Appenzell

Appenzell is a historic canton in the northeast of Switzerland, and entirely surrounded by the canton of St. Gallen.
Appenzell became independent of the Abbey of Saint Gall in 1403 and entered a league with the Old Swiss Confederacy in 1411, becoming a full member in 1513. It has been divided since into Appenzell Innerrhoden and Appenzell Ausserrhoden since 1597 as a result of the Swiss Reformation.
The territory of Appenzell as a geographical entity is known as "Appenzellerland" while in political contexts, the two cantons (until 1999 half-cantons) are referred to as "beide Appenzell" ("both Appenzells").
History.
Foundation.
The name "Appenzell" derives from ("cell (i.e. estate) of the abbot"). This refers to the Abbey of St. Gall, which exerted a great influence on the area. By the middle of the 11th century the abbots of St Gall had established their power in the land later called Appenzell, which by that time was thoroughly Alemannic.
By about 1360, conflicts over grazing rights, taxes, and tithes were causing concern for both the abbot and the farmers of Appenzell. Both parties wanted to protect their rights and interests by joining the new Swabian League. In 1377 Appenzell was allowed to join the League with the support of the cities of Konstanz and St. Gallen (the city of St. Gallen was often at odds with the neighboring Abbey of St. Gall). With the support of the League, Appenzell refused to pay many of the gifts and tithes that the Abbot Kuno von Stoffeln demanded. In response to the loss of revenue from his estates, Kuno approached the Austrian House of Habsburg for help. In 1392 he made an agreement with the Habsburgs, which was renewed in 1402. In response, in 1401 Appenzell entered into an alliance with the city of St. Gallen to protect their rights and freedom.
Independence and joining the Swiss Confederation.
Following increasing conflicts between the Appenzellers and the abbot's agents, including the bailiff of Appenzell demanding that a dead body be dug up because he wanted the man's clothes, the Appenzellers planned an uprising. On a certain day, throughout the abbot's lands, they attacked the bailiffs and drove them out of the land. Following unsuccessful negotiations Appenzell and St. Gallen entered into a treaty. The treaty between St. Gallen and Appenzell marked a break between the abbot and his estates. Perhaps fearing the Habsburgs, in 1402 the League expelled Appenzell. During the same year, St. Gallen reached an agreement with the abbot and Appenzell could no longer count on St. Gallen's support. Appenzell declared itself ready to stand against the abbot, and in 1403 formed an alliance with the Canton of Schwyz, a member of the Old Swiss Confederation that had defeated the Austrians in the last century. Glarus provided less support, but authorized any citizen who wished to support Appenzell to do so. In response, the League raised an army and marched to St. Gallen before heading toward Appenzell. On 15 May 1403, they entered the pass to Speicher and outside the village of Vögelinsegg met the Appenzell army. A small force of Appenzell and Confederation troops defeated the League army and signed a short lived peace treaty.
Following another Appenzell victory on 17 June 1405, at Stoss Pass on the border of Appenzell town, the new canton continued to expand. During the expansion, Appenzell had even captured the abbot of St Gall and in response they were excommunicated by the Bishop of Constance.
However, while the "Bund" expanded the Austrians used the peace to regain their strength. On 11 September 1406 an association of nobles formed a knightly order known as the "Sankt Jörgenschild" (Order of St. George's Shield) to oppose the rebellious commoners of the "Bund". Following a defeat at Bregenz, Appenzell was unable to hold the "Bund" together. The city of St. Gallen and the Canton of Schwyz each paid off the Austrians to avoid an attack, and the "Bund" was dissolved by King Rupert on 4 April 1408.
As part of the peace treaty, the abbot gave up his ownership of Appenzell, but was still owed certain taxes. However, it wasn't until 1410 that the area was at peace.
In 1411 Appenzell signed a defensive treaty with the entire Swiss Confederation (except Bern), which strengthened their position against the abbot. Appenzell joined the Confederation as an "Associate Member", and wouldn't become a full member until 1513. Following another battle, in 1429, Appenzell was granted freedom from the obligations in the future. This treaty represented the end of Appenzell's last financial tie to the Abbey of St. Gall, and a movement to closer relationships with the Confederation.
Division of Appenzell.
Starting in 1522, followers of Martin Luther and Huldrych Zwingli began to preach the Protestant Reformation in Appenzell. The early reformers had the most success in the outer "Rhoden", a term that in the singular is said to mean a "clearing," and occurs in 1070, long before the final separation. Following the initial small success, in 1523 Joachim von Watt (also known as Joachim Vadian) began to preach the reformed version of the Acts of the Apostles to friends and fellow clergy. His preaching brought the Reformation into the forefront of public debate. In October 1523, the Council supported the Protestant principle of scriptural sermons and on 24 April 1524 Landsgemeinde confirmed the Cantonal Council's decision. However, the work of the Anabaptists in the Appenzell region (as well as in Zurich and St. Gallen) in 1525 led to government crackdowns. The first police action against the Anabaptists took place in June 1525, followed by the Anabaptist Disputation in Teufen in October 1529.
To end the confrontation between the old and new faiths, the Landesgemeinde decided in April 1525, that each parish should choose a faith, but that the principle of free movement would be supported, so that the religious minority could attend the church of their choice regardless of where they lived. The entire Ausserrhoden converted to the Reformation in 1529, with the exception of Herisau, whose Catholic priest, Joseph Forrer, convinced the town to remain with the old faith for the time being, whereas the Innerrhoden remained with the old faith, with the exception of Gais. While the majority of the residents of Appenzell town remained Catholic under Pastor Diepolt Huter, there was a strong Reformed minority. In 1531, the minority were nearly successful in getting the town to ally with the Protestant Ausserrhoden. But an armed mob of angry residents from the neighboring village of Gonten prevented the abolition of the Mass in Appenzell. The Catholic victory in the Second War of Kappel in 1531 ended plans for a reformation of the entire Canton of Appenzell.
After the Second War of Kappel, the two religions reached a generally peaceful parity. They remained united by common business interests, the same political and legal understanding, a shared desire to form an alliance with France and a shared opposition to the city of St. Gallen. This shared opposition to St. Gallen was demonstrated in the so-called linen affairs (1535–42, 1579), where the weavers throughout Appenzell supported each other when they felt that they were unfairly treated by the linen industry of St. Gallen. Nonetheless, divisions over matters of religion and foreign policy, especially with regards to alliances between Catholic and Protestant cantons and the foreign powers of Spain and France, respectively, led to the peaceful partition of the canton in 1597. The terms of partition were arbitrated by representatives of both Catholic cantons (Luzern, Schwyz, Nidwalden) and Protestant cantons (Zürich, Glarus, Schaffhausen).
After this time, the term "Kanton Appenzell" continued to refer to both half-cantons, although this usage has since become outdated. Usually "die beiden Appenzell" ("the two Appenzells") are spoken of in a political context, and "Appenzellerland" in a geographic context, if the aim is to refer to Innerrhoden and Ausserrhoden collectively.
From 1798 to 1803 Appenzell, with the other domains of the abbot of St Gall, was formed into the canton of Säntis of the Helvetic Republic, but in 1803, on the creation of the new canton of St Gall, shrank back within its former boundaries.
Geography.
Appenzell is an alpine region, particularly in the south, where the Alpstein limestone range (culminating in the Säntis, with an elevation of ) is found, though towards the north the surface is composed rather of green hills, separating green hollows in which nestle neat villages and small towns. It is mainly watered by two streams that descend from the Säntis, the Urnasch joining the Sitter (on which is the capital, Appenzell), which later flows into the Thur. There are trams from Appenzell to St Gallen either through Gais or through Herisau, as well as lines from St Gallen to Trogen and from Rorschach to Heiden.
Since 1597 it has been divided, for religious reasons, into two half-cantons, which are quite independent of each other, and differ in many points. The north and west portion or "Ausser Rhoden" has a total area of , of which are classed as "productive"; forests cover and glaciers , and its population is mainly German-speaking and Protestant. Its political capital is Trogen, though the largest town is Herisau, while Teufen, and Heiden in the north-east corner is the most frequented of the many goats' whey cure resorts for which the entire canton is famous (Urnäsch and Gais are also in Ausser Rhoden). This half-canton is divided into three administrative districts, comprising twenty communes, and is mainly industrial, the manufacture of cotton goods, muslins, and embroidery being very flourishing. It sends one member (elected by the "Landsgemeinde") to the federal "Ständerat" and three to the federal "Nationalrat" (elected by a direct popular vote).
The south or more mountainous portion of Appenzell forms the half-canton of Appenzell, "Inner Rhoden". It has a total area of (of which are classed as "productive," forests covering and glaciers ). Its population is almost entirely German-speaking, and predominantly Catholic. Its political capital is Appenzell, which is also the largest village, while Weissbad (near it) and Gonten are the best-known goats' whey cure resorts. Embroidery and muslins are made in this half-canton, though wholly at home by the work-people. But it is very largely pastoral. Inner Rhoden is extremely conservative, and has the reputation of always rejecting any federal "Referendum". For similar reasons it has preserved many old customs and costumes, those of the women being very elaborate and picturesque, while the herdsmen have retained their festival attire of red waistcoats, embroidered braces and canary-coloured shorts. Appenzell's annual New Year's Day festivities are still governed by the Julian calendar and are thus currently held on January 14. It sends one member (named by the "Landsgemeinde") to the federal "Ständerat", and one also to the federal "Nationalrat", while it forms but a single administrative district, though divided into six communes.
"Landsgemeinden".
To the outer world the canton of Appenzell is best known by its institution of "Landsgemeinden", or democratic assemblies held in the open air, in which every male and female citizen (not being disqualified) over twenty years of age must (under a financial penalty) appear personally: each half-canton has such an assembly of its own, that of Inner Rhoden always meeting at Appenzell, and that of Ausser Rhoden in the odd years at Hundwil (near Herisau) and in the even years at Trogen. However, in Ausser Rhoden this institution was abolished by a ballot on 29 September 1997 by 54% of the voters (61% of the electorate voted).
This institution is of immemorial antiquity, and the meetings in either case are always held on the last Sunday in April. The "Landsgemeinde" is the supreme legislative authority, and elects both the executive (in Inner Rhoden composed of nine members and called "Ständekommission", and in Ausser Rhoden of seven members and called "Regierungsrat") and the president or "Landammann"; in each half-canton there is also a sort of standing committee (composed of the members of the executive and representatives from the communes—in Inner Rhoden one member per 250 or fraction over 125 of the population, and in Ausser Rhoden one member per 1000 of the inhabitants) which prepares business for the "Landsgemeinde" and decides minor matters; in Inner Rhoden it is named the "Grossrat" and in Ausser Rhoden the "Kantonsrat". As various old-fashioned ceremonies are observed at the meetings and the members each appear with his girded sword, the sight of a meeting of the "Landsgemeinde" is most striking and interesting.
The existing constitution of Inner Rhoden dates mainly from 1872, and that of Ausser Rhoden from 1876.
The oldest codes of the laws and customs of the land ("Landbücher") date from about 1540 and 1585, the original MS. of the latter (called the "Silver Book" from its silver clasps) being still used in Inner Rhoden when, at the beginning of the annual "Landsgemeinde", the newly elected "Landammann" first takes the oath of office, and the assembled members then take that of obedience to him, in either case with uplifted right hands.
In fact there are two "Landamann": a so-called "Regierender Landaman" (acting Landamann) and a "Stillstehender Landamann" (vice Landamann). The terms are for two years and will switch between them after the two year, but they have to be confirmed every year by the voters. In particular the "Regierender Landaman" has to be confirmed by the voters by actually voting. This actually leaves the voters with the possibility to drop any member of the government during the "Landsgemeinde" and select someone else.


