based in Berlin. The company produces opera, operetta and musicals.
The opera house is located on Behrenstraße, just a few steps from Unter den Linden. Since 2004, the Komische Oper Berlin, along with the Berlin State Opera, the Deutsche Oper Berlin, the Berlin State Ballet, and the Bühnenservice Berlin (Stage and Costume Design), has been a member of the Berlin Opera Foundation.
History of the building.
The theatre was built between 1891 and 1892 by architects Ferdinand Fellner and Hermann Helmer for a private society. It first opened on 24 September 1892 as "Theater Unter den Linden" with Adolf Ferron's operetta "Daphne" and Gaul and Haßreiter's ballet "Die Welt in Bild und Tanz".
The theatre was primarily a vehicle for operetta, but was also used for various other events and balls. Around 800 people could be seated in the stalls, and the balconies and various en-suite dinner rooms housed about a further 1,700 seats. Its directors went bankrupt in 1896 and the theatre was forced to close its doors.
On 3 September 1898 the theatre was reopened as "Metropol-Theater" with Julius Freund's revue "Paradies der Frauen". It then grew to become one of Berlin's most famous and successful variety theatres. During the 1920s and early 1930s, it was leased by the brothers Alfred and Fritz Rotter. Under their management, it saw the premieres of two operettas by Franz Lehár - "Friederike (opera)" in 1928 and Das Land des Lächelns in 1929, both starring Richard Tauber. However, due to a decline of variety and music hall entertainment the theatre was again closed in 1933.
In 1934 the theatre was nationalised and renamed "Staatliches Operettentheater". It operated as part of the Nazi "Kraft durch Freude" entertainment and leisure programmes. During World War II, the auditorium was damaged by Allied bombing on 7 May 1944. The façade, entrance hall, and auditorium ceiling murals were destroyed by bombs on 9 March 1945.
After the war, the theatre was in East Germany, being that the building was in the eastern part of Berlin. Following repair works and provisional rebuilding, the theatre reopened on 23 December 1947, as the "Komische Oper" with Johann Strauss's operetta "Die Fledermaus".
The 1950s saw various further alterations and extensions. The theatre was completely rebuilt in 1965/1966 by Architektenkollektiv Kunz Nierade, adding functional extensions and giving the theatre a completely new exterior. The theatre reopened again on 4 December 1966, with Mozart's "Don Giovanni". The auditorium underwent further restoration in 1986, and the stage technology was further modernised by 1989. Today the theatre seats 1,270.
The Komische Oper company.
In 1947, Walter Felsenstein founded and led the resident opera company, the "Komische Oper", until his death in 1975. Götz Friedrich was an assistant to Felsenstein at the company. Joachim Herz became general director after Felsenstein's death and served until 1981. Subsequently, Harry Kupfer directed the company for 21 seasons, until 2002. The company specializes in German language productions of opera, operetta and musicals. In 2007 the company won, jointly with Oper Bremen, the "Opera house of the year" award by the German magazine "Opernwelt". From 2002 to 2012, the company's chief director and "Intendant" was . In June 2008, the company announced the appointment of Barrie Kosky to succeed Homoki as its next "Intendant", as of the 2012/2013 season. In October 2014, his contract with the company was extended through 2022. Since 2005, the company's managing director has been Susanne Moser.
From 1966 to 2004, the theatre was also home to a resident ballet company – first as the "Tanztheater der Komischen Oper", and then from 1999 as "BerlinBallett – Komische Oper". In 2004, due to budgetary problems, the separate ballet companies of Berlin's three opera houses were merged into a single company called the Staatsballett Berlin.
Past General Music Directors (GMD) of the company have included Kurt Masur, Rolf Reuter, Yakov Kreizberg, Kirill Petrenko, Carl St.Clair, and Patrick Lange. Ainārs Rubiķis has been GMD from the 2018-2019 season, with an initial contract of 3 seasons.


List of works by Norman Foster

This list of works by Norman Foster categorizes the work of the Pritzker Prize-winning architect. Foster has established an extremely prolific career in the span of four decades. The following are some of his major constructions:
Non-architectural projects.
Foster's other design work has included the Nomos desk system for Italian manufacturer Tecno, the wind turbine housings for Enercon, and the motor yacht "Izanami" (later "Ronin") for Lürssen Yachts.
In October 2010, CNN announced that Foster recreated Buckminster Fuller's Dymaxion car.


First Architect to the King

Under the Ancien Régime, the First Architect to the King () was the direct assistant to the general director of the building industries, arts and manufactures of France and, consequently, number 2 of the Bâtiments du Roi, forming part of the Secretary of State of the Maison du Roi.
Responsibilities.
The Premier Architecte du Roi was, in theory, in charge of the works of maîtrise d'œuvre on behalf of the building industries of King. Hence, Ange-Jacques Gabriel was in charge of the design of the Place de la Concorde chosen from the best ideas submitted to the contest by the participants.
But this position entailed especially important administrative responsibilities, in this capacity of master builder of the projects ordered by the "Bâtiments du Roi": it had the responsibilities of arranging the construction contracts for the contractors and the craftsmen, of supervising the management of supply stores (marbles, leads, etc.), of inspecting the building sites, of proceeding the reception of the works, etc.
Organization.
The Premier architecte du Roi was assisted by general intendants and controllers, draughtsmen, a general inspector – all selected among the most distinguished architects, generally members of the Académie royale d'architecture. Il was disposed also of accounting officers and clerks. It had the supervision of the stewardship of Water and Fontaines, charged since the 17th century by the family of Francine.


Potter County Courthouse (Texas)

The Potter County Courthouse is a government building for Potter County, located in the county seat of Amarillo, Texas. It was listed on the National Register of Historic Places on August 22, 1996.
History.
The art deco styled courthouse was designed by William C. Townes and was built in 1932. The courthouse cost $315,000 ($ in dollars) to build.
The Potter County Library, which sits on the same property as the courthouse, was also designed by Townes and was built in 1922.


