Watchman Lookout Station

The Watchman Lookout Station No. 168 is one of two fire lookout towers in Crater Lake National Park in southern Oregon. For many years, National Park Service personnel used the lookout to watch for wildfires during the summer months. It is also a common hiking destination because of its views of Crater Lake and the surrounding area. The building is unusual because it serves the dual purpose of fire lookout and museum. The Watchman Lookout Station is listed on the National Register of Historic Places.
History.
The Watchman Lookout Station is located 8,025 feet above sea level on Watchman Peak, a high point on the western rim above Crater Lake. Watchman Peak was named by William Gladstone Steel in 1886 when he brought a survey team to Crater Lake to measure its depth. The lookout structure (designated "Building 168") was constructed in 1932, and served the dual purpose of fire lookout and trail museum. The lookout location was selected by Merel S. Sager of the National Park Service Landscape Division.
Early detection and prompt suppression of forest fires was a primary responsibility of the National Park Service. Lookouts, like the one on Watchman Peak, were located on heights overlooking great expanses of forest area. The Watchman tower was part of the fire detection network for Crater Lake National Park which included a number of National Park Service, United States Forest Service and Bureau of Indian Affairs lookouts. A trained observer, usually a park ranger, manned the lookout and kept in contact with the fire dispatcher at the park headquarters on short-wave radio. During the 1930s, the Civilian Conservation Corps also provided observers. The National Park Service manned the Watchman Lookout Station during fire season until 1974 and intermittently since then.
Today, the Watchman Lookout Station has significant interpretive value. Since the lookout was built, there has been a major philosophical change in how forest managers deal with wildfires. The Watchman tower provides visitors the opportunity to experience the essential elements of 1930s-era fire lookout. The accessibility of the site, the unobstructed view on all sides, and the use of native materials that blend the structure into the surrounding landscape combine to make the Watchman Lookout Station a unique and historically significant structure. As a result, it was listed on the National Register of Historic Places in 1988.
Structure.
The lookout is a simple two-story blockhouse design with a by wing extending east from the southeast corner of the main structure. The bottom floor of the main building has a by footprint. The first floor is constructed with massive stone masonry walls. It originally houses a small exhibit room. The exhibit area was unusual for a working fire lookout. However, because it was readily accessibility to visitors, the Watchman lookout provided an opportunity for the National Park Service to educate the public about the park and its fire prevention program. The first floor also has a restroom and storage area. An eight-foot glass window provides views of Crater Lake.
The second floor is a four-sided observation room entirely enclosed in glass with a by catwalk around the outside. The first floor was built into the hill-top so the building's footprint is somewhat irregular. Therefore, the lookout's second story is supported by a steel frame rather than resting entirely on the first floor structure. The lookout's native stone and log construction helps blend the structure into its mountain top environment. There is also a stone parapet in front of building that overlooks Crater Lake, 1,849 feet below.
Watchman trail.
The trail to Watchman Lookout Station is approximately three-quarters of a mile up a modest grade. To reach the trailhead from Crater Lake National Park's Rim Village, take Rim Drive north 4 miles to a well marked pull-off parking area. The trail begins about 100 yards south of the parking area. The trail is normally open from mid-July through October.


Congregation Beit Edmond

Congregation Beit Edmond (formerly named "The Edmond J. Safra Synagogue"; that is the name used to build a synagogue in Brooklyn) is an Orthodox Sephardic synagogue located on East 63rd Street off of Fifth Avenue in Manhattan, New York.
History.
The synagogue project was initiated by philanthropist Edmond Safra before his death in 1999, and dedicated in 2003. Safra's goal was to have a Sephardic synagogue on Manhattan's Upper East Side.
During his lifetime, Safra was often in New York City and spent many a Shabbat in Manhattan. Noting the absence of a formal synagogue and communal center for the Sephardic Jews of the Upper East Side of Manhattan, he expressed a desire to build a central house of worship in the area. The synagogue was completed in December 2002. Dignitaries including the Chief Rabbi of Israel and Mayor Michael Bloomberg attended an official inauguration of the building.
The synagogue, whose congregational name is "Congregation Beit Yaakov" after Safra's father's name, was designed by architect Thierry W. Despont, and has been described as a "sumptuous work of Beaux-Arts revival." The interior and facade of the building is made of Jerusalem stone quarried in Judea. The massive bronze doors with their Tree of Life motif are by American sculptor Mark Beard.
Because it is located in a historic district, the synagogue design needed to receive approval from the landmarks commission, which called it an "artful synthesis of the composition, details and material palette of the Beaux-Arts style, which plays an important role in defining the special architectural character of the Upper East Side Historic District."
Community.
Rabbi Shlomo Farhi became the Rabbi of Congregation Beit Edmond in mid-August 2018 following the departure of founding Rabbi Elie Abadie in January 2017.
The Safra name was attached to a Brooklyn synagogue named The Edmond J Safra Synagogue (EJSS) in Brooklyn, New York currently under construction at Avenue U & Ocean Parkway in the Gravesend Neighborhood. The new synagogue will house over 30,000 sq ft of community space including a bet midrash, mens mikveh, banquet social hall, kids programs, house multiple classes for weekly and daily events.
Firing of Rabbi Elie Abadie.
On January 31, 2017, Rabbi Elie Abadie, the first rabbi of the Edmond J. Safra Synagogue, was fired from his position. According to a December 28, 2016 letter from the Edmond J. Safra Philanthropic Foundation (the primary financial resource for the congregation), after failing to reach a financial agreement with Abadie after his contract expired in 2008 it “has determined that it cannot continue to support” the rabbi, who it says has continued to receive “approximately $700,000 per year, which includes a mortgage and condo fees on the apartment provided” to him. During contract negotiations, the foundation offered to continue paying his salary and benefits on the condition that he commit to a certain number of teaching hours at the synagogue, which Abadie refused, according to the letter.
The foundation and the rabbi then began in 2015 to negotiate his departure. The letter asserts that over the last two years, the rabbi rejected a generous buyout offer, demanded $20 million in payments, half of which “he specified would need to be ‘legally tax-sheltered,’” and refused an offer by the Chief Rabbi of Jerusalem, Shlomo Amar, to have the matter settled by a beit din, or religious court.
Rabbi Abadie, in a response dated December 30, 2016 and addressed to the congregation and “the greater Sephardi community of New York,” asserted that he is being forced out under false pretenses. “I completely dispute all of the malicious, false, baseless and self-serving allegations contained in the foundation’s letter,” he wrote. He denied “the foundation’s allegation of extortion,” and its “false narrative” that he put his own financial interests above the needs and interests of the community. Abadie accused the foundation of “bully tactics” and choosing to publicly shame him and his family. He said the foundation “has worked tirelessly to maintain dictatorial control over the congregation … operating with a lack of transparency,” and resisting his suggestions that a local board of directors be created and given power.
The European-based Edmond J. Safra Philanthropic Foundation, chaired by Lily Safra, widow of the prominent banker and philanthropist, is active in more than 40 countries. According to an anonymous Sephardic community source quoted in the New York Post, Lily Safra found out Abadie had been doing consulting work for her nephew’s religious center, the Moise Safra Community Center. Lily did not get along with the late Moise Safra, and felt the rabbi’s decision to help was a betrayal, according to the source.
Following the Rabbi's departure in January 2017, the synagogue's name was changed to Congregation Beit Edmond. As of November 2020 Rabbi Abadie was the senior Rabbi of the Jewish council of the Emirates in Dubai.


East Melbourne Hebrew Congregation

The East Melbourne Hebrew Congregation (), also known as East Melbourne Shule, East Melbourne Synagogue, Melbourne City Synagogue or City of Melbourne Synagogue is a historically significant Jewish congregation in East Melbourne, Victoria, Australia. The synagogue, consecrated in 1877, is the oldest in Melbourne.
History.
The congregation was formed in 1857 under the leadership of Reverend Moses Rintel following his leave from the Melbourne Hebrew Congregation. Initially named Mikveh Israel Melbourne Synagogue, it was provided with a government land grant in 1859 on the corner of Little Lonsdale Street and Stephen Street (today Exhibition Street) in Melbourne's City Centre. A small synagogue was erected on the site in 1860. The congregation consisted primarily of Rintel's followers, including German and Eastern-European Jews who lived in Melbourne's inner-city suburbs within walking distance of the synagogue.
Seeking new premises, the congregation received government permission to sell its property in 1870. It moved to a new site on Albert Street, East Melbourne, where a new synagogue building was consecrated in 1877. Rintel served the congregation until his death in 1880.
Notable members of the congregation included Sir Isaac Isaacs and Sir John Monash. Monash celebrated his Bar Mitzvah at the synagogue and also sang in its choir.
In March 1977 the synagogue's centenary was celebrated with a special service led by Rabbi M. Honig.
Architecture.
Continuously in use since 1877, the East Melbourne Synagogue is the oldest in Melbourne and the largest 19th-century synagogue in Victoria. It is listed on the Victorian Heritage Register and is classified by the National Trust of Australia due to its historical, social, and architectural significance.
The two-storeyed synagogue was designed by noted Melbourne architects Crouch & Wilson. The internal space is surrounded on three sides by a gallery carried by cast iron columns, each surmounted by an unusual arrangement of an impost block flanked by consoles. The main ceiling is paneled, with a row of large and unusual ventilators marking the location of former suspended gas lights. The original interior, particularly the bimah and Torah ark, remain in an intact state.
The building's facade, constructed in the style of Renaissance Revival, was completed in 1883. It comprises five bays. Tuscan pilasters divide the bays of the lower floor, and Corinthian pilasters divide the upper floor bays. Two dome-like mansard roofs flank the central pediment.
Today.
Led by Rabbi Dovid Gutnick since November 2007, the congregation has a current membership of around 200 families. It is currently the only synagogue in Melbourne's inner-city area.
In January 2012, the congregation celebrated its 155th anniversary with a double Torah dedication ceremony and fundraising gala dinner attended by Rabbi Lord Jonathan Sacks (later Baron Sacks), Chief Rabbi of the United Kingdom and the Commonwealth.