Ottone Calderari

Ottone Calderari (13 September 1730 – 26 October 1803) was an Italian architect and writer of architectural design.
Calderari was born and died in Vicenza. He made the designs for the Palazzos Loschi (Zileri dal Verme), Anti, Sola, Bonini, and Cordellina located in and near Vicenza. He completed the Palazzetto Capra Lampertico for the . He helped construct the church of Santorso, province of Vicenza. His design for a facade of the church of San Marco in San Girolamo in Vicenza, was later used for the church of St. Filippo Neri by Antonio Piovene. He was active in some of the reconstruction and expansions of Thiene Cathedral. He also worked in Verona, Padua, and Marostica.
In his day, he was said to represent a "rejuvenated Palladio", while by others, he was considered a plagiarist.


St Martin, Ludgate

St Martin, Ludgate, also known as St Martin within Ludgate, is an Anglican church on Ludgate Hill in the ward of Farringdon, in the City of London. The church is of medieval origin, but the present building dates from 1677 to 1684 and was designed by Sir Christopher Wren.
History.
Some legends connect the church with legendary King Cadwallo (now usually referred to as Cadwallon ap Cadfan, father of Cadwaladr. A sign on the front of the church reads "Cadwallo King of the Britons is said to have been buried here in 677". Modern historians would place his death about 682. Cadwallo's image was allegedly placed on Ludgate, to frighten away the Saxons. However, Middlesex and the London area were controlled by the Anglo-Saxon polities at that time and there is no evidence of British or any other occupation of the intramural area of the abandoned 'Londinium' since the late fourth century. Previously the sign stated that it was the West Saxon king Caedwalla but this was contradicted by Bede's writings that he was buried in Rome. However the earliest written reference is from 1174. A Blackfriars monastery was built nearby in 1278. The church was rebuilt in 1437 and the tower was struck by lightning in 1561. The parish books start from 1410. Before the Reformation, the church was under the control of Westminster Abbey, and afterwards under St. Paul's Cathedral.
St Martin of Tours is a Patron Saint of travellers. Churches which are dedicated to him often stand just within city gates. A blue plaque next to church records the earlier presence of Ludgate, demolished 1760. From the lower part of Fleet Street the steeple stands between the viewer and the dome of St Paul's Cathedral. Wren probably planned to make a contrast between the spiky steeple of St Martin's and the circular dome of St Paul's. It is a curious combination of a lead-clad dome, topped by a lantern and on top of that a sharp obelisk steeple, somewhat like an exclamation mark.
In "The Roaring Girl, or Moll Cutpurse" by Dekker and Middleton, Sebastian says "The clock at Ludgate, sir, it ne'er goes true". This might refer to St Martin's church. "I owe you three farthings, say the bells of St Martin", might refer to this church, but is more likely to refer to St Martin Orgar in Cannon Street (previously Eastcheap). In 1614 Samuel Purchas, a travel writer, became the rector. On the 17th century font there is a Greek palindrome – ΝΙΨΟΝ ΑΝΟΜΗΜΑΤΑ ΜΗ ΜΟΝΑΝ ΟΨΙΝ "Nipson anomemata me monan opsin" (Cleanse my sin and not my face only). There is a 17th-century carved oak double churchwarden's chair – the only one of its kind known to exist.
The medieval church was repaired in 1623, only to be destroyed in the Great Fire of London in 1666. Rebuilding was not immediate, but was largely completed by 1680, finished in 1703. In 1669 a Roman tombstone, now in the Ashmolean Museum, was found. The current design is topped by a lead-covered octagonal cupola supporting a balcony and tapered spire rising to a height of . The centre of the church is in the form of a Greek cross, with four large columns. The chandelier dates from about 1777 and comes from the West Indies. As a curiosity, this is from the burial register: "“1615, February 28, St. Martin’s, Ludgate, was buried an anatomy from the College of Physicians.” (It was first noticed by Andrew Lang, in an article in "Books and Bookmen"). The Royal College of Physicians were based in Amen Corner, a few yards away from 1614 to 1666. In 1678 Robert Hooke designed a new hall in Warwick Lane, also nearby.
The view from the steeple towards the river is spectacular. It was painted by T.M. Baynes.
In 1893 to 1894, the church underwent a major rebuilding and alteration, with the floor level raised, and many bodies disinterred from the churchyard and reburied at Brookwood Cemetery.
In 1941, during the London Blitz, a German incendiary bomb damaged the roof, but St Martin's received relatively little damage during the Second World War. In 1954 St Martin's became a Guild Church and was designated a Grade I listed building on 4 January 1950.
Organ.
The organ is a Bernard Schmidt design dating from 1684. There are carvings by Grinling Gibbons inside. The contemporary carvings in the church are also attributed to three joiners, Athew, Draper and Poulden, and to the carvers Cooper and William Newman. There are organ recitals every other Monday; chamber music every Wednesday and Friday.
A specification of the organ can be found on the National Pipe Organ Register.
Past organists at St Martin include:


Livraria Lello

The Lello Bookstore (), also known as Livraria Lello & Irmão and Livraria Chardron, is a bookstore located in civil parish of Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória, in the northern Portuguese municipality of Porto.
Along with Bertrand in Lisbon, it is one of the oldest bookstores in Portugal and frequently rated among the top bookstores in the world (placing third in lists by guidebook publisher Lonely Planet and "The Guardian").
History.
In 1869, the "Livraria Internacional de Ernesto Chardron" was founded, from a shop on "Rua dos Clérigos" by the Frenchman . Following its founder's death, at the age of 45, the firm was sold to "Lugan & Genelioux Sucessores".
Alternately, in 1881, José Lello along with his brother-in-law created the firm "David Pereira & Lello". But, the following year, after the death of David Lourenço Pereira, the establishment began to be operated as "José Pinto de Sousa Lello & Irmão", when he partnered with his younger brother (António Lello). The brothers were born to a property-owner in Villa Ramadas (Fontes), in the municipality of Santa Marta de Penaguião: both became prominent members of Porto's intellectual bourgeoisie by the turn of the century.
In 1891, the Chardron Bookstore acquired the establishments of A.R. da Cruz Coutinho and other bookstores in the city. This ultimately led to Mathieux Lugan selling his share in the Chardon bookstore to the brothers Lello, in 1894. These purchases later included the 7 April 1898 sale of the firm "Livraria Lemos & Co."
The brothers hired engineer Francisco Xavier Esteves (1864-1944) to construct the new bookstore on "Rua das Carmelitas". In 1906, the "Livraria Lello" was inaugurated.
By 1919, the bookstore was simply designated as the Lello & Irmão, Lda. With the 1930 addition of José Pereira da Costa, the bookstore began to be known simply as Livraria Lello. But, between 1930 and 1940, it once again became designated "Lello & Irmão".
On 14 December 1981, there was a proposal to classify the store by the "Delegação Regional do Norte" ("Northern Regional Delegation") of the Secretary-of-State for Culture. It took almost a decade, before a dispatch was issued by the IPPAR presidency to open a process of classification (on 28 September 1993). The IPPAR consultative council favoured its establishment as a "Imóvel de Interesse Público" ("Property of Public Interest") pm 24 March 1994.
In 1995, Lello & Irmão created a new society: "Prólogo Livreiros S.A.", which preceded its reopening on 15 March 1995, following a period of restoration and remodelling.
The Secretary-of-State for Culture solicited a presentation on 14 March 201 to establish a special protection zone (ZEP) the site, which was supplemented by the DRCNorte (on 12 April). The proposal was seen as a positive initiative by the National Cultural Council on 31 May. The ZEP decision was published on 28 January 2013 (Announcement 35/2013, Diário da República, Série 2, 19).
Beginning in July 2015, the bookstore began requesting entrance fees for visitors. On 21 April 2016, an artistic mural was erected to conceal the scaffolding placed on the facade of the building, during its restoration, by graffiti writer Dheo and colleague Pariz One. Dheo painted the central area of the mural with a pile of old books, a lit candle and a bottle of Port wine, while the rest was painted by Pariz One with geometric shapes, referring to the stained glass inside the bookstore. The work took two months to produce. On 31 July, following the restoration, the main facade of the building was uncovered, showing the laboratory-tested recovered primitive gray.
Architecture.
The bookstore is flanked by shops and fronts the "Praça de Lisboa", near to the Porto University Faculty of Sciences building, the tower and Clérigos Church.
The rectangular plan covers two-stories, representing a simple mass, covered in tiled roof. Its principal facade is oriented to the south, towards the "Ruas das Carmelitas" and related to the "Praça de Lisboa". The building's exterior has a mixed architectural suggesting Neo-Gothic, and Art Nouveau elements, and in the interior, implied Art Deco elements.
On the first floor, it includes bated arch, divided into three vains, with the central arch providing entrance into the building and decorative lateral windows, each surmounted by flag adapted to the archway. Above this arch are three elongated rectangular windows flanked by two painted figures representing "Art" and "Science" (work of Professor Jose Bielman).
Finishing the facade are squared plaits surmounted by three decorated pinnacles, with two pilasters on either side, topped by pinnacles of equal design. Decorative elements complete the facade with alternating geometric shapes that circuit and the firm's name "LELLO & BROTHER" over the bow, all painted in vivid colours that highlight the white paint on the facade.
Interior.
The ample interior space is marked by a forked staircase connecting to a gallery on the first floor with detailed wood balusters.
Over this staircase is a large stained glass window, with the central motto "Decus in Labore" and monogram of the owners.
The ceiling and interiors are treated exhaustively with painted plaster, designed to resemble sculpted wood surfaces and decorative elements.
The building still retains the rails and wooden cart once used to move books around the store between the shelves.