Church of St Nicholas, Bradfield

The Church of St. Nicholas, Bradfield is situated in the small village of High Bradfield, (Grid Reference ) which is located north west of the centre of the city of Sheffield in South Yorkshire, England. It is one of only five Grade One Listed buildings in Sheffield. Apart from its historic architecture, the church is situated in a charming setting, above sea level, giving fine views over the northeastern moors and valleys of the Peak District National Park.
History.
Anglo-Saxon.
Christian worship in the Bradfield area dates from at least the 9th century, as a Saxon cross discovered in 1870 in the nearby village of Low Bradfield was dated by specialists to that time. Local historian John Wilson (1719–83) believed that the original Norman church was founded in 1109 when deciphering ancient writing in the church's original east window. The Normans regarded the area around Bradfield as strategically important and had built a motte-and-bailey fortified keep in the area after the conquest. William de Lovetot, Lord of Hallamshire, had built the Church of St. Mary, Ecclesfield, nine kilometres to the east, at the end of the 11th century, to which St. Nicholas, Bradfield became a chapel of ease until 1868 when it became a parish of its own.
The original Norman church was an uncomplicated two cell building. A square bell tower was added in the 14th century before it was largely rebuilt in the Gothic Perpendicular style during the 1480s, using some of the original masonry which consisted of local gritstone. The interior of the church changed drastically under the influence of the Puritans during the English Civil War, when statues, wall paintings and stained glass were destroyed and the walls whitewashed.
19th century.
These changes were reversed in the latter part of the 19th century when the interior was restored to its 15th-century appearance. Parts of the original Norman church survive in the north arcade, the font and the chancel arch. The previously mentioned 9th century Saxon cross was integrated into the north wall of the church in 1886. The cross is roughly fashioned in local gritstone and is simply decorated with five bosses on the head, which was the Saxon way of depicting the crucifixtion. Records of births, marriages and burials date from 1559. Music in the church was originally provided by a local band of musicians featuring a bassoon and violoncello accompanying the choir. The musicians were replaced in 1843 by an organ. The present organ was installed in 1973. It was built by Laycock and Bannister and was bought second hand from a church in Middlesbrough that was closing.
Today.
Windows.
The interior contains 17 stained glass windows of varying sizes. Much of the glass is from the late 19th century although the Medieval Window includes fragments of glass from the 15th century. During the Second World War it was stored in a local clay mine to protect it from bomb damage. The windows include designs by Sir John Ninian Comper, Clayton and Bell and Hardman & Co.. The east window, which is the largest, was donated by the Wilson family in 1870, and depicts the nativity, baptism, crucifixion, resurrection and ascension of Christ. A window on the west wall was donated by the Dixon family in 1930. The family had been the owners of the Spring Grove paper mill in Oughtibridge since 1871. The main west window is situated in the ringing chamber of the tower. It was a gift of James Wilson Rimington-Wilson (1822–77) of Broomhead Hall and depicts Saint Nicholas and Saint Cuthbert. It is one of ten windows in the church attributed to William Francis Dixon (1848–1928) of the Clayton & Bell company.
Interior.
The pulpit features carved panels portraying Christ with the four Gospel writers. Oak panels brought from Normandy in 1886 decorate the sanctuary and the altar. The interior has a Camber beam roof with the wall posts having carved feet and various embossing. The original Norman baptismal font is still in place; it is made of magnesian limestone with no decoration at all and is believed to have been built and presented by the Cistercian monks of Roche Abbey in the 12th century. A sunken vestry was discovered and refurbished during the 19th century, which is thought to have been used by visiting clergy as sleeping quarters.
Memorial.
The church features memorials to the Bradfield men who perished in both World wars. A slate plaque presented by the local water authority in 1989 stands in the south aisle and commemorates the Great Sheffield Flood of 1864, when the nearby Dale Dike Reservoir broke and 270 people drowned. A number of flood victims are buried in the churchyard. The grave of William Horsfield, who discovered the crack in the embankment of the dam, is located in the churchyard. He died in 1881.
Bell Tower.
The bell tower contains a peal of eight bells made by John Taylor Bellfounders of Loughborough. Six were cast in 1847, while two more were added recently in 1997. Records show Bradfield's bells were not only rung on Sundays but also to commemorate events of national importance, such as on 5 November "for the Gunpowder Treason" and from 1660 onwards on 29 May (Oak Apple Day) to celebrate The Restoration. The irregularly-shaped watch house which stands by the main gates was built in 1745 to guard against grave robbers looking for fresh corpses for medical study, with friends and relatives of the deceased often guarding the recently buried loved ones with guns. It is the only surviving watch house in Yorkshire, and today it is a private dwelling. When Bradfield village lost its church hall in 1987, the rear pews of the church were removed to provide a meeting place and kitchen.


Plainview Carnegie Library

The Plainview Carnegie Library in Plainview, Nebraska is a Carnegie library which was built in 1916–1917. It was listed on the National Register of Historic Places in 1993.
It is a one-story brick building with a raised basement. It has a hipped roof with wide eaves and modillions. It has Prairie Style details. It was designed by Norfolk, Nebraska architect J.C. Stitt and built by contractor Frank T. Houx.
Its lower level was renovated to include a children's reading room in 1977. In 1992 the building still served as a library.
Plainview was one of 68 communities in Nebraska that were awarded Carnegie library grant funds.


Casa matriz del Banco de Chile

The casa matriz del Banco de Chile is a building in downtown Santiago, Chile, which houses the headquarters of the Banco de Chile. It is located at 251 Paseo Ahumada street, between Huérfanos y Agustinas streets. The building was declared as a National Monument of Chile in 2016, within the category of Historic Monuments.
History.
The Banco de Valparaíso, the Banco Nacional de Chile and the Banco Agrícola were merged in 1893 under the name of Banco de Chile. Its original headquarters in Santiago was located on Huérfanos Street, on land originally owned by the Arzobispado de Santiago.
In 1909, the architects Alberto Cruz Montt and Ricardo Larraín Bravo were commissioned to make a preliminary design of the facade of the new building, and in 1919 an open competition was launched by the bank for its construction, which was won by Austrian Alberto Siegel.
The construction of the building began in 1921 and was inaugurated on April 6, 1926. The building, an example of the Beaux-Arts architecture style, features a large central hall and well-designed circulation spaces. It is known for being the first structural metal framed building in Chile to be plastered with concrete. The previous metal buildings in the country were featured for having architecturally exposed metal structures.
The building features four above-ground stories and two basement levels housing an exhibition room. The first floor is 1.6 m higher than the street level, and on the main facade: doors and windows of the first floor are topped by semi-circular arches, the second floor features curve-pedimented windows and the third and fourth floors feature plain rectangular windows. Columns of classical order give the building its monumental character. The decorative ironwork details of the building were manufactured by "Mina Hnos. Ltda.", a company which also manufactured ironwork for the Club de la Unión, the Palacio Ariztía and the building housing the Banco Central.