Ese Kapi Mosque

Ese Kapi Mosque (, where "mescit" is the Turkish word for a small mosque), also "Isa Kapi Mosque", meaning in English "Mosque of the Gate of Jesus", is an Ottoman mosque in Istanbul, Turkey. The building was originally a Byzantine Eastern Orthodox church of unknown dedication.
Location.
The mosque lies in the Fatih district of Istanbul, in the neighborhood () of Davutpaşa, about 500 meters east-northeast of the Sancaktar Hayrettin Mosque, another Byzantine building. The edifice is now enclosed in the complex of Cerrahpaşa University Hospital.
History.
Byzantine Age.
The origin of this Byzantine building, which lies on the southern slope of the seventh hill of Constantinople in the neighborhood named "ta Dalmatou" and overlooks the Sea of Marmara, is not certain. It was erected along the south branch of the "Mese" road, just inside the now disappeared Wall of Constantine (dating to the foundation of Constantinople by Constantine the Great) in correspondence of an ancient gate, possibly the Gate of Exakiónios () or the Gate of Saturninus (, the city's original Golden Gate). The comparison of the brickwork with those of the Pammakaristos and Chora churches suggests that the building was erected between the end of the thirteenth and the beginning of the fourteenth century, in the Palaiologan era. The proposed identification with the Monastery of Iasités (), which lay in the neighborhood, remains uncertain.
Ottoman and modern Age.
After the Fall of Constantinople to the Ottomans in 1453, in 1509 the Gate which gave the Turkish name to the building, ("Isa Kapi", gate of Jesus) was destroyed by an earthquake. Between 1551 and 1560 Vizier Hadim Ibrahim Pasha (d. 1562/63) – who endowed also in the nearby neighborhood of the Gate of Silivri () a Friday mosque bearing his name – converted the building into a small mosque (). At the same time he let Court Architect Mimar Sinan (who also designed the Friday Mosque) enlarge the existing complex. Sinan built a Medrese (Koranic school) and a Dershane (elementary school) connecting them to the ancient church. The location of these religious establishments in sparsely settled neighborhoods along the city's Theodosian Walls, where the population was predominantly Christian, shows the Vizier's desire of pursuing a policy of islamization of the city. During the seventeenth century the complex was damaged several times by earthquakes, and restored in 1648. In 1741 Ahmet Agha – another chief eunuch (Ibrahim Pasha in the charter of his "waqf" had designated the current chief white eunuch of the Imperial Harem as administrator () of the endowment) – sponsored the construction of a small fountain (). The 1894 Istanbul earthquake ruined the building (only two walls withstood the quake), which was then abandoned. The ruins are now enclosed in the garden of Cerrahpaşa Hospital, seat of the Faculty of Medicine of Istanbul University. In recent years the building was surveyed and scanned and has been reconstructed according to its original shape and functions now again as a Mosque.
Description.
The edifice has a rectangular plan with sides of 17.0 m and 6.80 m, and has one nave which ends towards East with a Bema and a three apses. The central apse was demolished during the Ottoman period and replaced with a wall. The edifice's brickworkconsist of courses of rows of white stones alternating with rows of red bricks, obtaining a chromatic effect typical of the late Byzantine period. The external side of a surviving wall is divided with Lesenes surmounted by arches. Most likely the church was originally surmounted by a dome, but in the nineteenth century this had already been replaced with a wooden roof. The church interior was adorned with frescoes of the Palaiologan Age. Two of them – painted in the south apse – one depicting respectively the Archangel Michael (on the Conch) and the St. Hypatius (on the side wall), were still visible in 1930, but now have disappeared. On the two walls still standing are still visible decorations in stucco.
Two sides of the court are occupied by a medrese () with eleven Cells to lodge the students () and a dershane (). The tight space constraints (the complex was encroached by several roads) forced Sinan to adopt a plan which strongly diverts from the standard solution for a complex of this kind. The brickwork of the medrese adopts a bichromatic pattern similar to that used in the church. The dershane is decorated with a frieze made of stucco arabesques in relief. The entrance of the court is adorned with a small Sebil.


All Saints Church, Thorpe Bassett

All Saints Church is in the village of Thorpe Bassett, North Yorkshire, England. It is an active Anglican parish church in the deanery of Southern Ryedale, the archdeaconry of York, and the diocese of York. Its benefice is united with those of five other local churches to form the Benefice of Buckrose Carrs. The church is recorded in the National Heritage List for England as a designated Grade II* listed building.
History.
The church dates from the 12th century, and the arcade is from the early 13th century. By the beginning of the 19th century the fabric of the church was in a poor condition, and it was restored in 1878–79 by the Lancaster architects Paley and Austin. This included rebuilding the north aisle on its old foundations, opening up the blocked medieval arcade, rebuilding the chancel, and adding a vestry and a porch. The work cost over £2,000 (equivalent to £ as of ).
Architecture.
Exterior.
The body of the church is constructed in limestone, the porch is in sandstone and timber, and the roofs are slated. Its plan consists of a three-bay nave with a south porch, a north aisle, and a chancel with a vestry to the north. At the west end is a three-light window containing Perpendicular tracery, and a double bellcote with a gable and a cross finial. The porch leads to a Norman doorway dating from the late 12th century decorated with chevrons. To the east of the porch, in the chancel wall, is a three-light window with Decorated tracery, and a buttress. To the east of the buttress are a small window with a pointed head, and two two-light windows. The east end contains a three-light window with Decorated tracery, and a gable surmounted by a gable with a cross finial.
Interior.
Incorporated in the fabric of the north wall of the nave are carvings, some dating from the 11th century, including a tomb slab. The north wall of the chancel contains 19th-century niche containing the 14th-century effigy of a priest. There is a glass box in the small pointed window in the south wall of the chancel containing a 13th-century corbel head. The font consists of a Norman tub dating from the 12th century on a 19th-century base. Its carved wooden cover was made in 1636. The chancel is floored with Victorian tiles in medieval style. The east window contains fragments of 14th-century glass. The organ was built in 1813 by Henry Bevington for the Verney family of Claydon House, Buckinghamshire. It was later discovered in a poor state of repair in York Minster. The organ was restored in 1977 by Howard Balshaw.


Bridge No. 3355 (Kathio Township, Mille Lacs County, Minnesota)

Bridge Number 3355 in Kathio Township, in Mille Lacs County, Minnesota, is a concrete slab bridge that carries U.S. Route 169 (US 169) over Whitefish Creek near Mille Lacs Lake. It is listed on the National Register of Historic Places for its architectural significance, especially the ornamental stonework as designed by the National Park Service and built by the Civilian Conservation Corps.
The original bridge was built in 1921 with a span of and a width of . In 1939 the bridge was widened to to fit the roadway and two granite sidewalks. The basic construction was still a concrete slab, but the abutment extensions, railings, and retaining walls were built of random-coursed granite. This was part of a roadside beautification and wayside development project near the town of Garrison. The elaborate stonework was undertaken as part of the work relief offered through the New Deal, so a labor-intensive approach was chosen.