Holy Trinity Church, Colton

Holy Trinity Church is located to the east of the village of Colton, Cumbria, England. It is an active Anglican parish church in the deanery of Furness, the archdeaconry of Westmorland and Furness, and the diocese of Carlisle. Its benefice has been united with those of St Andrew, Coniston, St Luke, Torver, St Mary the Virgin, Egton-cum-Newland, and St Luke, Lowick. The church is recorded in the National Heritage List for England as a designated Grade II listed building.
History.
The church dates from 1578, the year in which it was consecrated. The tower was built in the early part of the 17th century. Holy Trinity became a parish church in 1676, and in 1721 a north transept was added. In 1762 a vestry was built. The church was restored by the Lancaster architects Paley, Austin and Paley in 1890.
Architecture.
Exterior.
Holy Trinity is constructed in roughcast stone, with ashlar dressings and a slate roof. Its plan consists of a five-bay nave and chancel in one range, a north transept, a north vestry, and a west tower. The tower contains a small square west window above which are two round-headed windows. The bell openings are plain and straight-headed with louvres. At the summit is an embattled parapet.
Interior.
On the west wall is a painted text reading "DRAW NEAR UNTO GOD", a wall-clock dated 1829, and the Royal arms of George III. The font is plain and dates probably from the 16th century. The memorials include a wall tablet in the transept dated 1775. The authors of the "Buildings of England" series describe the stained glass as being "unusual". A window in the southwest of the church is by H. Warren Wilson to the memory of Harriet Dickson of Abbotts Reading who died in 1918. It depicts Jacob's dream, Coniston Water, and local birds and flowers. Elsewhere are windows by Gamon and Humphrey to the memory of Arthur Dickson, who died in 1901, depicting Daniel, Saint John, and birds. On the north side of the church is a memorial window to another Arthur Dickson, who died in 1934, including the words of Psalm 150. A further window is to the memory of Revd John Hall, who died in 1958, and shows four scenes from the Parable of the Good Samaritan.
External features.
To the west of the church is a water basin. This dates probably from the 16th century, or earlier, and was possibly a holy well. It is designated as a Grade II listed building.


Old Martin County Courthouse

The Old Martin County Court House, built in 1937, is a historic Art Deco style courthouse building located at 80 East Ocean Boulevard in Stuart, Martin County, Florida. In 1989, it was listed in "A Guide to Florida's Historic Architecture", published by the University of Florida Press. On November 7, 1997, it was added to the U.S. National Register of Historic Places. On March 15, 2007, it was added to the Martin County Historic Register by the Martin County Historic Preservation Board. It is now known as the Courthouse Cultural Center and is the headquarters of the Arts Council, Inc., the designated local arts agency for Martin County.
Building history.
The building was designed by architect L. Phillips Clarke of West Palm Beach and built by Chalker & Lund of poured concrete walls with terrazzo floors in the Art Deco style for the WPA as a northern addition to the first Martin County courthouse, which had been built in 1908 as a Palm Beach County public school building and converted to courthouse use after Martin County was created in 1925. The four words, Martin County Court House, were prominently etched into the front of the addition, where they still remain. Because of this, both the National Register and the Cultural Center have retained the two-word spelling of courthouse even though the one-word version is the preferred one.
In 1954, the county bought a building to the west that had been used as an automobile dealership by Web Ordway Ford and later as an A & P grocery store and converted it into a courthouse annex. At the same time, the county extended the original courthouse and the 1937 addition west to abut the annex and joined their hallways. The county also extended the 1937 addition and the old school house on the east side. Both of these 1954 additions were bland, utilitarian structures of no particular architectural merit.
Later when the county outgrew this assemblage of buildings, it decided to build a new courthouse and constitutional officers complex to the south of the original courthouse and to tear down the original courthouse, all additions and the annex. The City of Stuart, though, with much public support, prevailed on the county commission to save the 1937 addition and to use it as a cultural center. There was some sentiment to save the original schoolhouse building, but this was determined not to be feasible.


Grand Theatre of Rabat

The Grand Theatre of Rabat (; ) is a large performing arts center under construction in Rabat, the capital city of Morocco. The building is designed by Zaha Hadid and her architectural firm Zaha Hadid Architects. Planning began for the project in 2010 and construction officially started on October 7, 2014. Completion of the project was scheduled for late 2019. The building is among the last projects designed by Zaha Hadid before her passing in 2016.
The construction of the theatre is part of a wider national initiative by King Mohammed VI to promote the arts and cultural development. The Grand Theatre is planned to be one of the centerpieces of a new 110-hectare mixed-use district on the shores of the Bou Regreg River, including malls, residential areas, a national archive, a new archaeological museum, and a business district with skyscrapers on the Salé side of the river.
The curving design of the structure is inspired by both the nearby river's winding course and by the aesthetics of Arabic calligraphy. Other elements take their cues from Islamic architecture. The building includes an 1800-seat interior theatre and a 7000-seat open-air amphitheatre.


Warren-Crowell House

The Warren-Crowell House is a historic house in Terrell, Texas, U.S.. It was designed in the Prairie School style with a Colonial Revival porch by architect James E. Flanders, and completed in 1903. It has been listed on the National Register of Historic Places since May 23, 1980.


Jefferson County Courthouse (Texas)

The Jefferson County Courthouse in Beaumont, Texas is one of the tallest courthouses in the state, and is an excellent example of Art Deco architecture. Built in 1931, it is the fourth courthouse built in Jefferson County. It was designed by Fred Stone and Augustin Babin, and is thirteen stories high. In 1981, an annex was added to the west side of the courthouse.
History.
The county has had four courthouses. The first building built by the county was a simple wood structure built to serve as the county jail. The second courthouse was built in 1854 and was a simple two story square structure. A third courthouse, a three-story red brick building designed by E.T. Heiner, was built in 1893. By the late 1920s Beaumont had grown so much that the courthouse was inadequate to meet the needs of the people, and by early 1931 the present brick structure was completed. The architects were Fred C. Stone & A. Babin; the sculptor of the frieze panels and other architectural sculpture was Beaumont sculptor Matchett Herring Coe.
The building has retained nearly all of its originality over the years, including its marble interior, but in 1981 an annex was added to the west side to increase space. The annex connects to the original courthouse through the basement, first, and second floors. The only public entrance is through the annex due to recent security upgrades.
Floors eight through thirteen of the courthouse once served as the county jail, one can tell by the barred windows. Today the space is used for storage.
Restoration.
A $22 million restoration project is currently underway. Phase one was completed in May 2009 when the copper roof from the 1940s was replaced with a multicolored tile roof, similar to the original. Phase two began August 2010, and will clean and restore granite and windows from the fifth to 13th floor.


World Port Center

World Port Centre is a 33-storey, skyscraper in Rotterdam, Netherlands.
Infrastructure.
Designer.
Sir Norman Foster designed the 32-storey building. This British architect gained international fame with his designs for the London Stansted Airport, the Hong Kong & Shanghai Bank in Hong Kong, the extension of the Reichstag building in Berlin and the Commerzbank Tower in Frankfurt. In 1992 he designed the master plan of the entire Wilhelminapier, where the World Port Centre is standing.
Builder.
The tower was commissioned by ING Real Estate Development. The building costs amounted to approximately NLG100 million. The Port of Rotterdam Authority is the main occupant of the WPC, using floors 2 to 19. Floors 25 to 28 are rented to Eneco Energie, floors 29 to 32 are built as conference areas and are commercially leased to Regus. The grounds also cover the Argentine steak-restaurant Gaucho's.
Features.
As the building stands at the far point of the Wilhelmina pier it is built on, there is a view of the surrounding harbours and city from the higher floors. The building is also an emergency centre, designed to deal with potential catastrophes in the port area and act as a coordination centre.