All Saints Church, West Harling

All Saints Church, West Harling, is a redundant Anglican church in the civil parish of Harling, Norfolk, England. It is recorded in the National Heritage List for England as a designated Grade I listed building, and is under the care of the Churches Conservation Trust. The church stands in an isolated position on the edge of Thetford Forest.
History.
The church dates from the late 13th century, with alterations and additions during the following century. It was repaired in 1733, further alterations were carried out in 1756, and the church was restored in 1902.
Architecture.
Exterior.
All Saints is constructed in flint with ashlar dressings, and some brick. It has tiled roofs. The plan is simple, consisting of a nave with a south porch, a chancel, and a west tower. The tower is in two stages, and is supported by buttresses that are decorated with chequered flushwork. In the lower stage is a two-light west window in Perpendicular style that dates from the 1902 restoration. On the south side is a niche with a trefoil head for a statue. At a higher level on the north and south sides are windows, again with trefoil heads. In the upper stage of the tower are paired lancet bell openings, above which is a crenellated parapet; these all date from 1756. The porch is gabled and has diagonal buttresses. In each side of it are two-light windows. In the north wall of the nave are two two-light early Perpendicular windows, dating from the middle of the 14th century, and a doorway. There is a similar window in the south wall, and a two-light window with plate tracery. The south wall of the chancel has a two-light window dating from 1902 and a priest's door. The east window has three lights and dates from about 1300. In the north wall of the chancel is a 13th-century lancet window and a dormer window with Y-tracery illuminating the organ loft. Around the exterior of the church are carved heads.
Interior.
The nave has a hammerbeam roof and the chancel roof is barrel vaulted, both of these dating from 1902. In the chancel are a single piscina, a double piscina, and a niche for a sedilia. On the back of the niche is a fragment of painted diaper decoration. In some of the windows are pieces of medieval stained glass. The octagonal font dates from the 15th century. In the nave floor are three brasses with dates in the late 15th and early 16th centuries. The reredos contains Flemish panels, and in the church is a bust dating from 1780.


Broadway Theatre (Saskatoon)

The Broadway Theatre is an art film and performance theatre located on Broadway Avenue in the Nutana neighborhood of Saskatoon, Saskatchewan, Canada. The theatre is Canada's only community-owned non-profit repertory cinema.
History.
The Streamline Moderne style movie theatre was designed by George Forrester with the architectural firm of Webster and Gilbert and opened on December 5, 1946. The theatre was Broadway's entertainment destination during the post-World War II years. It screened popular movies of the period and hosted some live musical performances on the stage in front of the movie screen. Following the neighbourhood's decline starting in the 1950s, the theatre fell into disrepute by the 1970s when it became an "adult" movie theatre. It was restored as an art film cinema and live performance venue during the 1980s. It was designated a municipal heritage property on April 14, 1997.
On August 2, 1993, the Broadway Theatre abruptly closed. After a public fundraising drive, it was purchased by the Friends of the Broadway Theatre, Inc., a non-profit organization with charitable status dedicated to the preservation and renovation of the theatre. It reopened in October 1993, resuming its previous role. In addition to art, Canadian and regional cinema, the theatre also hosts some live music performances.
Facility.
The theatre seats 240 in a centre bank of seats with another 95 in each of the side banks for a total of 430 seats, plus 6 wheelchair stations. The stage is of a proscenium style, made of black masonite and measures wide and deep. The movie screen is wide by high, with a projection throw of . The lobby has terrazzo flooring and recessed valance lighting around the doorways to the theatre area.
Operators.
The theatre changed hands and focus several times, including:


Holy Trinity Church, Millom

Holy Trinity Church is a medieval building situated next to Millom Castle near the town of Millom, Cumbria, England. It is an active Anglican parish church in the deanery of Furness, the archdeaconry of Westmorland and Furness, and the diocese of Carlisle. Its benefice is united with those of St George (in the centre of Millom), St Anne, Thwaites, and St Luke, Haverigg. The church is recorded in the National Heritage List for England as a designated Grade I listed building.
History.
The earliest parts of the church are the nave and chancel, which date from the 12th century. The south aisle was added in the early 13th century, and was rebuilt in a more elaborate style in about 1335 as the Huddlestone Chapel. Some details were restored in the 19th century, and the south porch was added in 1906. More drastic alterations were carried out in 1930 by Hicks and Charlewood of Newcastle, which included making the chancel wider. During this work, and incorporated into the northeast corner of the chancel, were part of a cross-shaft dating probably from the 10th or 11th century, and another ancient boss. Also at this time a west gallery was installed.
Architecture.
Exterior.
The church is constructed in stone rubble, with ashlar dressings, and it has slate roofs. The plan consists of a three-bay nave, a south aisle, a north porch, a smaller, lower chancel, and a small north vestry. On the west gable of the nave is a bellcote. In the north wall of the nave is a Norman doorway, and two round-headed windows. The south wall of the aisle has three three-light windows, and at the east end is a five-light window. The east window of the chancel has three lights. In the north wall of the chancel is a small 12th-century window, and the Anglo-Saxon stones have been re-set in the northeast corner.
Interior.
Inside the church is a four-bay arcade carried on round and octagonal piers. The west gallery has four round piers. All the pews are box pews, and in the church are the Royal Arms of George I. In the south aisles are monuments, mainly to the Huddlestone family, the oldest being to Sir John Huddlestone, who died in 1484. The stained glass in the east window is by Clayton and Bell, and in a window on the south side of the south aisle is a window by Hugh Arnold, given to the church in 1908. The two-manual pipe organ was made in about 1930 by Harrison and Harrison of Durham.
External features.
Associated with the church are three structures, each of which is listed at Grade II. To the north of the church is a stone cross base, probably that of a market cross, which probably dates from the medieval era. It consists of an octagonal stone with carvings on the sides, and a socket on its top. To the south of the church is a chest tomb dating from the early 18th century; it is a memorial to the Postlethwaite family. Also to the south of the church is a sundial, probably also medieval. It consists of an octagonal shaft on a square base, and has a head carved with coats of arms.