Bristol Cathedral

Bristol Cathedral, formally the Cathedral Church of the Holy and Undivided Trinity, is the Church of England cathedral in the city of Bristol, England. Founded in 1140 and consecrated in 1148, it was originally St Augustine's Abbey but after the Dissolution of the Monasteries it became in 1542 the seat of the newly created Bishop of Bristol and the cathedral of the new Diocese of Bristol. It is a Grade I listed building.
The eastern end of the church includes fabric from the 12th century, with the Elder Lady Chapel which was added in the early 13th century. Much of the church was rebuilt in the English Decorated Gothic style during the 14th century despite financial problems within the abbey. In the 15th century the transept and central tower were added. The nave was incomplete at the Dissolution of the Monasteries in 1539 and was demolished. In the 19th century Gothic Revival a new nave was built by George Edmund Street partially using the original plans. The western twin towers, designed by John Loughborough Pearson, were completed in 1888.
Located on College Green, the cathedral has tall Gothic windows and pinnacled skyline. The eastern end is a hall church in which the aisles are the same height as the Choir and share the Lierne vaults. The late Norman chapter house, situated south of the transept, contains some of the first uses of pointed arches in England. In addition to the cathedral's architectural features, it contains several memorials and an historic organ. Little of the original stained glass remains with some being replaced in the Victorian era and further losses during the Bristol Blitz.
History.
Foundation and 12th century.
Bristol Cathedral was founded as St Augustine's Abbey in 1140 by Robert Fitzharding, a wealthy local landowner and royal official who later became Lord Berkeley. As the name suggests, the monastic precinct housed Augustinian canons. The original abbey church, of which only fragments remain, was constructed between 1140 and 1148 in the Romanesque style, known in England as Norman. The Venerable Bede made reference to St Augustine of Canterbury visiting the site in 603ACE, and John Leland had recorded that it was a long-established religious shrine. William Worcester recorded in his Survey of Bristol that the original Augustinian abbey church was further to the east of the current site, though that was rebuilt as the church of St Augustine the Less. That site was bombed during World War II and the site built on by the Royal Hotel, but archaeological finds were deposited with Bristol Museum and Art Gallery. The dedication ceremony was held on 11 April 1148, and was conducted by the Bishops of Worcester, Exeter, Llandaff, and St Asaph.
Further stone buildings were erected on the site between 1148 and 1164. Three examples of this phase survive, the chapterhouse and the abbey gatehouse, now the diocesan office, together with a second Romanesque gateway, which originally led into the abbot's quarters. T.H.B. Burrough, a local architectural historian, describes the former as "the finest Norman chapter house still standing today". In 1154 King Henry II greatly increased the endowment and wealth of the abbey as reward to Robert Fitzharding, for his support during The Anarchy which brought Henry II to the throne. By 1170 enough of the new church building was complete for it to be dedicated by four bishops – Worcester, Exeter, Llandaff and St Asaph.
13th century.
Under Abbot David (1216–1234) there was a new phase of building, notably the construction in around 1220 of a chapel dedicated to the Blessed Virgin Mary, abutting the northern side of the choir. This building, which still stands, was to become known as the "Elder Lady Chapel". The architect, referred to in a letter as 'L', is thought to have been Adam Lock, master mason of Wells Cathedral. The stonework of the eastern window of this chapel is by William the Geometer, of about 1280. Abbot David argued with the convent and was deposed in 1234 to be replaced by William of Bradstone who purchased land from the mayor to build a quay and the Church of St Augustine the Less. The next abbot was William Longe, the Chamberlain of Keynsham, whose reign was found to have lacked discipline and had poor financial management. In 1280 he resigned and was replaced as abbot by Abbot Hugh who restored good order, with money being given by Edward I.
14th–16th century.
Under Abbot Edward Knowle (1306–1332), a major rebuilding of the Abbey church began despite financial problems. Between 1298 and 1332 the eastern part of the abbey church was rebuilt in the English Decorated Gothic style. He also rebuilt the cloisters, the canons' dining room, the King's Hall and the King's Chamber. The Black Death is likely to have affected the monastery and when William Coke became abbot in 1353 he obtained a papal bull from Pope Urban V to allow him to ordain priests at a younger age to replace those who had died. Soon after the election of his successor, Henry Shellingford, in 1365 Edward III took control of the monastery and made The 4th Baron Berkeley its commissioner to resolve the financial problems. In the late 14th and early 15th centuries Abbots Cernay and Daubeney restored the fortunes of the order, partly by obtaining the perpetual vicarage of several local parishes. These difficulties meant that little building work had been undertaken for nearly 100 years. However, in the mid-15th century, the number of Canons increased and the transept and central tower were constructed. Abbot John Newland, (1481–1515), also known as 'Nailheart' due to his rebus of a heart pierced by three nails, began the rebuilding of the nave, but it was incomplete at the Dissolution of the Monasteries in 1539. Newland also rebuilt the cloisters, the upper part of the Gatehouse, the canons' dormitory and dining room, and the Prior's Lodging (parts of which remained until 1884 as they were built into Minster House).
The partly built nave was demolished and the remaining eastern part of the church closed until it reopened as a cathedral under the secular clergy. In an edict dated June 1542, Henry VIII and Thomas Cranmer raised the building to rank of Cathedral of a new Diocese of Bristol. The new diocese was created from parts of the Diocese of Gloucester and the Diocese of Bath and Wells; Bristol had been, before the Reformation, and the erection of Gloucester diocese, part of the Diocese of Worcester. Paul Bush, (died 1558) a former royal household chaplain, was created the first Bishop of Bristol. The new cathedral was dedicated to the Holy and Undivided Trinity.
19th century.
In the 1831 Bristol Riots, a mob broke into the Chapter House, destroying a lot of the early records of the Abbey and damaging the building. The church itself was protected from the rioters by William Phillips, sub-sacrist, who barred their entry to the church at the cloister door.
Between the merger of the old Bristol diocese back into the Gloucester diocese on 5 October 1836 and the re-erection of the new independent Bristol diocese on 9 July 1897, Bristol Cathedral was a joint and equal cathedral of the Diocese of Gloucester and Bristol.
Giles Gilbert Scott was consulted in 1860 and suggested removing the screen dated 1542 to provide 'a nave of the grandest possible capacity'. The work at this time also removed some of the more vulgar medieval misericords in the choir stalls. With the 19th century's Gothic Revival signalling renewed interest in Britain's ancient architectural heritage, a new nave, in a similar style to the eastern end, based on original 15th-century designs, was added between 1868 and 1877 by George Edmund Street, clearing the houses which had been built, crowded onto the site of the former nave, including Minster House. In 1829 leases for these houses were refused by the Dean and Chapter because the houses had become 'very notoriously a receptacle for prostitutes'. The rebuilding of the nave was paid for by public subscription including benefactors such as Greville Smyth of Ashton Court, The Miles family of Kings Weston House, the Society of Merchant Venturers, Stuckey's Bank, William Gibbs of Tyntesfield, and many other Bristol citizens. The opening ceremony was on 23 October 1877. However, the west front with its twin towers, designed by John Loughborough Pearson, was only completed in 1888. The niches around the north porch originally held statues of St Gregory, St Ambrose, St Jerome and St Augustine, but their frivolous detail invoked letters of protest to their "Catholic" design. When the Dean, Gilbert Elliot, heard of the controversy, he employed a team of workmen without the knowledge of the architect or committee to remove the statues. The next edition of the Bristol Times reported that 'a more rough and open exhibition of iconoclasm has not been seen in Bristol since the days of Oliver Cromwell.' The sculptor, James Redfern, was made the scapegoat by the architect and the church, he retreated from the project, fell ill, and died later that year. As a result of Elliot's actions, the committee resigned "en masse" and the completion of the works was taken over by the Dean and Chapter. Elliot's drop in popularity meant that raising funds was a harder and slower process and the nave had to be officially opened before the two west towers were built.
Several of the bells in the north-west tower were cast in 1887 by John Taylor & Co. However, earlier bells include those from the 18th century by the Bilbie family and one by William III & Richard II Purdue made in 1658.
20th century.
The full peal of 8 bells was installed in the north-west tower, taken from the ruins of Temple Church after the bombing of World War II. In 1994 the ceremony took place in Bristol Cathedral for the first 32 women to be ordained as Church of England priests. Since the early 2000s, the cathedral's associations with the legacy of philanthropist and enslaver Edward Colston have also been the subject of public debate resulting in changes to annual commemoration services and memorials inside the cathedral.
Architecture.
Bristol Cathedral is a grade I listed building which shows a range of architectural styles and periods. Tim Tatton-Brown writes of the 14th century eastern arm as "one of the most interesting and splendid structures in this country".
Specifications.
Most of the medieval stonework, is made from limestone taken from quarries around Dundry and Felton with Bath stone being used in other areas. The two-bay Elder Lady Chapel, which includes some Purbeck Marble, lies to the north of the five-bay aisled chancel or presbytery. The Eastern Lady Chapel has two bays, the sacristy one-bay and the Berkeley Chapel two bays. The exterior has deep buttresses with finials to weathered tops and crenellated parapets with crocketed pinnacles below the Perpendicular crossing tower.
The west front has two large flanking three-stage towers. On the rear outer corners of the towers are octagonal stair turrets with panels on the belfry stage. Between the towers is a deep entrance arch of six orders with decorative Purbeck Marble colonnettes and enriched mouldings to the arch. The tympanum of the arch contains an empty niche.
Hall Church.
The eastern end of Bristol Cathedral is highly unusual for a number of reasons. Firstly, it was conceived as a "hall church", meaning that the aisles are the same height as the choir. While a feature of German Gothic architecture, this is rare in Britain, and Bristol cathedral is the most significant example. In the 19th century, G. E. Street designed the nave along the same lines. The effect of this elevation means that there are no clerestory windows to light the central space, as is usual in English Medieval churches. The north and south aisles employ a unique manner where the vaults rest on tie beam style bridges supported by pointed arches. All the internal light must come from the aisle windows which are accordingly very large. In the choir, the very large window of the Lady chapel is made to fill the entire upper part of the wall, so that it bathes the vault in daylight, particularly in the morning.
Because of the lack of a clerestory, the vault is comparatively low, being only about half the height of that at Westminster Abbey. The interior of the cathedral appears wide and spacious. The architectural historian Nikolaus Pevsner wrote of the early 14th-century choir of Bristol that "from the point of view of spatial imagination" it is not only superior to anything else in England or Europe but "proves incontrovertibly that English design surpasses that of all other countries" at that date.
The choir has broad arches with two wave mouldings carried down the piers which support the ribs of the vaulting. These may have been designed by Thomas Witney or William Joy as they are similar to the work at Wells Cathedral and St Mary Redcliffe. The choir is separated from the eastern Lady Chapel by a 14th-century reredos which was damaged in The reformation and repaired in 1839 when the 17th-century altarpiece was removed. The Lady Chapel was brightly painted in the late 19th and early 20th centuries following existing fragments of colour. To the south east of the choir and Lady Chapel is the Berkeley Chapel and an adjoining antechapel or sacristy, which may have been added in the 14th century, possibly replacing an earlier structure.
Vaulting.
Another feature of Bristol Cathedral is the vaulting of its various medieval spaces. The work that was carried out under Abbot Knowle is unique in this regard, with not one, but three unique vaults.
In vaulting a roof space using stone ribs and panels of infill, the bearing ribs all spring from columns along the walls. There is commonly a rib called the ridge rib which runs along the apex of the vault. There may be intermediate or "tierceron" ribs, which have their origin at the columns. In Decorated Gothic there are occasionally short lierne ribs connecting the bearing and tierceron ribs at angles, forming stellar patterns. This is the feature that appears at Bristol, at a very early date, and quite unlike the way that "lierne" ribs are used elsewhere. In this case, there is no ridge rib, and the lierne ribs are arranged to enclose a series of panels that extend the whole way along the centre of the choir roof, interacting with the large east window by reflecting the light from the smoothly arching surfaces. From the nave can be seen the intricate tracery of the east window echoed in the rich lierne pattern of the tower vault, which is scarcely higher than the choir, and therefore clearly visible. The two aisles of the choir both also have vaults of unique character, with open transverse arches and ribs above the stone bridges.
Eastern Lady Chapel.
The 13th-century East Lady Chapel is built of red sandstone in an Early English style, making it stand out from the rest of the building. It is four bays long and has a vaulted ceiling. The windows are supported by Blue Lias shafts matching those between the bays. Much of the chapel, including the piscina and sedilia, is decorated with stylised foliage, in a style known as "stiff-leaf".
Nave.
 Street's design followed the form of the Gothic choir. On a plan or elevation it is not apparent that the work is of a different era. But Street designed an interior that respected the delicate proportions of the ribs and mouldings of the earlier work, but did not imitate their patterns. Street's nave is vaulted with a conservative vault with tierceron ribs, rising at the same pitch as the choir. Street's aisle vaults again echo their counterparts in the mediaeval chancel, using open vaulting above the stone bridges, but the transverse vaults are constructed differently.
Fittings.
The cathedral has two unusual and often-reproduced monuments, the Berkeley memorials. These are set into niches in the wall, and each is surrounded by a canopy of inverted cusped arches. Pearson's screen, completed in 1905, echoes these memorials in its three wide arches with flamboyant cusps.
West front.
Unlike many English Gothic cathedrals, Bristol's west facade has a rose window above the central doorway. The details, however, are clearly English, owing much to the Early English Gothic at Wells Cathedral and the Decorated Gothic at York Minster with a French Rayonnant style.
Chapter House.
The late Norman chapter house, situated south of the transept, contains some of the first uses of pointed arches in England. It also has a rich sculptural decoration, with a variety of Romanesque abstract motifs. In both of these aspects there are close similarities with the abbey gatehouse, supporting the view that the two structures were built around the same time in the 12th century, as put forward by Street in the 19th century.
The approach to the chapter house is through a rib-vaulted ante-room 3 bays wide, whose pointed arches provide a solution to that room's rectangular shape. Carved pointed arches also appear in the decoration of the chapter house itself. Here they arise from the intersections of the interlaced semicircular arcading, which runs continuously around the walls. The chapter house has a quadripartite ribbed vault high. The ribs, walls and columns display a complex interplay of carved patterns: chevron, spiral, nailhead, lozenge and zigzag.
The chapter house has 40 sedilia lining its walls, and may have originally provided seating for more when it was the meeting room for the abbey community. In 1714 it was refurbished to become a library, and its floor was raised by about 1 m (3 ft). Its east end was damaged in the Bristol riots of 1831, requiring considerable restoration, and at that time or later the library furnishings were removed. In 1832, when the floor was lowered again, a Saxon stone panel depicting the Harrowing of Hell was found underneath. The discovery of the stone provides strong evidence that there was a church or shrine on the site before Robert Fitzharding founded the Abbey in 1140.
Stained glass.
The east window in the Lady Chapel was largely replaced and restored in the mid 19th century. However, it does contain some 14th-century stained glass pieces, including male heads and heraldic symbols. Some of the early glass is also incorporated into the Tree of Jesse which goes across nine lights.
During the restoration led by Street, most of the work on the glass was by Hardman & Co.; these include the rose window and towers at the west end and the Magnificat in the Elder Lady Chapel.
Some of the most recent stained glass is by Bristolian Arnold Wathen Robinson following damage during the Bristol Blitz of 1940 and 1941. These included depictions of local Civil Defence during World War II including St. John Ambulance, the British Red Cross and the fire services along with air raid wardens, police officers, the Home Guard and the Women's Voluntary Service. The most recent glass is an abstract expressionist interpretation of the Holy Spirit designed by Keith New in 1965 and installed in the south choir.
A Victorian era window under the cathedral's clock, marked "to the glory of God and in memory of Edward Colston" and commemorating that 17th-century Royal African Company magnate and Bristol philanthropist, was ordered to be covered in June 2020 in advance of its eventual removal. The Diocese of Bristol also decided to remove from the cathedral other dedications to Colston after the toppling of the late 19th-century Statue of Edward Colston in the city centre on 7 June 2020, along with the removal of another stained glass window at St Mary Redcliffe. The cathedral dean previously considered removing the memorial window in 2017 but said in a radio broadcast in February it would cost "many, many thousands of pounds". The legacy of Colston became contentious because of his involvement in, and profit from, the transatlantic slave trade in enslaved Africans, and came to a head after the murder of George Floyd in May 2020.
Decoration, monuments and burials.
The south transept contains the important late Saxon stone panel of the Harrowing of Hell. It dates from before the Norman Conquest and may have been carved around 1050. Following a fire in 1831 it was found being used as a coffin lid under the Chapter House floor.
The high altar stone reredos are by John Loughborough Pearson of 1899. The three rows of choir stalls are mostly from the late 19th century with Flamboyant traceried ends. There are also 28 misericords dating from 1515 to 1526, installed by Robert Elyot, Abbot of St. Augustine's, with carvings largely based on Aesop's Fables. In the Berkeley chapel is a very rare candelabrum of 1450 from the Temple church in Bristol.
The monuments within the cathedral include recumbent figures and memorials of several abbots and bishops: Abbot Walter Newbery who died in 1473 and Abbot William Hunt (died 1481) are within 14th-century recesses on the north side of the Lady Chapel, while the recumbent effigy of Abbot John Newland (died 1515) is in a similar recess on the southern side. The coffin lid of Abbot David (died 1234) is in the north transept. In the north choir aisle is a chest tomb to Bishop Bush (died 1558) which includes six fluted Ionic columns with an entablature canopy. Also honoured are: Thomas Westfield, Bishop of Bristol (1642–1644), Thomas Howell (Bishop of Bristol) (1644–1645), Gilbert Ironside the elder, Bishop of Bristol (1661–1671), William Bradshaw (bishop), Bishop of Bristol (1724–1732), Joseph Butler, Bishop of Bristol (1738–1750), John Conybeare, Bishop of Bristol (1750–1755) and Robert Gray (bishop of Bristol) (1827–1834), who is buried in graveyard attached to the cathedral. The Berkeley family as early benefactors are represented by Maurice de Berkeley (died 1281), *Thomas de Berkeley, 1st Baron Berkeley (died 1321), Lord Berkeley (died 1326) and Thomas Berkeley (died 1243) who are depicted in military effigies on the south side of the choir aisle, along with the chest tomb of Maurice Berkeley (died 1368).
In addition there are notable monuments to local dignitaries of the 17th and 18th century. There is a perpendicular reredos showing figures kneeling at a prayer desk flanked by angels to Robert Codrington (died 1618) and his wife. Phillip Freke (died 1729) is commemorated with a marble wall tablet in the north choir aisle. The oval wall tablet to Rowland Searchfield, English academic and Bishop of Bristol (died 1622) is made of slate. The Newton Chapel, which is between the Chapter House and south choir aisle contains a large dresser tomb of Henry Newton (died 1599) and a recumbent effigy of John Newton (died 1661), as well as a dresser tomb dedicated to Charles Vaughan who died in 1630.
Dame Joan Wadham (1533–1603) is buried, with her two husbands Sir Giles Strangways and Sir John Young, in an altar tomb at the entrance to Bristol Cathedral. She was one of the sisters and co-heiresses (through her issue) of Nicholas Wadham (1531–1609) of Merryfield, Ilton Somerset and of Edge, Branscombe Devon, the co-founder with his wife Dorothy Wadham (1534–1618) of Wadham College, Oxford.
Dame Joan is represented in effigy lying beneath the armorials of Wadham and those of both her husbands, Giles Strangways MP (1528–1562) of Melbury Sampford, with her the ancestor of the Earls of Ilchester, and John Young MP (1519–1589) with whom she built the Great House Bristol from 1568, of which only the Red Lodge, now the Red Lodge Museum, Bristol and completed by Dame Joan in 1590 after the death of her husband, remains today.
Queen Elizabeth I stayed with Joan and Sir John Young at The Great House when she visited Bristol in 1574, and the Red Lodge Museum with its Tudor panelled rooms and wood carvings is only a short walk from the cathedral.
The importance of exploration and trade to the city are reflected by a memorial tablet and representation in stained glass of Richard Hakluyt (died 1616) is known for promoting the settlement of North America by the English through his works. He was a prebendary of the cathedral.
More recent monuments from the early 18th century to the 20th century include: Mrs Morgan (died 1767) by John Bacon to the design of James Stuart and a bust by Edward Hodges Baily to Robert Southey a Bristolian poet of the Romantic school, one of the so-called "Lake Poets", and Poet laureate for 30 years from 1813 to his death in 1843. Baily also created the monument to William Brane Elwyn (died 1841). The obelisk to local actor William Powell (died 1769) was made by James Paine. The memorial to Elizabeth Charlotte Stanhope (died 1816) in the Newton Chapel is by Richard Westmacott. There is a memorial plaque to the education reformer Mary Carpenter (died 1877). The memorial to Emma Crawfuird (died 1823) is by Francis Leggatt Chantrey while the effigy to Francis Pigou (Dean; died 1916) is by Newbury Abbot Trent. The most recent are of the biographer Alfred Ainger (died 1904) and the composer Walford Davies (died 1941).
Dean and Chapter.
As of 30 November 2020:
Music.
Organ.
The organ was originally built in 1685 by Renatus Harris at a cost of £500. This has been removed and repaired many times. However, some of the original work, including the case and pipes, is incorporated into the present instrument, which was built by J. W. Walkers & Sons in 1907, to be found above the stalls on the north side of the choir. It was further restored in 1989.
Prior to the building of the main organ, the cathedral had a chair organ, which was built by Robert Taunton in 1662, and before that one built by Thomas Dallam in 1630.
Organists.
The earliest known appointment of an organist of Bristol Cathedral is Thomas Denny in 1542. Notable organists have included the writer and composer Percy Buck and the conductor Malcolm Archer. The present Organist is Mark Lee and the Assistant Organist Paul Walton.
Choirs.
The first choir at Bristol probably dates from the Augustinian foundation of 1140. The present choir consists has twenty-eight choristers, six lay clerks and four choral scholars. The choristers include fourteen boys and fourteen girls, who are educated at Bristol Cathedral Choir School, the first government-funded choir academy in England. Choral evensong is sung daily during term.
The Bristol Cathedral Concert Choir (formerly Bristol Cathedral Special Choir) was formed in 1954 and comprised sixty singers who presented large-scale works such as Bach's "St Matthew Passion".; it was wound up in 2016. The Bristol Cathedral Consort is a voluntary choir drawn from young people of the city. They sing Evensong twice a month. Bristol Cathedral Chamber Choir was reformed in 2001 and is directed by assistant organist Paul Walton.
In popular culture.
Bristol Cathedral was used as a location in the 1978 film "The Medusa Touch" under the guise of a fictional London place of worship called Minster Cathedral.
Other cathedrals in Bristol.
Bristol is also home to a Roman Catholic cathedral, Clifton Cathedral. The Church of England parish church of St. Mary Redcliffe is so grand as to be occasionally mistaken for a cathedral by visitors.