Patras Castle

The Patras Fortress () was built around the mid-6th century A.D above the ruins of the ancient acropolis of the city of Patras, on a low outlying hill of the Panachaiko Mountain and ca. 800 m from the sea. The castle covers 22,725 m² and consists of a triangular outer wall, strengthened by towers and gates and further protected originally by a moat, and an inner compound on the northeastern corner, also protected by a moat.
The first castle on the spot was built by Byzantine emperor Justinian I after the catastrophic earthquake of 551, re-using building material from pre-Christian structures. One of these "spolia", the torso and head of a marble Roman statue, became part of the city's folklore, a sort of "genius loci". It is known as the "Patrinella", a maiden who is supposed to have been transformed into a man during Ottoman times, guards the city against disease and weeps whenever a prominent citizen of Patras dies.
The fort remained in constant use thereafter, even until the Second World War. In the Byzantine period, it was besieged by Slavs, Saracens, Normans and many others, but it never fell. In particular, the successful repulsion of a great siege of 805 AD by the Arabs and the Slavs was attributed to the city's patron saint, St Andrew.
In 1205, in the aftermath of the Fourth Crusade, it was taken over by the Franks, who strengthened it further, opening a moat on all three sides. In 1278, the Principality of Achaea pawned it to the local Latin (Catholic) Archbishop, while the Pope leased it to the Venetians for five years in 1408. The Latin Archbishop remained in possession of the castle until 1430, when it was taken by the Despot of the Morea and future last Byzantine emperor, Constantine Palaiologos, who made extensive repairs to its walls. The castle fell to the Ottoman Turks in 1458, and remained one of their main seats of power in the Peloponnese throughout the "Tourkokratia". The Venetians took the castle in 1687 during the Morean War, and kept it until the Morea was retaken by the Turks in 1715.
Following independence, the castle remained in use by the Greek Army until after World War II. In 1973, the castle was turned over to the 6th Ephorate of Byzantine Antiquities. It is used nowadays for cultural events, especially during summer, and features a theatre with a capacity of 640 seats.


Headquarters Historic District

The Headquarters Historic District of Glacier National Park comprises the administrative and housing buildings near West Glacier, Montana on the west side of the park. The area contains a mixture of styles, ranging from National Park Service Rustic to more modern structures built immediately after World War II.
Many of the buildings were built by labor from the Works Progress Administration and the Civilian Conservation Corps. Post-World War II development consists primarily of housing developed under the Mission 66 initiative. Significant buildings in the National Park Service Rustic style include the Superintendent's Residence (1923), the original Administration Building (1923), and a number of residences. Shared facilities included a messhall, bunkhouses and utility buildings.


Wind Cave National Park Administrative and Utility Area Historic District

The Wind Cave National Park Administrative and Utility Area Historic District comprises the central portion of Wind Cave National Park in South Dakota. The district centers on the historic entrance to Wind Cave, which is surrounded by park administrative and interpretive structures, most of which were built by the Civilian Conservation Corps in the 1930s.
The historic entrance to Wind Cave, discovered in 1881, was modified to allow better access to the natural entrance by blasting. A new passage was created, also by blasting, to allow visitor access. between 1892 and 1894, with another entrance blasted in 1936 by the CCC. The same year, a visitor center was built a short distance away overlooking the stream valley behind. Auxiliary buildings include the 1905 Superintendent's Cottage, the 1934 Superintendent's Residence, several employee residences, a ranger dormitory and mess hall, and other structures, mostly dating to the 1930s. The planned landscape blends with its environment, using a modified version of the National Park Service Rustic style.
The district was listed on the National Register of Historic Places on July 11, 1984.


Bright Angel Trail

The Bright Angel Trail is a hiking trail located in Grand Canyon National Park in the U.S. state of Arizona.
Description.
The trail originates at Grand Canyon Village on the south rim of the Grand Canyon, descending 4380 feet to the Colorado River. It has an average grade of 10% along its entire length. At trail's end, the River Trail continues another 1.9 miles to the Bright Angel Campground and Phantom Ranch. These two trails combined are the most common method used to access Phantom Ranch by hikers and mules.
Two trails cross or join the Bright Angel Trail, the first being an intersection with the Tonto Trail at Indian Garden, leading toward the Monument Use Area to the west, and to the South Kaibab Trail to the east. The second is the River Trail, which officially begins when the Bright Angel Trail reaches the Colorado River at the River Resthouse (although some consider that the Bright Angel Trail officially ends after crossing the Colorado River at the Silver Bridge).
Condition.
Grand Canyon National Park categorizes the Bright Angel Trail as a "corridor trail". With this designation it receives regular maintenance and patrols by park rangers.
Water availability.
Water is available from the trans-canyon pipeline at the Mile-and-a-half Resthouse, the Three Mile Resthouse, and Indian Garden. During cooler months (usually October–April) the two higher elevation resthouses are shut off from the water supply to prevent the pipeline from freezing.
Below Indian Garden, both Garden Creek and Pipe Creek flow year-round (perennial). Water is also available at the River Resthouse from the Colorado River. All water from natural sources must be filtered, treated, or boiled prior to consuming.
Camping.
Hikers can camp at Indian Garden Campground or at the Bright Angel Campground. At either site, they can stay overnight with a permit issued by the Grand Canyon National Park Backcountry Information Center. Overnight use of the campgrounds is regulated by the National Park Service, and they call for a maximum number of groups (7 to 11 people) and parties (1 to 6 people), as well as a maximum total number of persons.
Use permits are available on a first-come, first-served basis from the park's Backcountry Information Center. Requests are taken beginning on the 1st day of the month, up to four months before the requested first night of camping.
Hazards.
Hazards that hikers can encounter along the Bright Angel Trail include dehydration, sudden rainstorms, flash flooding, loose footing, bootpacked ice, rockfall, encounters with wildlife, and extreme heat. At the Colorado River, additional hazards include hypothermia (due to the river's consistently cold temperatures), trauma (due to collisions with boulders in rapids), and drowning.
Also, the trail is used by the mules transporting people and gear to and from the bottom of the canyon. Although these mules are highly trained, the trail is narrow in some places, and care must be given to give mules the right of way. The trail also has many switchbacks, and a bad fall can result in serious injuries. Squirrel bites at Plateau Point are the leading cause of animal injuries to park visitors.
History.
Havasupai.
The upper part of the trail was originally built by the Havasupai people for access to the perennial water source of present-day Garden Creek. The Havasupai settled seasonally in this area, now known as Indian Garden (or Indian Gardens). In 1903, President Theodore Roosevelt ordered them to leave the area, to make way for a park. However, it was not until 1928 that the last Havasupai left, forced out by the National Park Service.
Ralph Cameron.
Ralph H. Cameron, who would later become a United States Senator (R-AZ 1921–27), settled on the canyon rim in 1890 and began improving the old Havasupai trail. It was at this time that the trail was extended all the way to the Colorado River. Once official control of the trail fell to Cameron, he named it the "Bright Angel Trail," commonly referred to in its early years as "Cameron's Trail," and began charging a $1 toll to access it, plus additional fees for drinking water and the use of outhouses at Indian Garden.
Kolb brothers.
Ellsworth Kolb arrived at the Grand Canyon to work at the Bright Angel Hotel in 1901. He was employed as a bellboy. The next year, Ellsworth invited his brother Emery to come to the canyon as the possibility of mine work opened up. However, John Hance's asbestos mine closed before he arrived, leaving Emery unemployed.
Shortly after this, Emery discovered a photography business for sale in Williams, Arizona. He purchased the business for $425 ($9,690 in 2007) and moved the operation back to the Grand Canyon. He and Ellsworth began taking photographs of visitors who took the mule rides down Cameron's trail, charging a fee for the pictures. The Cameron family leased a small piece of land nearby to Emery, where the two brothers set up a photography studio in a tent to develop and sell their photos.
The business was profitable and after a few years the Kolb brothers built their permanent studio building on the rim of the canyon. Rock was blasted away to provide the foundation for the building, which is perched slightly below rim level.
Ellsworth left the venture in 1924, but Emery continued operating the studio until his death in 1976. The present-day Kolb Studio is operated by the "Grand Canyon Association" as a gift shop, art studio, and history center.
Competition with Cameron.
To compete with Cameron, the Atchison, Topeka and Santa Fe Railway improved an existing horsethief trail in "Hermit Canyon" (the Hermit Trail) in 1911. In 1924, the newly created National Park Service began construction of the South Kaibab Trail near "Yaki Point" as an additional bypass for Cameron's tolls.
National Park Service Control.
After a long series of legal battles, the trail was turned over to the National Park Service in 1928.