Manchester Cathedral

Manchester Cathedral, formally the Cathedral and Collegiate Church of St Mary, St Denys and St George, in Manchester, England, is the mother church of the Anglican Diocese of Manchester, seat of the Bishop of Manchester and the city's parish church. It is on Victoria Street in Manchester city centre.
The former parish church was rebuilt in the Perpendicular Gothic style in the years following the foundation of the collegiate body in 1421. Then at the end of the 15th century, James Stanley II (warden 1485–1506) was responsible for rebuilding the nave and collegiate choir with high clerestory windows; also commissioning the late-medieval wooden internal furnishings, including the pulpitum, choir stalls and the nave roof supported by angels with gilded instruments. The medieval church was extensively refaced, restored and extended in the Victorian period, and again following bomb damage in the 20th century. The collegiate church became the cathedral of the new Diocese of Manchester in 1847, and is one of fifteen Grade I listed buildings in Manchester.
History.
Origins.
The origins of Manchester's first churches are obscure. The "Angel Stone", a small carving of an angel with a scroll is preserved in the cathedral. It was discovered in the wall of the cathedral's south porch providing evidence of an earlier, possibly Anglo-Saxon, church. It has been dated to around 700 AD, however the Corpus of Anglo-Saxon sculpture dates the sculpture to the twelfth century. Its Latin inscription translates as "into thy hands, O Lord, I commend my spirit". The first church, possibly sited on or near the site of St Ann's Church, was destroyed by Danish invaders in 923 and a church dedicated to St Mary, built by King Edward the Elder, possibly where St Mary's Gate joins Exchange Street, was mentioned in the "Domesday Book" in 1086. The "Domesday Book" entry for Manchester reads "the Church of St Mary and the Church of St Michael hold one carucate of land in Manchester exempt from all customary dues except tax".
Parish church.
Construction of the predecessor parish church between the Rivers Irk and Irwell and an ancient watercourse crossed by the Hanging Bridge started in 1215 within the confines of the Baron's Court beside the manor house on the site of Manchester Castle. The lords of the manor were the Grelleys whose coat of arms is still associated with the cathedral. The Grelleys acted as stewards, building and endowing the first chancery, the St Nicholas Chancery. In 1311, the Grelley estate passed by marriage to the de la Warres. In 1349 the St Nicholas Chancery was endowed by the de Traffords. In 1382 Thomas de la Warre became its rector.
The church had a six-bay aisled nave and six-bay chancel with aisles and a west tower in the perpendicular style of the late-medieval period.
Collegiate church.
Thomas de la Warre became Baron de la Warre in 1398. A priest for more than 50 years, he was granted a licence from King Henry V and Pope Martin V to establish a collegiate church in Manchester in 1421. The college was established by royal charter, with a warden, eight fellows, four singing clerks and eight choristers. The parish church was dedicated to St Mary and to that dedication were added St George, the patron saint of England, and St Denys, the patron saint of France, perhaps reflecting de la Warre's French heritage, or Henry V's claim to the French throne. The college of priests was housed in new buildings on the site of the former manor house that survive as Chetham's Library paid for by de la Warre. He appointed John Huntingdon as the college's first warden who, between 1422 and 1458, rebuilt the eastern arm of the parish church to provide the collegiate choir. Huntington's monumental brass (much restored) is laid on the chancel floor. Huntington is also commemorated in Victorian rebus, carvings of a man "hunting" and a man with a "tun" (barrel of ale), on either side of the arch accessing the Lady Chapel. The church's 14th-century west tower and Lady Chapel were incorporated into the current structure although little or no fabric of that date is still visible, and the Lady Chapel was lost in 1940.
Traditionally the third warden, Ralph Langley (1465–1481), is credited with rebuilding the nave but the nave and choir were substantially reconstructed again by James Stanley II (1485–1506) a few years later, when he raised the clerestory and provided the richly decorated timber roofs and choir stalls. James's stepmother, Lady Margaret Beaufort was mother of Henry VII and through their alliance with the Tudor dynasty the Stanleys acquired both fabulous wealth and access to architects and craftsmen working on royal commissions. On stylistic grounds, the chancel arcades and clerestory of the cathedral are attributed to John Wastell, the architect for the completion of Kings College Chapel, Cambridge. The choir stalls, carved at the workshop of William Brownflet of Ripon, are the finest of a series which includes the surviving stalls at Ripon Cathedral, Beverley Minster and Bridlington Priory. The carving of the misericord seats is exceptionally fine. James Stanley was responsible for the embellishment of the nave roof with supports in the form of fourteen life-size angel minstrels; and for the endowment of his own chantry chapel (now destroyed) near the north-east corner, in which he was buried in 1515.
The college was dissolved in 1547 in the reign of Edward VI by the Chantries Act, but refounded by his sister Mary in 1553. Its future was uncertain when Elizabeth I succeeded in 1559, but was assured when she granted a new charter in 1578, allowing a warden, four fellows, two chaplains, four singing men and four choristers. The dedication of the college (but not the church) was changed to the college of Christ. Manchester and Southwell Minster were the only two medieval collegiate foundations where daily choral worship was maintained after the Reformation until they were joined by Ripon when its collegiate foundation was restored in 1607. John Dee, magus and astrologer for Elizabeth I was warden from 1595 to 1608 and occupied the wardens' lodgings now incorporated into Chetham's Library. The present charter, the fourth, was granted by Charles I preserving the dedication of the college to Christ.
Chantry chapels.
In the early 16th century an almost complete sequence of chantry chapels was constructed along the north and south sides of the church creating a double aisle around the parochial nave, which is consequently much wider than it is long. Manchester is commonly claimed to have the widest nave of any cathedral in England. On the south side, the oldest of the chantry chapels, the St Nicholas Chapel, was rebuilt by the de Traffords in 1470. St George's Chapel was endowed by William Galley in 1503 and Richard Beswick endowed the Jesus Chapel in 1506. On the north side, William Radcliffe of Ordsall Hall endowed the Holy Trinity Chapel in the northwest corner in 1498. Huntington left money and land for the St James' Chapel which was built in 1507. The largest of the chantries, the St John the Baptist Chapel, was begun by James Stanley the Bishop of Ely in 1513. The attached funerary chapel for James Stanley, the Ely Chapel, was destroyed by bombing in 1940. The brass from atop Stanley's tombchest was rescued from the wreckage, and remounted vertically against the rebuilt north wall of the Regiment Chapel.
The western chapels are no longer demarcated, as the screens that divided them have been removed giving the appearance of double aisles on either side of the nave.
Batch Marriages.
Until 1850, the Collegiate Church remained the parish church for whole of Manchester (this is the ancient parish, including almost the whole area of the modern City of Manchester excepting Wythenshawe), an area which in 1821 had a population of 187,031. Within this vast parish there were considerable numbers of chapels of ease and proprietary chapels for parochial worship - as well as other chapels for dissenters and Roman Catholics. Nevertheless, the Wardens and fellows of the Collegiate church maintained their legal right to a fee of 3s. 6d. for all marriages conducted within their parish; so, unless a couple were able and willing to pay two sets of marriage fees, the only place in Manchester where a marriage might legally be contracted was the collegiate church. In practice, this religious duty fell on the pastoral chaplain employed by the Warden and fellows; who from 1790 to 1821 was the eccentric figure of the Revd. Joshua 'Jotty' Brookes. In 1821 a total of 1,924 marriages were solemnized in the collegiate church; commonly in batches of a score or more. The couples to be married were most often desperately poor but Brookes was no respecter of status, so all were subjected to his 'production line' methods. Commonly, the groom and friends would decamp to a nearby ale-house while the bride kept place in the queue; but if there was one groom too few when a group of couples were lined up in front of the altar, Brookes notoriously would countenance no delay, but would continue the marriage with any passer-by (or even one of the other grooms) as a proxy stand-in. Brookes is commonly reckoned to have conducted more marriages, funerals and christenings than any English clergyman before or since.