Palazzo Altieri

Palazzo Altieri is a palace in Rome, which was the home of the Altieri family in the city. The palace faces the square in front of the Church of the Gesù.
The Altieri.
The Altieri were one of the prominent families in Rome claiming descendancy from Roman nobility, and included Pope Clement X (reigned 1670-1676).
When Giambattista Altieri was elevated to Cardinal by Pope Urban VIII, he decided his existing house was not impressive enough; not befitting his new title so in 1650 he commissioned Giovan Antonio de' Rossi to begin renovations at the site. When Pope Clement ascended to the papal throne in 1670, further renovations were overseen by the pope's Cardinal-Nephew, Paluzzo Paluzzi Altieri degli Albertoni.
By 1673, the grand salon was complete. Cardinal Camillo Massimo recommended Carlo Maratta as the artist, and Giovanni Bellori helped with the iconography. "Clemency" (punning with pope's name) is surrounded by "Public Happiness" and other cardinal virtues.
Modern use.
The building is now occupied by a bank; though the interiors still possess major works of art and decoration, including paintings by Luca Giordano, Bernardo Strozzi, Pieter Mulier the younger, Domenico Maria Canuti, Lionello Spada, Fabrizio Chiari, Felice Giani, Vincenzo Camuccini, Francesco Zuccarelli, Francesco Manno and Giuseppe Bonito.