Leigh-Pemberton House

Leigh-Pemberton House is a historic house located on Castle Square in Lincoln, England, located on Bailgate between Lincoln Cathedral and Lincoln Castle. It became a Grade II* listed building on 8 October 1953. It is a half-timbered Tudor house, originally built for a merchant in 1543. A bank from 1899 until 1979, it was eventually given to the city of Lincoln by the Chairman of the National Westminster Bank, Sir Robin Leigh-Pemberton, (later governor of the Bank of England). It underwent extensive restoration in 1929 and 1970. The second and third floors have had many uses over the years but have recently been restored for self-catering accommodation.


Villa Skeppet

Villa Skeppet is a home designed by the Finnish modernist architect Alvar Aalto for his friends Christine and Göran Schildt in Ekenäs, Finland. The building was constructed in 1969–1970 and was the last as well as the smallest home he designed.
Today Villa Skeppet is owned by The Christine and Göran Schildt Foundation. The building was opened for the general public in December 2020.


Engine House No. 3 (Kalamazoo, Michigan)

Engine House No. 3 is a former fire station located at 607 Charlotte Avenue in Kalamazoo, Michigan. It was listed on the National Register of Historic Places in 1983.
History.
The first Kalamazoo hook and ladder company was established in 1846. By 1854 there were two companies, and the fire department continued to grow. In the early part of the 20th century, a number of new stations were constructed, and by 1910, the city had six stations. Four of these were designed by local architect Forrest D. Van Volkenberg, including Engine House No. 3. This station was constructed between 1907 and 1908, and it was used as a fire station by the city until 1980, when it was sold. As of 2013, the building was vacant.
Description.
Engine House No. 3 is a two-story brick structure, built in a Prairie School / Bungalow style that was popular at the time of construction. The architect, Forrest D. Van Volkenberg, designed the station with the local area in mind, and the design echoes that of the surrounding houses. It includes a small front porch similar to the houses in the neighborhood.


Tonhalle St. Gallen

Tonhalle St. Gallen is a concert hall in St. Gallen, Switzerland. It is a cultural centre, a venue for concerts, banquets and meetings. It is the home of the St. Gallen Symphony Orchestra.
History.
The concert hall was built between 1906 and 1909, in Art Nouveau style. The innovative construction used a reinforced concrete frame designed by Robert Maillart.
Early concerts were given by guest orchestras, with conductors Artur Nikisch, Richard Strauss, Felix Weingartner and Arturo Toscanini. Othmar Schoeck was the conductor of symphony concerts from 1917 to 1944.
The building was renovated in the early 1990s, with a larger stage and improved facilities for conductor and artists, and reopened in May 1993.


Mount Bonnell

Mount Bonnell , also known as Covert Park, is a prominent point alongside the Lake Austin portion of the Colorado River in Austin, Texas. It has been a popular tourist destination since the 1850s. The mount provides a vista for viewing the city of Austin, Lake Austin, and the surrounding hills. It was designated a Recorded Texas Historic Landmark in 1969, bearing Marker number 6473, and was listed on the National Register of Historic Places in 2015.
Geography.
Mount Bonnell is located at 30.3210°N, 97.7736°W (WGS 84 datum). The mount is often described as the highest point in Austin, with the elevation at its peak about 775 feet above mean sea level (AMSL). If Mount Bonnell ever held this distinction, it was only because the city limits did not include the next summit to the north, Mount Barker, which has an elevation of about 840 feet above mean sea level (AMSL). Many other areas now in the city of Austin are also higher than Mount Bonnell, but few publicly accessible spots offer such a sweeping view of the downtown area.
History.
Mount Bonnell's Indian Trail.
A historical marker was placed at Mount Bonnell in 1969 by State Historical Survey Committee. The marker reads:
Years after Bigfoot Wallace's refuge in the cave on Mount Bonnell, when asked why he had chosen the cave as a refuge, he responded "Well the cave was right on the old Indian trail leading down to Austin, and I thought I would be able to keep my hand in by 'upping' one now and then; and besides, the cave was in the best hunting ground for bear in all this country.."
Julia Lee Sinks.
Julia L. Sinks, author and historian, was an early settler to Austin, arriving in the spring of 1840. Before meeting and marrying George Sinks, chief clerk of the Post Office Department during the Republic years, she lived on West Pecan, present day 6th street, and later wrote "Our home was on the beaten track of the Indians into town from the pass of Mount Bonnell. The knolls beyond the quarry branch were interspersed with timber, and sometimes though not often, we would see galloping past the open spaces beyond the blanketed Indian. The path along the quarry branch, secluded as it was, became their main inlet to the town. It was a sheltered road, never traveled at night by whites, so the Indians claimed right of way, and all full moons brought moccasin tracks in abundance".
Indian Depredations of Texas.
If Mount Bonnell was on an Indian trail into Austin, it was also a trail out, as illustrated in another story included in Wilbarger's book, Indian Depredations of Texas. In 1842, a Mrs. Simpson living on that very same street as Julia Lee Sinks, West Pecan, about three blocks west of Congress, had two children – a daughter 14, a son 12—abducted by Indians while the children were in the adjacent "valley" (Shoal Creek). Wilbarger says that at that time there were no houses there. The Indians "seized the children, mounted their horses and made off for the mountains going in the direction of Mt. Bonnell". A posse was raised and gave pursuit. Wilbarger then says "At one time the citizens came within sight of the redskins just before reaching Mt. Bonnell, but the Indians, after arriving at the place, passed on just beyond to the top of the mountain, which being rocky, the citizens lost the trail and were never able to find where the savages went down the mountain".
The Simpson girl was killed, but the boy survived and was later "traded off to some Indian traders, who returned him to his mother". It is because the boy survived and was returned home that we know what happened after the posse lost the trail of the Indians on Mount Bonnell. From Mt. Bonnell they stopped at Spicewood Springs, "which is situated in the edge of the mountains". This is where the Simpson girl was killed. Spicewood Springs is located about 5 miles north of Mount Bonnell, at the present day intersections of Mopac Expressway and Spicewood Springs Road.
Origin of the name.
Mount Bonnell is generally believed to have been named after early Texas newspaper publisher George W. Bonnell, who moved to Texas in 1836. George W. Bonnell was publisher of the local paper "The Texas Sentinel" and was prominent in early Texas and Travis County (Austin) affairs after the War for Independence. Though sources have long credited George Bonnell as the mountain's namesake, Albert Sidney Johnston may have named Mount Bonnell in present-day Austin for his friend and fellow West Point graduate Joseph Bonnell, who was a Captain in the Texas Army during the War for Independence. There is little contemporaneous evidence to support either derivation of the name.
Legend has it that Mount Bonnell was once called Antoinette's Leap, after a young woman who leaped to her death to avoid being captured by Native Americans who had killed her fiancé.
Geology.
Mt. Bonnell forms part of the Balcones Fault Escarpment and these "balconies" were first described by Bernardo de Miranda in 1756. The lower Cretaceous Glen Rose Formation limestone outcrops to the west of the fault zone but is buried 1000 feet to the east.
A stratigraphic column starts with the Lower Cretaceous Trinity Group overlain by the Edwards Group and the Georgetown Formation. Upper Cretaceous formations follow, starting with the Del Rio Clay, Buda Limestone, and then the Eagle Ford Group. Formations within the Trinity Group include the Hammett Formation, Cow Creek Formation, Hensel Formation, and Lower and Upper Glen Rose Formation. The Hammett and the lower portion of the Upper Glen Rose act as confining units (or aquitard) for the Middle Trinity Aquifer. The Upper Glen Rose contains the Upper Trinity Aquifer, which appears to have intra-aquifer groundwater flow with the Edwards Aquifer as water levels are at the same elevation. Formations within the Edwards Group include the Kainier Formation and the Person Formation. The Upper Cretaceous rock units confine the Edwards Aquifer within the group.
The Mount Bonnell fault has a vertical throw of up to 600 feet, making it the most prominent normal fault within the Balcones Fault Zone. During the Miocene, the Edwards Group was displaced downwards relative to the Glen Rose Formation on the Edwards Plateau, so that they are juxtaposed.