As the population of Manchester increased further; so the numbers of christenings, weddings and funerals celebrated in the collegiate church also grew. In 1838, there were 5,164 christenings, 1,457 funerals, and 2,615 weddings.
Cathedral.
Under the Cathedrals Act 1840, the warden and fellows of the collegiate church were translated into a dean and canons in preparation for becoming the cathedral of the new Manchester Diocese which came into effect in 1847. Initial proposals for a new cathedral to be built to the designs of R.C. Carpenter on Piccadilly Gardens were not proceeded with. The building was extensively renovated in 1882.
During the Manchester Blitz in 1940, a German bomb exploded a few yards from the north-east corner, severely damaging the cathedral roofs and demolishing the medieval lady chapel and James Stanley's chantry chapel. All stained-glass windows were blown out, the organ-case over the pulpitum was destroyed, and the medieval choir stalls toppled inwards so as to meet one another. It took almost 20 years to complete the repairs, in the course of which the Lady Chapel was rebuilt to the designs of Hubert Worthington and the St John the Baptist Chapel was refitted as the regiment chapel for the Manchester Regiment. The cathedral was again damaged in the IRA bombing in June 1996.
The cathedral houses extensive parish and historical archives, dating back to 1421. In 2003, a project began to provide an exhaustive catalogue of the archive's contents to the public. The cathedral was granted Grade I listed building status in January 1952. Grade I structures are considered to be "buildings of exceptional interest".
Architecture.
The cathedral is constructed of three types of stone. The walls and internal piers were originally constructed in a dark purple-brown Collyhurst sandstone formed in the Early Permian period. This is now visible only in the tower arch of the nave, in the interior of the Jesus Chapel and in the chancel; as in the early 19th century all the surfaces of the nave and aisles were scored to be encased in Roman Cement. This damaged the structure so severely that most internal and external stonework had to be replaced in the later 19th century restorations in buff-grey Fletcher Bank Grit from Ramsbottom. The nave floors have, since the 1960s, been relaid in limestone from the Peak District which contains crinoid fossils.
Restorations.
By the 1840s the external and internal stonework was in a poor state, partly due to the poor weathering qualities of the Collyhurst sandstone, but also because of an ill-advised attempt to lighten the interior by coating the internal surfaces of the nave with Roman cement by John Palmer. The external stonework was replaced between 1850 and 1870 in a restoration by J. S. Crowther, who also replaced the internal stonework of the nave walls and arcades with exact reproductions of the originals. The west tower was heightened in 1868 by J.P. Holden, who also replaced its external stonework. Basil Champneys added the vestry, canons' library and western porches in 1898; while Percy Worthington provided further accommodation to the South-east, originally as a choir school, but subsequently converted to offices. Consequently, the cathedral gives the impression of being a 19th-century structure.
To accommodate upgrading work on the cathedral's heating system, in 2013 a temporary wooden cathedral was built on Victoria Street to allow worship to take place.
Furniture.
Angel minstrels.
The nave roof brackets are supported by fourteen angel sculptures, each playing a different late medieval instrument, believed to be the gift of James Stanley II.
South side (from the east):
Portative organ, harp, psaltery (plucked), dulcimer (played with hammers), lute, fithele, hurdy-gurdy
North side (from the east):
clavicymbal, trumpet, shawm, Scots pipes (mouth-blown), Irish pipes (bellows-blown), recorder, tabor
It is supposed that, in the 19th century restoration of the nave, the clavicymbal and organ were inadvertently transposed; as otherwise the south side has stringed instruments, and the north side mostly wind instruments. Only the organ presents an instrument that would commonly have been heard in church in the early 16th century; the other instruments would have been more typically used to accompany secular songs and dances. All these instruments, however, might well have been heard accompanying mystery play performances in the street, and in popular religious processions.
Misericords.
The cathedral has thirty 16th-century misericords, considered to be among the finest in Europe. They are similar in style to those at Ripon Cathedral and Beverley Minster. Although Manchester's are of a later date, they were probably carved by the same school at Ripon. One of the most notable is N-08, the earliest known depiction of backgammon in the UK.
Stained glass.
All the Victorian stained glass was destroyed during the Manchester Blitz in 1940. Until the late 1960s, only two windows had been replaced, notably the Fire Window by Margaret Traherne (1966). The dean and chapter commissioned Tony Hollaway to prepare a scheme for reglazing the cathedral, with priority to the five western windows: St George (1973), St Denys (1976), St Mary (1980), The Creation (1991) and The Apocalypse (1995). To commemorate the restoration of the cathedral following an IRA bomb in 1996, the Healing Window by Linda Walton was installed in 2004.
Bells.
The ten bells in the cathedral tower hung for change ringing were cast by Gillett & Johnston of Croydon in 1925. The tenor (largest) bell weighs 1.3 tonnes and is tuned to the key of D. The bells are rung for church service on Sunday mornings and on special occasions including a visit by Elizabeth II to distribute the Royal Maundy. One of the recipients was the tower captain, Roland Eccles, for 35 years of service to ringing and the cathedral community.
Dean and chapter.
As of 30 December 2020:
In literature.
Letitia Elizabeth Landon's poem "Collegiate Church, Manchester" is from Fisher's Drawing Room Scrap Book, 1833.
Visitor centre.
The visitor centre by the cathedral's south porch costing £3 million was opened by Elizabeth II. It has a shop and an exhibition room. The main attraction is the 15th-century Hanging Bridge, a scheduled monument, that was once the main approach to the church but was buried for more than 100 years.
Music.
Organ.
In the course of the 19th century restorations of the interior, the cathedral was provided with an organ mounted over the medieval pulpitum in an elaborate case designed by George Gilbert Scott. This instrument was destroyed in the Christmas Blitz of 1940, and was replaced in 1952 with an organ built into the north and south choir aisles. In 2016, this organ was itself replaced by an entirely new instrument, once again mounted over the pulpitum, and funded from the Stoller foundation. The new organ case and letterings were designed by Stephen Raw.
Details of the former Hill organ installed in 1871
Details of the former Harrison organ installed in 1952
Current Tickell 'Stoller' organ installed in 2016 over the pulpitum screen, from the National Pipe Organ Register
Organists.
Organist and Master of the Choristers: Christopher Stokes
Sub Organist: Geoffrey Woollatt
Choir.
The 1421 foundation statutes of the collegiate church provided for an endowed choir of lay clerks and singing boys; and these endowments were renewed when the college was refounded after the Reformation. However, although from the 17th century, there were two grammar schools close by - Manchester Grammar School and Chetham's Hospital School - there was, until the 20th century no provision for a choir school; dedicated choir school premises only being constructed by Percy Worthington in 1934. This school did not resume following war damage; so in 1969, when Chetham's School was refounded as a dedicated school of music, scholarships were established to enable boys aged 8–13 to serve the cathedral choir. These scholarships were subsequently modified in the 1970s, so as to support both girls' and boys' voices; the first statutory choir in the Church of England to make this change. There are now places for 20 choristers and 6 lay clerks.
References.
Citations.
Bibliography