Norton House Historic District

The Norton House Historic District encompasses two properties that formerly constituted the central portion of a suburban country estate in Falmouth, Maine. Located on Foreside Road, overlooking Casco Bay, the landscaped properties include a house and former carriage house designed by John Calvin Stevens and John Howard Stevens in 1912. The district was listed on the National Register of Historic Places in 2004.
Description and history.
Until the early 20th century, the area known as Falmouth Foreside was a predominantly rural and agricultural area. By 1910 a full-scale conversion of the area to coastal estate homes was well underway, with landowners selling off coastal properties for development. The family of Ralph S. Norton, an insurance executive based in Portland, owned a small farm in the area, and Norton decided in 1911 to build a more substantial summer house on a high point overlooking Casco Bay. He retained John Howard Stevens, who developed a plan that included a house, carriage barn, and landscaped garden terraces. It is surmised that Carl Rust Parker, a prominent Portland landscape architect, was involved in the design of the grounds. The Norton estate was originally several hundred acres, most of which has since been subdivided (including the property of the Portland Yacht Club). Ownership of the house and barn was divided in 1967, after which the barn was converted to a residence.
The surviving Norton estate properties are accessed via private drive on the southeast side of Foreside Road (Maine State Route 88), between Old Powerhouse Road, which provides access to the yacht club, and Ramsdell Road. The drive is marked by a low stone wall with posts, and a small gatehouse on the right side, designed by John Howard Stevens. The main house is at the left side of the end of the drive, while the carriage barn is to the right. The house is a handsome 2-1/2 story structure, with an eclectic blend of Prairie School, Shingle, and Colonial Revival styles. Its interior finish is predominantly in Arts and Crafts styling that was fashionable at the time of its construction. The house's original view to the bay is now obscured by a house built on a subdivision of the estate.


Church of St. Clare, Horodkivka

The Church of St. Clare, Horodkivka is a Roman Catholic religious building and an architectural monument of local importance in the village of Horodkivka (alternative spelling Gorodkivka), Andrushivka Raion, Zhytomyr region, Ukraine. Horodkivka was called Khalaimgorodok before 1946.
The church overlooks a small lake in the southwestern part of Horodok, near the road leading to Berdichev, on the low bank of the river Lebedivka. It is constructed in an eclectic style with elements of neo-Gothic and modern twentieth century architecture.
Origins.
The Polish writer-memoirist Efstafy Ivanovsky, who wrote under the name Hellenius, was born in the village on 17 January 1813; he lived in the village for almost all his life and was a devout Roman Catholic, making numerous pilgrimages. His mother Clara Ivanovsky died in 1859, and he inherited estates in Halaimgorodok, as well as the desire to build a church to honour St. Clare, the patron saint of his mother. He was, however, unable to obtain the necessary permission from the Russian authorities, who brutally repressed the Polish nobility in response to the armed uprisings of 1831 and of 1863.
Efstafy Ivanovsky died on 7 July 1903, and it was left to his heirs, villagers 54-year-old Anna and 60-year-old Romuald Zmigrodzky, to fulfil Ivanovsky's last wishes and build the church.
A stone chapel had already been built in the village in 1818 by Mr. Michalovsky (Міхаловським), with the permission of the diocesan authorities. On the site of this chapel, between 1910 and 1913, the Church of St. Clare was constructed by Polish builders, together with inhabitants of the village and of the neighbouring village of Zherdeli, under the direction of the builder E. Yablonsky and technologist A. Khodak.
The church was built in the style of a mediaeval castle or manor house using stone and brick and the roof was of Polish red tiles. The belfry had three bells, the largest of which weighed 150 kg. The doors were massive and forged and the windows were glazed with colored stained glass, there were wall paintings, and a crystal chandelier hung in the middle of the sanctuary. The acoustics were excellent.
History.
In 1935 under the communist government in Soviet Ukraine, the Khalaimgorod parish ceased to exist and the church was used as a village club. They removed the bells from the bell tower, and the statue of the Mother of God at the entrance was knocked down from the base and thrown into the lake. Amateur performances took place in the church.
During the Second World War, after the establishment of the German occupying power in the village, the religious life of the parish was restored under Father Joseph Kozinsky and worship was conducted from 1943 to 1959. However, in 1961, after the return of Soviet power, the building was returned to secular use as a collective farm barn by decision of the Zhytomyr Oblast Executive Committee, and the organ and wall paintings were destroyed.
In 1989, the church was transferred back to the Roman Catholic community of Carmelites. At the expense of the community, the building has been restored, including the belfry, and the surroundings have been planted with flowers. The church now has several local icons, an antique harpsichord and a relic of Pope John Paul II, and is an active church in the Ruzhin Deanery of the Roman Catholic Diocese of Kyiv-Zhytomyr.
The building is now well known as a local landmark and generates interest as a tourist attraction. A special celebration is held each year on August 11.