St. Mary Utility Area Historic District

The St. Mary Utility Area Historic District comprises a support area of Glacier National Park with employee housing and support buildings in the prevailing National Park Service Rustic style. The complex was built by Civilian Conservation Corps labor to replace the administrative facilities at East Glacier Ranger Station in a location more convenient to the new Going-to-the-Sun Road. The majority of development occurred between 1933 and 1941. Buildings include maintenance buildings, an oil house, a dormitory and barns. The area is surrounded by residences, not included in the district, built during the Mission 66 program and later.
A ranger station was established in the area in 1913. A mess hall was built by 1925 to serve trail and road crews. With the completion of the Going-to-the-Sun Road in 1933, the administrative facilities were expanded to complement the main administrative headquarters on the west side of the park.


Yakima Park Stockade Group

The Yakima Park Stockade Group, also known as North and South Blockhouses, Museum, and Stockade at Sunrise, is a building complex consisting of four log buildings at the Sunrise Visitors Center area in the northeast part of Mount Rainier National Park. The complex is architecturally significant as a particularly fine example of rustic frontier log architecture. The first of the blockhouses and the stockade were built in 1930, while the second blockhouse followed in 1943. It was declared a National Historic Landmark in 1987. It is in turn part of the Mount Rainier National Historic Landmark District, which encompasses the entire park and which recognizes the park's inventory of Park Service-designed rustic architecture.
Design and construction.
The stockade complex was designed by architect A. Paul Brown and landscape architect Ernest A. Davidson of the National Park Service. The design concept originated with Davidson, who was inspired by early structures erected by settlers against the possibility of Indian raids. Stone came from a rockslide about a mile away, and the white pine for framing and siding came from the area of the White River, about twelve miles from Yakima Park. Davidson had mixed feelings about the development, commenting that the location was less attractive than it had been before it was developed, but was still far superior to other developed areas of the park that had grown with no plan or regulation.
Description.
The south blockhouse was built first, in 1930. While it appears to be constructed of logs, it is a wood-frame structure with log siding. The square two-story building has a battered stone foundation wall extending to sill level, which is overhung by the second floor. The south blockhouse housed administrative and interpretation services for the Yakima Park area. The south blockhouse initially contained two administrative offices on the first floor, as well as a kitchen, dining room and living room for staff. The upper level included six bedrooms and two bathrooms. The Stockade is a vertical log fence built in the 1930s that hid a mess hall, since demolished, and which now conceals a split-face concrete block water treatment building built in 1985. Work on the visitor center and the north blockhouse began in 1939, and was completed in 1943, delayed by funding problems. The north blockhouse resembles the south blockhouse, with greater attention to stonework. The north blockhouse houses seasonal park employees. The visitor center is set between and behind the blockhouses, with a view of Mount Rainier through large south-facing windows. The building was previously known as the "campers' shelter" and the Museum. The visitor center is built of logs, with an overhanging second story, but with less of an overhang than the blockhouses. All of the structures have hipped roofs clad with cedar shingles.


Commerzbank Tower

Commerzbank Tower is a 56-story, skyscraper owned by Samsung of Korea since September 2016 in the banking district of Frankfurt, Germany. An antenna spire with a signal light on top gives the tower a total height of . It is the tallest building in Frankfurt and the tallest building in Germany. It had been the tallest building in Europe from its completion in 1997 until 2003 when it was surpassed by the Triumph-Palace in Moscow. Since the departure of the United Kingdom from the European Union, the tower has reclaimed its position as the tallest building in the European Union only to lose the title again in 2021 when Poland's Varso Tower topped out. The Commerzbank Tower is only two metres taller than the Messeturm, which is also located in Frankfurt and was the tallest building in Europe before the construction of the Commerzbank Tower.
Commerzbank Tower was designed by Foster & Partners, with Arup and Krebs & Kiefer (structural engineering), J. Roger Preston with P&A Petterson Ahrens (mechanical engineering), Schad & Hölzel (electrical engineering). Construction of the building began in 1994 and took three years to complete. The building provides of office space for the Commerzbank headquarters, including winter gardens and natural lighting and air circulation. The building is lighted at night with a yellow lighting scheme that was designed by Thomas Ende who was allowed to display this sequence as a result of a competition.
In its immediate neighbourhood are other skyscrapers including the Eurotower (former home of the European Central Bank), the Main Tower, the Silberturm, the Japan Center and the Gallileo. The area forms Frankfurt's central business district, commonly known as Bankenviertel.
Features.
When the building was planned in the early 1990s, Frankfurt's Green Party, who governed the city together with the Social Democratic Party, encouraged the Commerzbank to design a 'green' skyscraper. The result was the world's first so-called ecological skyscraper: besides the use of 'sky-gardens', environmentally friendly technologies were employed to reduce energy required for heating and cooling.
Sky gardens.
Commerzbank Tower is shaped as a wide rounded equilateral triangle with a central, triangular atrium. At nine different levels, the atrium opens up to one of the three sides, forming large sky gardens. These open areas allow more natural light in the building, reducing the need for artificial lighting. At the same time it ensures offices in the building's two other sides have a view of either the city or the garden.
In order to eliminate the need of supporting columns in the sky gardens, the building was constructed in steel rather than the conventional (and cheaper) concrete. It was the first skyscraper in Germany where steel was used as the main construction material.