Tennessee Supreme Court Building (Nashville)

The Tennessee Supreme Court Building in Nashville, Tennessee, is the historic building that houses the Tennessee Supreme Court offices and where the court meets when it is in session in Nashville. It was listed on the National Register of Historic Places in 2014.
History.
The building, across from the Tennessee State Capitol at the corner of Charlotte Avenue and 7th Avenue North, was completed in 1937. Before its construction, the Supreme Court had occupied space in the Capitol.
The four-story building was designed by Nashville architects Marr & Holman in a style known as Stripped Classicism. It was built by Rock City Construction Company. It was listed on the National Register of Historic Places on March 18, 2014.
Parts of three films were shot in the court building: "Marie" in 1984, "Last Dance" in 1995, and "" in 2008.
Other Tennessee Supreme Court buildings.
Other Tennessee Supreme Court buildings are located in Jackson and Knoxville. The Supreme Court building in Knoxville is also listed on the National Register.


Vernon Mount

Vernon Mount (sometimes Vernon Mount House or Mount Vernon) is a Georgian manor house in Cork, Ireland. It was built between the 1780s and early 1790s to designs attributed to Abraham Hargrave. Originally built for the merchant Hayes family, the house was named for Mount Vernon, the home of US president George Washington. Passing through several owners, the house remained largely disused and subject to deterioration from the late 20th century. In 2016 a significant fire largely gutted the house, leading to speculation as to its future.
Construction and design.
Some sources imply that Vernon Mount was built in 1784, while others suggest it was completed after 1789 following the arrival of Abraham Hargrave in Cork. Hargrave designed a number of buildings in the city at this time, including Cork's military barracks. The house was built for and by Atwell Hayes (d.1799) a wealthy brewer and miller. Following the death of his wife, Atwell Hayes did not take up occupancy, but instead leased the estate to his son, Henry Browne Hayes (1762–1832). Browne Hayes reputedly spent significant sums on the interior of the house, including murals and other artworks by artist Nathaniel Grogan (1740–1807). Several of Grogan's works adorned doorways and other internal architectural elements, including a work depicting Minerva on a large curved ceiling. The curved elevations, staircase, oval atrium, and interior decorations made Vernon Mount, according to the Irish Georgian Society "unique in the history of the Irish villa and [..] a building of national importance".
History and ownership.
Following the death of his own wife, Henry Browne Hayes abducted a local heiress named Mary Pike, and in 1797 reputedly forced her into a marriage ceremony at the estate. Hayes was later convicted of kidnap, but had a death sentence commuted to penal transportation to Australia.
Passing through several owners, by the late 20th century the Vernon Mount estate was owned for a period by the Cork and Munster Motorcycle and Car Club. The club used the demesne for motocross and similar events. The house was sold to a private investor in the 1990s, though a planning application for redevelopment as apartments and a hotel was not successful.
Today.
The Irish Georgian Society, World Monuments Fund, An Taisce and other stakeholder groups listed the building as a risk, and attempts were made to slow the effects of deterioration, roof damage, water issues and vandalism over a number of decades. Although in private ownership, public funds were allocated by the Department of Arts and Heritage which allowed Cork County Council to undertake roof repairs in 2012.
Despite recommendations for a Compulsory purchase order (to bring the building into permanent state ownership and protection), a severe fire in July 2016 reduced the structure to a largely empty shell. Following the fire, there was some speculation as to the future of the house and site. In September 2016, Cork County Council voted in favour of prosecuting the owners of Vernon Mount for "fail[ure] to secure the protected structure", and to "convey to the owners and occupiers of all [other] protected structures the need to uphold their societal responsibility".
In 2017, there were renewed calls to bring the site into public ownership, and to stabilise the structure with a view to preserving its shell. , Cork City Council (the responsible local authority following the 2019 Cork boundary change) reportedly stated that the "strategy in relation to Vernon Mount" was "under review", but that it had no plans to consider a compulsory purchase order.