Wilton House

Wilton House is an English country house at Wilton near Salisbury in Wiltshire, which has been the country seat of the Earls of Pembroke for over 400 years.
The first recorded building on the site of Wilton House was a priory founded by King Egbert circa 871. Through the munificence of King Alfred, the priory was granted lands and manors until it became wealthy and powerful. However, by the time Wilton Abbey was dissolved in the Dissolution of the Monasteries set in motion by King Henry VIII, its prosperity was already on the wane. Following the seizure of the abbey, Henry presented it and its attached estates to William Herbert, 1st Earl of Pembroke (in the 1551 creation) .
The present Grade I listed house is the result of rebuilding after a 1647 fire, although a small section of the house built for William Herbert survives; alterations were made in the early 19th and early 20th centuries. The house stands in gardens and a park which are also Grade I listed. While still a family home, the house and grounds are usually open to visitors during the summer months.
William Herbert, 1st Earl of Pembroke.
William Herbert, the scion of a distinguished family in the Welsh marches, was a favourite of the king. Following a recommendation to King Henry by King Francis I of France, whom Herbert had served as a soldier of fortune, Herbert was granted arms after only two years. In 1538, Herbert married Anne Parr, daughter of Sir Thomas Parr of Kendal and sister of the future queen consort Catherine Parr (1543–1547) and Sir William Parr, 1st Baron Parr of Kendal (later Marquess of Northampton).
The granting of an estate such as the Abbey of Wilton to Herbert was an accolade and evidence of his position at court. The first grants dated March and April 1542, include the site of the late monastery, the manor of Washerne adjoining also the manors of Chalke. These were given to "William Herbert, Esquire "and" Anne his wife for the term of their lives with certain reserved rents to King Henry VIII." When Edward VI re-granted the manors to the family, it was explicitly "to the aforenamed Earl, by the name of Sir William Herbert, knight, "and" the Lady Anne his wife and the heirs male of their bodies between them lawfully begotten." Lady Anne had been a joint creator of the enterprise.
Herbert immediately began to transform the deserted abbey into a fine house and symbol of his wealth. It had been thought that the old abbey had been completely demolished; however, following renovations after the Second World War traces of the old abbey were found at lower levels of the existing walls.
Hans Holbein.
It has long been claimed, without proof, that Hans Holbein the Younger re-designed the abbey as a rectangular house around a central courtyard, which is the core of the present house. Holbein died in 1543, so his designs for the new house would have had to be very speedily executed. However, the highly ornamented entrance porch to the new mansion, removed from the house around 1800 and later transformed into a garden pavilion, is to this day known as the "Holbein Porch" – a perfect example of the blending of the older Gothic and the brand-new Renaissance style.
Whoever the architect, a great mansion arose. Today only one other part of the Tudor mansion survives: the great tower in the centre of the east facade. With its central arch (once giving access to the court beyond) and three floors of oriel windows above, the tower is slightly reminiscent of the entrance at Hampton Court. It is flanked today by two wings in a loose Georgian style, each topped by an Italianate pavilion tower.
Inigo Jones.
The Tudor house built by William Herbert, 1st Earl of Pembroke, in 1551 lasted 80 years. King James, Anne of Denmark, and Prince Henry stayed at Wilton in November 1603 and gave an audience to two Venetian ambassadors, Nicolò Molin and Piero Duodo.
On the succession of the 4th Earl in 1630, he decided to pull down the southern wing and erect a new complex of staterooms in its place. It is now that the second great name associated with Wilton appears: Inigo Jones.
The architecture of the south front is in severe Palladian style, described at the time as in the "Italian Style;" built of the local stone, softened by climbing shrubs, it is quintessentially English to our eyes today. While the remainder of the house is on three floors of equal value in the English style, the south front has a low rusticated ground floor, almost suggesting a semi-basement. Three small porches project at this level only, one at the centre, and one at each end of the facade, providing small balconies to the windows above. The next floor is the piano nobile, at its centre the great double-height Venetian window, ornamented at second floor level by the Pembroke arms in stone relief. This central window is flanked by four tall sash windows on each side. These windows have low flat pediments. Each end of the facade is defined by "corner stone" decoration giving a suggestion that the single-bay wings project forward. The single windows here are topped by a true pointed pediment.
Above this floor is a further almost mezzanine floor, its small unpedimented windows aligning with the larger below, serve to emphasise the importance of the piano nobile. The roofline is hidden by a balustrade. Each of the terminating 'wings' is crowned by a one-storey, pedimented tower resembling a Palladian pavilion. At the time, his style was an innovation. Just thirty years earlier, Montacute House, exemplifying the English Renaissance, had been revolutionary; only a century earlier, the juxtaposing mass of wings that is Compton Wynyates, one of the first houses to be built without complete fortification, had just been completed and was considered modern.
Attributing the various architectural stages can be difficult, and the degree to which Inigo Jones was involved has been questioned. Queen Henrietta Maria, a frequent guest at Wilton, interrogated Jones about his work there. At the time (1635) he was employed by her, completing the Queen's House at Greenwich. It seems at this time Jones was too busy with his royal clients and did no more than provide a few sketches for a mansion, which he then delegated for execution to an assistant Isaac de Caus (sometimes spelt 'Caux'), a Frenchman and landscape gardener from Dieppe.
A document that Howard Colvin found at Worcester College library in Oxford in the 1960s confirmed not only de Caus as the architect, but that the original plan for the south facade was to have been over twice the length of that built; what we see today was intended to be only one of two identical wings linked by a central portico of six Corinthian columns. The whole was to be enhanced by a great parterre whose dimensions were 1,000 feet by 400 feet. This parterre was in fact created and remained in existence for over 100 years. The second wing however failed to materialise – perhaps because of the 4th Earl's quarrel with King Charles I and subsequent fall from favour, or the outbreak of the Civil War; or simply lack of finances.
It is only now that Inigo Jones may have taken a firmer grip on his original ideas. Seeing De Caus' completed wing standing alone as an entirety, it was considered too plain – De Caus' original plan was for the huge facade to have a low pitched roof, with wings finishing with no architectural symbols of termination. The modifications to the completed wing were of a balustrade hiding the weak roof line and Italianate, pavilion-like towers at each end. The focal point became not a portico but the large double height Venetian window. This south front ("illustration above"), has been deemed an architectural triumph of Palladian architecture in Britain, and it is widely believed that the final modifications to the work of De Caus were by Inigo Jones himself.
Within a few years of the completion of the new south wing in 1647, it was ravaged by fire. The seriousness of the fire and the devastation it caused is now a matter of some dispute. The architectural historian Christopher Hussey has convincingly argued that it was not as severe as some records have suggested. What is definite is that Inigo Jones now working with another architect John Webb (his nephew by marriage to Jones' niece) returned once again to Wilton. Because of the uncertainty of the fire damage to the structure of the house, the only work that can be attributed with any degree of certainty to the new partnership is the redesign of the interior of the seven state-rooms contained on the piano nobile of the south wing; and even here the extent of Jones' presence is questioned. It appears he may have been advising from a distance, using Webb as his medium.
The state rooms.
The seven state rooms contained behind the quite simple Mannerist south front of Wilton House are equal to those in any of the great houses of Britain. State rooms in English country houses were designed, named, and reserved for the use of only high-ranking members of state as house-guests, often a monarch and his consort. State rooms usually occupy an entire facade of a house, and are nearly always of an odd number because the largest and most lavish room (at Wilton the famed Double Cube Room) is placed at the centre of the facade, with symmetrical sequences of smaller (but still very grand) rooms leading from the central room to either side, ending at the state bedrooms, which are at either end of the facade. The central salon was a gathering place for the court of the honoured guest. The comparatively smaller rooms in between the central room and the state bedrooms were designated for the sole use of the occupant of each bedroom, and would have been used for private audiences, withdrawing rooms, and dressing rooms. They were not for public use.
In most English houses today the original intention has been lost, and these rooms have usually become a meaningless succession of drawing rooms; this is certainly true at both Wilton House and Blenheim Palace. The reason for this is that, over time, the traditional occupants of the state bedrooms began to prefer the comfort of a warmer, more private bedroom on a quiet floor with an en-suite bathroom. By the Edwardian Period, large house-parties had adapted the state rooms to use as salons for playing bridge, dancing, talking, and generally amusing themselves.
The magnificent state rooms at Wilton, designed by Inigo Jones and one or another of his partners, are:
Other rooms are:
Inigo Jones was a friend of the Herbert family. It has been said that Jones' original studying in Italy of Palladio and the other Italian masters was paid for by the 3rd Earl, father of the builder of the south front containing the state rooms. There are in existence designs for gilded doors and panels at Wilton annotated by Jones. It seems likely that Jones originally sketched some ideas for de Caus, and following the fire conveyed through Webb some further ideas for tidying the house and its decorations. Fireplaces and decorative themes can be executed at long distance. The exact truth of the work by Jones will probably never be known.
In 1705, following a fire, the 8th Earl rebuilt some of the oldest parts the house, making rooms to display his newly acquired Arundel marbles, which form the basis for the sculpture collection at Wilton today. Following this Wilton remained undisturbed for nearly a century.
19th century and James Wyatt.
The 11th Earl (1759–1827) called upon James Wyatt in 1801 to modernise the house, and create more space for pictures and sculptures. The final of the three well-known architects to work at Wilton (and the only one well documented) was to prove the most controversial. His work took eleven years to complete.
James Wyatt was an architect who often employed the neo-classical style, but at Wilton for reasons known only to architect and client he used the Gothic style. Since the beginning of the 20th century his work at Wilton has been condemned by most architectural commentators. The negative points of his 'improvements' to modern eyes are that he swept away the Holbein porch, reducing it to a mere garden ornament, replacing it with a new entrance and forecourt. This entrance forecourt created was entered through an 'arc de triumph' which had been created as an entrance to Wilton's park by Sir William Chambers circa 1755. The forecourt was bounded by the house on one side, with wings of fake doors and windows extending to form the court, all accessed by Chambers's repositioned arch, crowned by a copy of the life-size equestrian statue of Marcus Aurelius. While not altogether displeasing as an entrance to a country house, the impression created is more of a hunting estate in Northern France or Germany.
The original Great Hall of the Tudor house, the chapel and De Caus-painted staircase to the state apartments were all swept away at this time. A new Gothic staircase and hall were created in the style of Camelot. The Tudor tower, now the last remnant of William Herbert's house, escaped unscathed except for the addition of two 'medieval' statues at ground floor level.
There was however one huge improvement created by Wyatt – the cloisters. This two-storeyed gallery which was built around all four sides of the inner courtyard, provided the house with not only the much needed corridors to link the rooms, but also a magnificent gallery to display the Pembroke collection of classical sculpture. Wyatt died before completion, but not before he and Lord Pembroke had quarrelled over the designs and building work. The final touches were executed by Wyatt's nephew Sir Jeffry Wyatville. Today nearly two hundred years later Wyatt's improvements do not jar the senses as much as they did those of the great architectural commentators James Lees-Milne and Sir Sacheverell Sitwell writing in the 1960s. That Wyatt's works are not in the same league of style as the south front, and the Tudor tower, is perhaps something for future generations to judge.
Secondary rooms.
Wilton is not the largest house in England by any means: compared to Blenheim Palace, Chatsworth, Hatfield and Burghley House, its size is rather modest. However, aside from the magnificent state rooms, a number of secondary rooms are worthy of mention:
Associated buildings.
Entrance arch and lodges.
The north entrance to the house and the forecourt within it were created by Wyatt c.1801. The centrepiece is an ashlar arch, designed c.1758–62 by Sir William Chambers as a garden feature, and carrying a lead statue (probably of earlier date) of Marcus Aurelius on horseback. The structure has a pair of Corinthian columns at each corner and a dentil cornice, and the inner arch is on Doric columns and 18th-century wrought-iron gates. On each side Wyatt added a single-storey lodge in ashlar, with a balustraded parapet. The whole is Grade I listed.
Former stables.
Washern Grange, south of the house and on the other side of the Nadder, is said to be a 1630s rebuilding of an earlier stable block, and incorporates a 14th-century barn which presumably belonged to the abbey. Built in brick with stone dressings and now several dwellings, the complex is Grade I listed. Washern was a manor ("Waisel" in Domesday Book) and later a suburb of Wilton, which was absorbed into the grounds of Wilton House.
Gardens and grounds.
The house is renowned for its gardens. Isaac de Caus began a project to landscape them in 1632, laying out one of the first French parterres seen in England. An engraving of it made the design influential after the royal Restoration in 1660, when grand gardens began to be made again. The original gardens included a grotto and water features.
Palladian Bridge.
After the parterre had been replaced by turf, the Palladian Bridge (1736–37, Grade I listed) over the little River Nadder, 90m south of the house, was designed by the 9th Earl in collaboration with architect Roger Morris. Balustraded stairs on each side lead through a pedimented arch into an open pavilion, and the central balustraded span has a high roof supported by a five-bay Ionic colonnade. The design was in part based on a rejected design by Palladio for the Rialto Bridge, Venice.
A copy of the bridge was erected at the much-visited garden of Stowe in Buckinghamshire, and three more were erected: at Prior Park, Bath; Hagley, Worcestershire; and Amesbury Abbey. Empress Catherine the Great commissioned another copy, known as the Marble Bridge, to be set up at the landscape park of Tsarskoye Selo.
Lost settlement.
The park includes an area formerly occupied by much of the village of Fugglestone, which was cleared away, including the site of a medieval leper hospital called the Hospital of St Giles.
Recent developments.
In the late 20th century, the 17th Earl had a garden created in Wyatt's entrance forecourt, in memory of his father, the 16th Earl. This garden enclosed by pleached trees, with herbaceous plants around a central fountain, has done much to improve and soften the severity of the forecourt.
In 1987 the park and gardens were listed Grade I on the Register of Historic Parks and Gardens of special historic interest.
Today.
The house was recorded as Grade I listed in 1951. The house and gardens have been open to the public since that year, usually during the summer months.
Wilton was described by the architectural writer John Summerson in 1964 as:
As of 2012, the current earl, William Herbert, 18th Earl of Pembroke, and his family live in the house. In 2006, Herbert told "The New York Times Magazine" that the Wilton estate has around 140 employees. Its 14,000 acres are divided into 14 farms, one of which is run by the estate (the others are rented to tenants) and more than 200 residential properties. Although the house is open to the public, Herbert and his wife occupy about a third of the house privately. Salisbury Racecourse and South Wilts Golf Course are also on the 14,000 acre estate.
In film and television.
Scenes from the John Cleese featurette "Romance with a Double Bass" (1974) were filmed in the Double Cube Room. The room was used for scenes from the Stanley Kubrick film "Barry Lyndon" (1975), in Ken Russell's "The Music Lovers", and in "The Bounty" (1984) it represented the Admiralty building for the court martial of Captain Bligh for the loss of the "Bounty".
The house was covered in some detail in the 1985 American television documentary "Treasure Houses of Britain."
The Palladian bridge and gardens were featured in the "Blackadder II" episode "Bells" (1985) and the end titles of all episodes.
Rooms in Wilton House appear as rooms of Windsor Castle in "The Madness of King George" (1994). The concert with the bell-ringers, and two later scenes with the Prince of Wales, were shot in the Double Cube Room. Scenes from "Mrs. Brown" (1997) were filmed in the Double Cube Room, again portraying the interior of Windsor Castle.
Rooms in Wilton House were used for interior scenes at Pemberley (Chatsworth House was used for external shots) in the 2005 film adaptation of the novel "Pride and Prejudice".
Scenes from "The Young Victoria", a 2009 film about the early years of Queen Victoria's reign, were filmed at the house.
Wilton House played the role of Croft Manor in the 2018 movie "Tomb Raider".
The Double Cube Room appears in nearly every episode of Peter Morgan's series "The Crown", where it is used to represent one of the formal rooms at Buckingham Palace.
The house and grounds were used to film scenes in the 2020 Autumn de Wilde film adaptation of the novel "Emma", being the main location used for Mr Knightley's home, Donwell Abbey.
The 2020 Netflix series "Bridgerton" used the house and grounds to film numerous scenes, including exterior shots of Hastings House.


Devils Kitchen Picnic Shelter

The Devils Kitchen Picnic Shelter in Colorado National Monument was designed by Harvey H. Cornell, Jerome C. Miller and Kenneth M. Saunders of the National Park Service Branch of Plans and Design in 1940. It was built by workers from the Civilian Conservation Corps and the Public Works Administration in 1941, in the National Park Service Rustic style. The shelter features three sandstone fireplaces, as well as toilets and service facilities.
Construction was carried out by craftsmen, known as LEM's (Local Experienced Men), with suitable skills, reputedly stonemasons of Italian descent. Much of the material came from Rim Rock Drive construction. The picnic shelter was built by the men of CCC camp NM-2-C.
The shelter is unusual due to its large size and diversified function.