Seaton Delaval Hall

Seaton Delaval Hall is a Grade I listed country house in Northumberland, England. It is near the coast just north of Newcastle upon Tyne. Located between Seaton Sluice and Seaton Delaval, it was designed by Sir John Vanbrugh in 1718 for Admiral George Delaval; it is now owned by the National Trust.
Since completion of the house in 1728, it has had an unfortunate history. Neither architect nor patron lived to see its completion; it then passed through a succession of heirs, being lived in only intermittently. Most damaging of all, in 1822 the central block was gutted by fire, and has remained an empty shell ever since.
The 18th-century gardens of the hall are Grade II* listed on the Register of Historic Parks and Gardens.
History.
The Delaval family had owned the estate since the time of the Norman conquest. Admiral George Delaval bought the estate from an impoverished kinsman, Sir John Delaval in 1717. George Delaval had made his fortune from capturing prize ships while in the Navy, and had also served as a British envoy during the reign of Queen Anne. In 1718, he called on architect Sir John Vanbrugh to advise him on how to modernise and enhance the existing mansion. Upon viewing the site, Vanbrugh felt he could do nothing, and advised complete demolition of all except the ancient chapel near to the mansion, which is now the parish church of Our Lady.
His advice was taken and the construction work was completed in 1728, two years after the death of the Admiral. The resulting new mansion was the last country house Vanbrugh designed, and it is regarded as his finest work. On completion, the Admiral's nephew Francis Blake Delaval (the elder) inherited the property, and moved in immediately.
In 1775, the Newcastle portrait artist William Bell made two paintings of the Hall, depicting the north and south fronts. Bell also painted portraits of many of the residents of the house at the time, earning him the patronage of Lord Delaval, a younger son of the above-mentioned Francis Blake Delaval. These paintings can normally still be seen in the Hall, but not during the current building work.
In 1822, the central block was gutted by a fire said to have been caused by jackdaws nesting in the chimneys of the section of the south-east wing closest to the main house. This wing was subsequently demolished, and various openings can still be seen, now glazed, showing where it joined the central block.
The house was partially restored by the architect John Dobson in 1862–63, when the central block was re-roofed, although it remained a shell internally. The effects of the fire remain clearly visible in the great hall, originally high but now open to the roof, with blackened walls and muse statues.
During the Second World War the Hall was used to house German prisoners-of-war, who worked as labourers on neighbouring farms.
Recent times.
Further restoration was completed in 1959 and the early 1960s, including replacement of windows in the central block, restoration of the upstairs gallery in the main hall, and paving of the floors on the piano nobile. However, the house was to remain unoccupied until the 1980s when, after a period of 160 years, Edward Delaval Henry Astley, 22nd Baron Hastings moved into the west wing. It became his permanent home until his death in 2007.
Subsequently the new 23rd Baron Hastings, Delaval Astley, wishing to preserve the future of the Hall and encourage greater public access, began discussions with the National Trust. On 1 September 2008 the National Trust launched an appeal for £6.3m to bring the hall, with its gardens and grounds, into the Trust's custody. In December 2009, the Trust announced that its appeal had been successful, and the purchase having gone through, the Hall opened to visitors again on 1 May 2010.
Architecture and layout.
The style of architecture is known as English Baroque, based on the Palladian style introduced into the UK by Inigo Jones. Vanbrugh developed the style from the more decorated and architecturally lighter continental baroque popular in Europe.
The design is of a centre block portico, or corps de logis, containing the state and principal rooms, between two flanking wings. The wings have a centre projection of three bays, crowned by a pediment, either side of which are 7 bays of sash windows above a ground floor arcade.
The west wing originally housed secondary and service accommodation. Damaged in an earlier fire but restored to the original plan, it is distinguished by a great colonnade and boasted a lofty vaulted kitchen, now a salon. The east wing contains the stables, a sixty-foot chamber of palatial design, with stalls and mangers of stone fit. They were reportedly inspired by the stables at Hopetoun House near Edinburgh, designed by Robert Adam. In 1768 Sir Francis Blake Delaval wrote thus to his brother: "I am putting up the grand stable on a plan we saw at Lord Hoptoun's when we were in Scotland, with stone divisions of the stalls." So pleased was he with the results that Sir Francis held a dinner party in the new stables.
Between the two wings is a cour d'honneur, a great open courtyard long and broad.
While the exterior is still a perfect example of English baroque at its finest, the interiors of the state rooms remain unrestored from the fire.
Also in the estate park is a stone mausoleum, about half a mile east of the hall, which once had a majestic dome, now gone, but which retains a portico resting on huge monolithic columns. The mausoleum is surrounded by a circular ha-ha, a stone-faced ditch. It was erected by Lord Delaval to his only son, John, who died in 1775 aged 19, "as a result of having been kicked in a vital organ by a laundry maid to whom he was paying his addresses". No-one was ever buried in the mausoleum, which was never consecrated, and the unfortunate John Delaval was buried in St Peter's Doddington, Lincolnshire.
The mausoleum is now ruinous and its lead roof has gone. Also to the east in the walled garden is a south-facing orangery, designed by the architect William Etty, who collaborated with Vanbrugh. It has five glazed arches separated by Doric demi-columns. The statue in the forecourt in front of the house is a lead figure of David, with empty sling, lightly poised above the crouching form of Goliath, who has his thumbs doubled inside his palms. This is an 18th-century copy, possibly by John Cheere, of a 16th-century Italian marble by either Baccio Bandinelli or a follower of Giambologna. The statue has been repositioned from one of the corner bastions of the garden.
A large obelisk commands the fields to the south of the hall; the stub of a second can be found on the north side of the road running past the hall, next to the turning for New Hartley. This second obelisk marked the site where Admiral George Delaval was killed in a fall from his horse in 1723, before his new hall had been completed. Only the pedestal of the obelisk survives, half-hidden by trees; it is uninscribed.
From the steps of the house on a clear day, The Cheviot and Hedgehope Hill can be clearly seen on the northern horizon, some forty miles away on the Scottish border. Also visible to the northwest are the Simonside Hills.
Legend.
As with many big old houses, Seaton Delaval Hall is alleged to have a ghost. According to family biographer Francis Askham:
There is a first-floor window on the North front of Seaton Delaval where, so it would seem from one particular part of the forecourt, a white-clad figure is standing. This, according to legend, is the White Lady, a girl who fell in love with the Delaval heir and died of a broken heart because the marriage was forbidden.
Recent closures.
Seaton Delaval Hall in its entirety was closed to visitors in 2018 on account of building work. It re-opened on Saturday 16 February 2019, from Thursdays to Sundays only. In 2020 the Hall closed again to visitors on account of the COVID-19 pandemic. The gardens re-opened in late July to visitors who have pre-booked their tickets.