Deutsche Bank Place

Deutsche Bank Place is a skyscraper in Sydney, New South Wales, Australia. It is located at 126 Phillip Street (corner of Hunter Street) in the north-eastern end of the central business district, across the road from Chifley Tower. Construction began in 2002 and was completed in 2005. The building's architect is Norman Foster of Foster and Partners.
Deutsche Bank is the primary tenant, occupying 7 floors and owning the naming rights. Other tenants include, Allens, Investa Property Group and New Chambers.


Congregation Shomrei Emunah (Borough Park)

Congregation Shomrei Emunah () is an Orthodox Jewish synagogue located in Borough Park, Brooklyn, New York. Founded in 1907, the congregation moved into its present edifice in 1910. Its current spiritual leader is Rabbi Aviezer Cohen.
History.
Congregation Shomrei Emunah was established in 1907 by a group that included a number of Torah scholars. It published its bylaws on September 3, 1907. In the beginning, services were held in a Masonic hall at New Utrecht Avenue and 56th Street. In 1910 the congregation constructed its own building at the corner of 14th Avenue and 52nd Street. The imposing, yellow-brick edifice designed in Romanesque Revival style features a large skylight over the "bimah" (reader's platform).
The subsequent founding of Beth El, Congregation
Anshei Sfard, and Bnai Yehuda drew membership from Shomrei Emunah, leading to the latter's sobriquet as "The Mother of Jewish Institutions" in Boro Park. Congregation members also played a role in the establishment of the Yeshivas Etz Chaim (the neighborhood’s first day school) and the Israel Zion Hospital (today Maimonides Medical Center). In the early years of the congregation, the Chofetz Chaim had advised Torah scholars traveling to America that they should turn to Shomrei Emunah upon their arrival. Rabbis who have addressed the congregation include Rabbi Elchonon Wasserman, Rabbi Abraham Isaac Kook and Rabbi Boruch Ber Leibowitz.
Rabbinic leadership.
The synagogue installed its first rabbi in 1926. From 1928 to 1935 the spiritual leader was Rabbi Wolf Gold, a founder of the Williamsburg Talmud Torah and Mesivta Torah Vodaas. From 1935 through 1973, Dr. Harry I. Wohlberg, a professor of Bible and homiletic literature at Yeshiva University, was the synagogue rabbi. Wohlberg was the first rabbi to receive a lifetime contract from an American Orthodox synagogue.
From 1973 through 2008, the synagogue was led by the renowned Rabbi Yaakov Pollack.
Since 2008, the synagogue's spiritual leader is Rabbi Aviezer Cohen, who was educated in the Brisker tradition.
Activities.
The synagogue made a name for itself in the Borough Park community with its strong emphasis on Torah study. In 1918 it founded a "Chevra Shas" (Talmud study society) and afterwards introduced other study groups on Bible, Mishnah, Midrash, "Ein Yaakov," "Chayei Adam", and "Rif". In 1935 it inaugurated a Chevra Mishnayas U’Gemilas Chesed, which combines group study of Mishnayos with the distribution of interest-free loans to individuals and organizations. The emphasis on Torah study made the synagogue popular among former yeshiva students and residents interested in continuing their study of Torah and halakha (Jewish law) on Shabbat and during their free time; it also made the synagogue a popular stopping-point for visiting European Torah scholars.
In response to news of the Kristallnacht pogrom in November 1938, Shomrei Emunah held a public gathering "where FDR was praised for his stance on behalf of Jews".
In 2009 the synagogue was targeted for an anti-Jewish protest by members of the Westboro Baptist Church led by Fred Phelps.


Highlow Hall

Highlow Hall is a historic Elizabethan manor house in Hathersage, Derbyshire, England. It was owned by the Eyre family from approximately 1340 to 1842, at which
point one branch of the family had already emigrated to the United States. It is a Grade II*-listed building and dates to the late 16th century.
Highlow Hall is associated with the White Lady, a local ghost of a woman named Elizabeth Archer, said to haunt the estate.


Santi Bartolomeo ed Alessandro dei Bergamaschi

Santi Bartolomeo ed Alessandro dei Bergamaschi (Saints Bartholomew the Apostle and Alexander of Bergamo of the inhabitants of Bergamo) is a little church in Piazza Colonna in Rome, Italy, next to Palazzo Wedekind. Originally it was named Santa Maria della Pietà, from the high relief over the door. The present Santa Maria della Pietà in Rome is in Vatican City.
In its origins (1591) the church was the chapel erected by padre Ferrante Ruiz for the Ospedale dei Pazzarelli, Rome's first insane asylum. When this was moved to Via della Lungara in the 1720s, the church was given over to the Archiconfraternità dei Bergamaschi, who rebuilt it in 1731–35 to designs of Giuseppe Valvassori, added their patron saint to its dedication and used the hospital for their own sick. It is the burial place of Cardinal Giuseppe Alessandro Furietti, antiquarian and native of Bergamo.
It is looked after by the Arciconfraternità, a historic association of Bergamaschi living in Rome that was begun in 1539. It supports understanding of the culture, the values and the traditions of Bergamo and their fertile dialogue with those of Rome.


Gioacchino Vitagliano

Gioacchino Vitagliano (1669 – 27 April 1739) was a Sicilian Baroque sculptor. He was born and died in Palermo. Works by him can be seen at the Church of the Gesu among other places.


Tongli

Tongli, alternately Tong-Li (; Wu: Don li, ) is a town in Wujiang district, on the outskirts of Suzhou, Jiangsu province. It is known for a system of canals, it has been given the nickname "Venice of the East". The place retains many of the features of an ancient Wu region town.
Tongli is half an hour away from Suzhou city and about two hours from Shanghai by buses. The town is also accessible by Suzhou Metro (Line 4).
Attractions.
The Retreat & Reflection Garden.
One of most notable attractions is the Retreat & Reflection Garden (). It was designed by the artist Yuanlong for Ren Lansheng and built in 1885–1887. In 2001, the Retreat & Reflection Garden was recognized with other classical Suzhou gardens as a UNESCO World Heritage Site.
Luoxing Zhou.
It is an island on the lake. There are Buddhism, Taoism and Confucianism in this place. Its scenery is very beautiful. During the Spring Festival, people will go there to strike the bell to pray.
The Pearl Tower.
It is a not real tower and it is just a model made up of pearls. Also, it's the name of a famous drama. It is in this place that the moving story between Fangqin and Chen Cui’e happened. Fangqin's father was banished by the court. So he came to his aunt to ask for help, but when his aunt heard of the bad news of Fang's she despised the poor and refused to help him. But his cousin was very kind and gave the Pearl Tower secretly to Fangqin. So latterly, Fangqin became the Zhuangyuan.
Three Bridges.
There are 55 bridges in the town of Tongli. The most famous are the three bridges. They are Taiping, Jili, and Changqing Bridges. They all represent blessing. When getting married, the birth of a child, celebrating birthday, people will walk across the three bridges to pray for the health and happiness.


Highlands Historic District (Moose, Wyoming)

The Highlands Historic District in Grand Teton National Park is a former private inholding within the park boundary. The inholding began as a 1914 homestead belonging to Harry and Elizabeth Sensenbach, who began in the 1920s to supplement their income by catering to automobile-borne tourists. In 1946 the property was purchased by Charles Byron, Jeanne Jenkins and Gloria Jenkins Wardell, who expanded the accommodations by one or two cabins a year in a U-shaped layout around a central lodge. The lodge and cabins are constructed in a rustic log style, considered compatible with park architecture. The Highlands was neither an auto camp, which encouraged short stays, nor a dude ranch, which provided ranch-style activities. The Highlands encouraged stays of moderate length, providing a variety of relatively sedentary amenities. It was the last private-accommodation camp to be built in the park before the Mission 66 program created concessioner-operated facilities on public lands.
The National Park Service acquired the property in 1972 and uses it to house seasonal employees. The acquisition allowed the Park Service to demolish most of the nearby Mages Ranch - Elbo Ranch property. The Highlands was placed on the National Register of Historic Places on August 19, 1998.