Santa Maria dei Sette Dolori, Rome

Santa Maria dei Sette Dolori is a Baroque church in Rome built attached to a convent in the rione of Trastevere, located on Via Garibaldi, near the intersection with Via dei Panieri.
Construction of the church was begun in 1643 with plans by Francesco Borromini, annexed to an Augustinian nunnery that was founded by Camilla-Virginia Savelli Farnese, Duchess of Latera. However, when the fortunes of the House of Farnese declined, so did the funding for the church, and by 1655 the work was stopped. The convent underwent a number of tribulations during the nineteenth century, however, it was not deconsecrated in 1873, as were many other monasteries. Since then, the nunnery has slowly ebbed and most of the convent is now the Hotel Donna Camilla Savelli. The Diocese presently lists the church as being in the care of the few remaining nuns of the order of "Suore Oblate del Santo Bambino Gesù". The monastery also served as a place to hide Jews from the fascist authorities active in the Holocaust during World War II.
The facade of the church remains in brick, deprived of decoration. It has concave front and some odd-shaped windows that underscore Borromini's Baroque idiosyncrasies. The interior still contains some of the marble sculptural decorations plus a "St Augustine and the Mystery of the Trinity" by Carlo Maratta and a canvas by Marco Benefial.


Saegmuller House

Saegmuller House is a historic home located in Arlington, Virginia. It was built between 1925 and 1927, and is 2 1/2-story, stuccoed frame central-hall plan dwelling with Prairie School influences. It sits on a concrete block foundation and has a pyramidal roof. It features an original front porch with large piers and columns and a prominent central gable and deep overhanging eaves. The house was once associated with the Saegmuller dairy farms operations.
It was listed on the National Register of Historic Places in 2004.


Mount Pleasant Carnegie Library

The Mount Pleasant Carnegie Library, at 24 E. Main St. in Mount Pleasant, Utah, was built as a Carnegie library in 1917. It was listed on the National Register of Historic Places in 1984.
It was designed by architects Ware & Treganza in Prairie School style.
It is the only Carnegie library without a centered front door; consistent with Prairie Style the entrance is instead indirect, in this case through sides of a bay projecting to the front.
It was built by local contractors Bent R. Hansen, August Larsen, and John
Stansfield.


Museum of Central Finland

The Museum of Central Finland (Finnish: "Keski-Suomen museo", also known colloquially as "KeMu") is a museum of cultural history located in Jyväskylä, the capital of the Central Finland region. It serves as the regional museum for Central Finland, as well as the municipal museum of the City of Jyväskylä.
Architecture.
The present building, notable for having been designed by the Finnish architect Alvar Aalto, was completed in 1960. In 2017–2020, the museum was extensively renovated, including the addition of 80 digital information displays and numerous interactive audiovisual exhibits.
The Museum of Central Finland is located adjacent to the Alvar Aalto Museum. Plans are underway to connect the two museums with a new wing, estimated to open in late 2023.
Statistics.
The museum was established in 1932.
It has of exhibition space.
In 2019, the museum received over 11,700 visitors.


St. Andrews Patrol Cabin

The St. Andrews Patrol Cabin was built by the National Park Service in 1922 as part of a network of stations near the boundaries of Mount Rainier National Park for rangers on patrol. The one-room log structure stands on the Wonderland Trail that circumnavigates Mount Rainier. The exterior of the cabin features a porch to the front. The interior is finished with varnished logs and tongue and groove flooring. The cabin was placed on the National Register of Historic Places on March 13, 1991. It is part of the Mount Rainier National Historic Landmark District, which encompasses the entire park and which recognizes the park's inventory of Park Service-designed rustic architecture.


Santo Stefano del Cacco

Santo Stefano de Pinea or more commonly Santo Stefano del Cacco is a church in Rome dedicated to Saint Stephen, located at Via di Santo Stefano del Cacco 26.
Name.
"del Cacco" may refer to the Roman deity Cacus, or more likely to a statue of the dog-headed (baboon, actually) ancient Egyptian god Thoth (from the temple of the ancient Egyptian deities Isis and Serapis, the Iseum Campense, built in 43 BC, on whose ruins the church was originally built and twelve columns from which were re-used in the church's nave), misunderstood as a monkey or "Macaco" (later corrupted to Cacco.
History.
Its construction date is uncertain, though it is assumed to have been in the reign of pope Hadrian I (772–795). It was definitely in existence at the time of pope St. Paschal I (817-824), who added an apsidal mosaic (lost in the 1607 rebuild) of himself with a model of the church. Under Paschal II (1099–1118) the painters Gregorius and Petrolinus were employed to work on the church's apsidal decoration. A new bell-tower (not visible from the street) was built in 1160, and still survives.
In 1563 it was assigned by pope Pius IV (1559–1565) to the Sylvestrine Fathers, by whom it is still run, and they soon carried out a minor restoration. Other restorations and renovations occurred in 1607 (gutting the apse), c.1640 (giving the church its current baroque appearance, with a simple 2 storey façade, probably by Antonio Canziani), 1725, 1857 and 2007 (interior). In 1940, the church was threatened with demolition by the expansion of the central police-station in the neighbouring former monastery of Santa Marta, though this was averted. The interior of the church is at present undergoing another comprehensive restoration.
Paolo Maruscelli (1594–1649) designed the church's travertine portal, flanked by pilasters and surmounted by a triangular pediment, and the plate above it reads: D. STEPH. PROT. CONG. MONAC. / SILVESTRINORVM. The façade's second order includes a window crowned with a segmented pediment and flanking pilasters, and right at the top is a triangular pediment with a small window, a rare feature in Roman churches.