Christ Church Greyfriars

Christ Church Greyfriars, also known as Christ Church Newgate Street, was a church in Newgate Street, opposite St Paul's Cathedral in the City of London. Established as a monastic church in the thirteenth century, it became a parish church after the Dissolution of the Monasteries. Following its destruction in the Great Fire of London of 1666, it was rebuilt to the designs of Sir Christopher Wren. Except for the tower, the church was largely destroyed by bombing during the Second World War. The decision was made not to rebuild the church; the ruins are now a public garden.
History.
Gothic church.
Christ Church Greyfriars had its origins in the conventual church of a Franciscan monastery, the name 'Greyfriars' being a reference to the grey habits worn by Franciscan friars. The first church on the site was built in the mid-thirteenth century, but this was soon replaced by a much larger building, begun in the 1290s and finished in about 1360. This new church was the second largest in medieval London, measuring long and wide, with at least eleven altars. It was built partly at the expense of Marguerite of France, second wife of King Edward I. She was buried at the church, as was Isabella, widow of Edward II and her daughter Joan of the Tower, Queen of Scotland. The heart of Eleanor of Provence, wife of Henry III, was also interred there.
Richard Whittington, Lord Mayor of London, founded a library in connection with the church in 1429.
The monastery was dissolved in 1538 during the English Reformation. The building and fittings suffered heavy damage in this period. Tombs disappeared, sold for their marble and other valuable materials; monuments were defaced. In 1546, Henry VIII gave the priory and its church, along with the churches of St Nicholas Shambles and St Ewin, Newgate Market, to the City Corporation. A new parish of Christ Church was created, incorporating those of St Nicholas and St Ewin, and part of that of St Sepulchre. The priory buildings later housed Christ's Hospital school, founded by Edward VI, and the church became its pupils' principal place of worship.
In the 1640s Christ Church was the church of the Presbyterian polemicist Thomas Edwards, and during May 1647 became a centre of operations for attempts to disband and pay arrears to members of the New Model Army.
Wren's church.
The medieval church was destroyed by the Great Fire of London in 1666. Reconstruction was assigned to Wren, who oversaw a decades long-programme that rebuilt St. Paul's Cathedral and approximately 50 parish churches in the fire zone. There appears to have been some debate about the form the new Christ Church should take. A surviving unused design shows a structure considerably larger than what was eventually built.
The parish was united with that of St Leonard, Foster Lane, which was not rebuilt
Parishioners raised £1,000 to begin work on the design that in the end was selected. To save time and money, the foundations of the gothic church were partially reused. The new church and tower (without steeple) were completed in 1687, at a total cost of £11,778 9s. 7¼d. Smaller than the gothic structure, the building measured long and wide, occupying only the eastern end of the site of the medieval church, the western part becoming its churchyard.
The tower, rising from the west end of the church, had a simple round-arched main entranceway and, above, windows decorated with neoclassical pediments. Large carved pineapples, symbols of welcome, graced the four roof corners of the main church structure. Unique among the Wren churches, the east and west walls had buttresses.
The interior was divided into nave and aisles by Corinthian columns, raised on tall plinths so that their bases were level with the gallery floors. The aisles had flat ceilings, while the nave had a shallow cross-vault. The north and south walls had large round-arched windows of clear glass, which allowed for a brightly lit interior. The east end had trinity windows, a large wooden altar screen and a carved hexagonal pulpit, reached by stairs. There was elaborate carved wainscoting. A pavement of reddish brown and grey marble to the west of the altar rails was said to date from the original gothic church. Galleries stood over the north and south aisles, built at special request of the officers of Christ's Hospital as seating for the school's students. Pews were said to have been made from the timbers of a wrecked Spanish galleon. The organ, on the west wall over the main nave door, was built by Renatus Harris in 1690, according to a pre-war guide to the church.
The steeple, standing about tall, was finished in 1704 at an additional cost of £1,963, 8s. 3½ d. It has three diminishing storeys, square in plan, the middle one with a freestanding Ionic colonnade.
Over the course of the church’s existence, significant modifications were made. In 1760, a vestry house was built against the facade’s south side and part of the church's south wall. At some point, rooms were enclosed in the north and south aisles beneath the galleries. Stained glass depicting Jesus with the children was installed in the centre trinity window to replace the original clear glass.
The church functioned as an important centre of City of London society and music. The Lord Mayor attended an annual service to hear the Ancient Spital Sermon on the second Wednesday after Easter, placing his ceremonial sword in a special holder. Felix Mendelssohn played Bach's A minor fugue and other works on the organ in 1837. Samuel Wesley also performed at the church.
The Christ's Hospital boys continued to attend services, sitting in the galleries. According to the pre-war guide book to the church, they included the young Samuel Coleridge and Charles Lamb. Sixth Form boys tasked with maintaining order sat in special seats placed over those of the younger students. A few boys carved initials in the woodwork.
Decline of the congregation.
In 1902 Christ's Hospital moved out of the City to Horsham, West Sussex, ending the Sunday influx of its schoolboys. A new vicar, T.R. Hine-Haycock, took over in 1912. A July 1922 Christ Church newsletter preserved at Guildhall Library shows that at that time it had an 8:30 a.m. Holy Communion service every Sunday, and musical services at 11 a.m. every first and third Sunday.The church was open daily for private prayer from noon to 3 p.m. In its final years, the congregation continued to drop in size, a common trend for City churches as people relocated to suburban neighbourhoods of London. Parish records at the Guildhall Library show there were 112 members in April 1933, mostly residents of places outside the parish boundaries. Many of those who made their homes in the parish were "housekeepers", people who lived in and looked after commercial buildings. In April 1937, the membership had dropped to 77.
Destruction.
The church was severely damaged in the Blitz on 29 December 1940. During one of the Second World War's fiercest air raids on London, a firebomb struck the roof and tore into the nave. Much of the surrounding neighbourhood was also set alight—a total of eight Wren churches burned that night. At Christ Church, the only fitting known to have been saved was the cover of the finely carved wooden font, recovered by an unknown fireman who ran inside as the flames raged. The roof and vaulting collapsed into the nave; the tower and four main walls, made of stone, remained standing but were smoke-scarred and gravely weakened. A photograph taken the following day shows two firemen hosing down smouldering rubble in the nave.
Post-war period.
In 1944, "The Times" wrote about the ruins of Christ Church
In 1949, in a reorganisation of Church of England parishes in London, authorities decided not to rebuild Christ Church. The remains of the church were designated a Grade I listed building on 4 January 1950. In 1954, the Christ Church parish was merged with that of the nearby St Sepulchre-without-Newgate.
The steeple, still standing after the wartime damage, was disassembled in 1960 and put back together using modern construction methods. The surviving lower part of the south wall and the entire east wall were demolished in 1962 to make way for a widening of King Edward Street. In 1981, neo-Georgian brick offices were constructed against the southwest corner of the ruins, in imitation of the 1760 vestry house that had stood there. In 1989, the former nave area became a public garden and memorial. The tower's lowers levels functioned as commercial rental space.
In 2002, the financial firm Merrill Lynch completed a regional headquarters complex on land abutting to the north and the west. In conjunction with that project, the Christ Church site underwent a major renovation and archeological examination, King Edward Street was returned to its former course, and the site of the church regained its pre-war footprint. The churchyard was spruced up and its metal railings restored. In 2006, work was completed to convert the tower and spire into a modern twelve-level private residence. The nave area continues as a memorial; the wooden font cover, topped by a carved angel, can today be seen in the porch of St Sepulchre-without-Newgate.


Deep Eddy Pool

Deep Eddy Pool is a historic, man-made swimming pool in Austin, Texas. Deep Eddy is the oldest swimming pool in Texas and features a bathhouse built during the Depression era by the Works Progress Administration. The pool began as a swimming hole in the Colorado River, became a resort in the 1920s, and is today a popular swimming pool operated by the City of Austin.
History.
Deep Eddy began simply as a swimming hole in the Colorado River that flows through Austin. Cold springs rose from the river banks and people swam in the river where a large boulder formed an eddy. In 1915, A.J. Eilers, Sr. bought the land surrounding the swimming hole and built the concrete pool. The pool served as the centerpiece of a resort, the Deep Eddy Bathing Beach, which featured cabins, camping, and concessions. Lorena's Diving Horse was one popular attraction. As seen in historic photographs, a ramp led to a diving platform over the pool's deep end from which the horse and rider would dive. Other pool amenities included a zip line across the pool and a tall slide, while other attractions included a diving baby and a Ferris wheel.
In 1935, the City of Austin bought the property for $10,000. Two weeks after the purchase, a massive flood on the Colorado River destroyed the bathhouse and other improvements, and filled the pool with mud and debris. The Works Progress Administration and the city of Austin jointly funded the rebuilding of the bathhouse, which was designed by Austin architects Dan Driscoll and Delmar Groos. The pool opened as a public park in July 1936.
Over time, the city has put the property to a variety of uses. While the pool continues in operation, the city separated the western edge of the land as a park and playground named after A.J. Eilers. The city also converted Deep Eddy's bathhouse to alternative uses including a long service as a wildlife science exhibit. In 2004, for safety reasons, the city removed the 70-year-old, cottonwoods that surrounded the pool.
Deep Eddy Pool is listed as a historic landmark on the National Register of Historic Places and has been the inspiration of various works of art. Architectural design elements were replicated by Dan Driscoll in his design of the Barton Springs Pool Bathhouse in 1946, Texas musician Jimmie Dale Gilmore wrote the song "Deep Eddy Blues" about the pool and the nearby bar, the Deep Eddy Cabaret.
The pool today.
Deep Eddy Pool is popular with adult recreational swimmers for its lap swimming pool and with children for its large wading pool. The pool is fed with clear, cold water from two wells, one at 300 ft and a second new one at 400 ft, and is not chlorinated. Water temperature varies between 66 and 75 °F (20 and 25 °C). The lap swimming pool is generally open during daylight hours all year, though hours are shortened during winter months. The lap and the wading pool are open from March 14 through October 31, 2015, 8:00am to 8:00pm. In summer months, the pool sponsors Splash Party Movie Nights, showing family films on an inflatable movie screen visible by swimmers and waders. The pool supports a number of sporting events, including the Deep Eddy Mile swimming competition.
Bathhouse restoration.
Most of the original bathhouse was closed to the public for many years. The Friends of Deep Eddy, a non-profit association of swimmers and other parks advocates, began a fundraising campaign to renovate the bathhouse to its historic condition in 2002. First construction on the project began in 2005 when the Friends group replaced the dilapidated roof. Final construction and reopening of the bathhouse took place in June 2007.
2012 renovations.
In Spring 2012 the City of Austin rebuilt the pool due to severe leaking and cracking of the pool slab. Work crews removed and replaced, or capped over with new reinforced concrete, the entire pool bottom. The pool's west end was lengthened and a beach-type (zero-depth) entry was added. The project also included repair of the pool walls, widening of the pool deck, and adding new coping around the pool edge. The pool side pump house building was removed and replaced, and a new storage building was added to the east of the pool.


Lincoln Creek Snowshoe Cabin

The Lincoln Creek Snowshoe Cabin, built in 1931, is a cabin in Glacier National Park. It has also been known as Lincoln Creek Cabin and as Building Inventory No. 617.


Apse Manor

Apse Manor is a manor house on the Isle of Wight, situated just within the eastern boundary of the Newchurch parish. The house is pleasantly situated just to the north of the high road from Shanklin and as of 1912 retained a room with a stone fireplace and a heavy panelled Tudor ceiling.
History.
It was granted by Roger del Estre (? de Estur) at the solicitation of Richard de Redvers (1100–7) to the canons of Christchurch Twyneham, with whom it remained till the Dissolution of the monasteries. It then passed to the Crown and was leased from time to time. Thomas Rice appears to have been the lessee about the middle of the 16th century, holding under a ninety years' lease from the monks dated 1535. The manor after the expiration of Rice's lease was granted in 1595–6 for forty years to Elizeus Wynne. It seems afterwards to have passed to the Basketts, John Baskett being in possession in 1583, and Thomas Baskett apparently succeeding him. The Basketts were probably lessees under the Crown, for in 1624 at the request of John Ramsey, Earl of Holderness the manor was granted to Edward Ramsey of Hethersett, Norfolk, and Robert Ramsey of London, at a fee-farm rent of £25 5s. 4d. The Ramseys sold the manor in the same year to Richard Baskett, and he died in 1626, leaving a son and heir Richard, who sold it in 1640 to John Warner, Bishop of Rochester. He devised it to his nephew Dr. John Lee, D.D., whose son and heir Lee Warner, of the Inner Temple, sold it in 1678 to Edward Courthop. Apse must have passed from Courthop to a member of the Dillington family, for Worsley states that it was purchased of a Dillington by Edward Leigh of Newport, who left it to John Chichester. John Chichester was dealing with it in 1716, and Sir John Chichester was still in possession in 1747. The manor was sold by him or his son Sir John towards the end of the 18th century to Sir Richard Worsley. It passed from him with Appuldurcombe to Lord Yarborough, who sold it in 1854 to George Young. From him it was probably purchased by Mr. Gassiott, who in 1896 sold it to Lord Alverstone, who still owned it in 1912.
References.
"This article includes text incorporated from William Page's "A History of the County of Hampshire: Volume 5 (1912)", a publication now in the public domain"