Cathedral of the Assumption, Thurles

The Cathedral of the Assumption is the mother church of the Metropolitan Province of Cashel and the cathedral church of the Roman Catholic Archdiocese of Cashel and Emly in Thurles, County Tipperary in Ireland. It is the cathedra of the Archbishop of Cashel and Emly and stands on the site of earlier chapels, which were the only Roman Catholic churches in Thurles. Following the English Reformation, many archdiocesan assets, including the cathedral at the Rock of Cashel were appropriated by the Established church. James Butler II (1774–91), on being appointed by the Holy See moved his residence and "cathedra" from Cashel, favouring Thurles instead, where his successors continue to reign today.
History.
Following the appropriation of church assets by the Church of Ireland, the majority population who adhered to Roman Catholicism were obliged to conduct their services elsewhere. From the time of the English Reformation onwards, those archbishops appointed by Rome had to make their throne in whichever house in Tipperary would hide them from the forces of the crown. This state of affairs continued until the late 18th century when some of the harsher provisions of the Penal Laws were relaxed.
In 1857 Archbishop Patrick Leahy revealed his plan to replace the 'Big Chapel' which had been used as parish church in town since, with as Archbishop Bray explained "a cathedral worthy of the Archdiocese of Cashel and Emly"
Work commenced in 1865, and the impressive Romanesque Revival architecture building, with its façade modelled on that of Pisa Cathedral, in Italy, was consecrated by Archbishop Thomas Croke on 21 June 1879.
In the Church of Ireland, the historic cathedral on the Rock of Cashel was closed for worship in 1721. A new Georgian cathedral was completed in 1784 - St. Peter the Rock Cathedral, Cashel.
Architecture.
The architect was J.J McCarthy; Barry McMullen was the main builder. J.C. Ashlin was responsible for the enclosing walls, railings and much of the finished work.
The building has many architectural features, including an impressive rose window, a baptistery, and its most important possession is a tabernacle of Giacomo della Porta, a pupil of Michelangelo.
The tower holds a set of eight bells, cast by John Murphy of Dublin in 1867. Originally intended to be hung for Change ringing, they are now unringable and chimed by hammers. It is thought that the tower is too weak, and the bells are hung too high in the tower, to deal with the forces associated with full-circle ringing.


Macdonald Block Complex

The Macdonald Block Complex is a set of office buildings in Toronto, Ontario, Canada, that houses 12 cabinet ministers, 15 Ontario government ministries (as of 2016) and the largest concentration of Ontario public servants. Its address is 900 Bay Street, and is located just east of Queen's Park. It consists of four towers:
The Macdonald Block is named after the first Premier of Ontario, Sir John Sandfield Macdonald. It was completed in 1968 (along with the Hepburn Block), and is located at 900 Bay Street. This block is a podium that connects the four towers along the first two storeys of each and has a bridge to the first floor of Whitney Block from its second storey. It is designed by the same firm as the Ferguson Block.
The massive construction site for the MacDonald Block was the filming location for Buster Keaton's last film, "The Reporter", an industrial safety short that was released under the title "The Scribe".
In July 2016, the Government of Ontario announced an eight-year reconstruction project of the entire complex.
Other government buildings nearby include:


Grand Trunk Western station (Lansing)

The Grand Trunk Western station was a historic railroad station in Lansing, Michigan. The station was listed as a Michigan State Historic Site in 1978, and it was added to the National Register of Historic Places in 1980.
History.
The first rail line through Lansing was established in 1856 when the Detroit and Milwaukee Railroad constructed a line through the city. This was followed in 1872 by the Michigan Central Railroad and in 1879 by the Chicago and Grand Trunk Railway. By the early 1900s there were six separate rail lines through the city. After the Chicago and Grand Trunk Railway reorganized in 1900, they built a series of new depots along their line. When REO Motor Car Company announced the construction of a new plant along the Grand Trunk line, the railroad decided to construct their new depot near the new REO plant.
Grand Trunk commissioned the firm of Spier & Rohns tp design the new depot. Construction on the new depot began in 1902 and was completed late that year. It served as a main depot for all passengers until 1971, when the railroad closed the station. In 1972, it was renovated as a restaurant. The building's exterior remains unchanged. Gerald R. Ford, who was from Michigan and the 38th president of the United States, dined here during a campaign tour on May 15, 1976.
The building was abandoned in the early 2000s. In 2010, the Lansing Board of Water & Light began construction of a powerplant adjacent to the depot, and included a full restoration of the station in the project.
Description.
The Lansing Grand Trunk Western station is a single story, rectangular Jacobethan style red-brick building on a gray ashlar foundation. It measures 33 feet wide and 107 feet long. The main entrance is housed in a two-story, ten-foot square brick tower which is topped by a crenelated parapet. The roof is covered with red tile, and has overhanging eaves. The window hoods, sills, facings, and gable copings are of Bedford limestone. At one end of the building is a waiting platform, covered with a gable roof supported by wooden posts.


Esmond Dorney

James Henry Esmond Dorney (17 September 1906 – 25 December 1991) was an Australian architect, known for a series of notable Streamline Moderne apartment blocks in Melbourne in the 1930s, and a series of inventive Modernist houses in Tasmania in the 1950s and 60s, where he has been credited with bringing Modernism to the island state. He is best known for the second house he built for himself in 1966 (reconstructed after being destroyed by fire in 1978), a remarkable design on a hilltop overlooking Hobart, Tasmania. Owned by the Hobart City Council since 2006, it is regularly open to the public.
Early life.
He was born to Marie Louise Kiernan and James Henry Dorney in Melbourne, Victoria, and grew up from his teenage years in Elwood.
Dorney studied Architecture at the University of Melbourne in 1925–26, until he was expelled for racing his Delage around the university campus. He later claimed to have been disenchanted in any case, dismissing the course as "a meaningless pursuit of Classical Revival."
He enrolled instead at Brighton Technical College, and commenced articles in the office of Australia's then most radical architects, Walter Burley Griffin and Marion Mahoney Griffin.
In 1929, he began taking commissions of his own, and in 1931 established his own office, just as the full effects of the Great Depression were being felt, and there was little work. He spent some of his time in the period taking art classes, and studying engineering with Henry Allen, design engineer for the prominent firm of Johns & Waygood. In 1931 he married local girl Margaret Lambie, and the couple had two sons, John and Earl.
Architectural career.
With the help of his mother and his father-in-law as clients, he began designing apartment blocks, especially in the Elwood area, eventually completing perhaps about 18 in that suburb alone. His early output was prolific, including houses, flats and maisonettes in Brighton, Caulfield, Armadale, Malvern, Kew and Middle Park, and his own house (demolished) in Sandringham. His early designs were occasionally Tudor Revival, but he also developed his own distinctive style, that combined Arts & Crafts and Prairie Style influences, employing panels of horizontal banded tapestry bricks and his own unique angular balusters. Starting with Windermere in 1936, many of his designs were strikingly Moderne; they featured dynamic compositions of contrasting horizontals and verticals, often with thrusting semi-circular ended balconies or window bays.
The projects for his relatives began with the conversion of the family home "Chenier", into flats in 1934 for his mother; a later project was the 1939 beach front flats at 751 Ormond Esplanade named St Kiernan's, a play on his mother's maiden name Keirnan. In 1948 the name St Kiernan's was transferred to another block of flats designed by Esmond at 57 Ormond Esplanade (an interesting Modernist design with huge picture windows), but neither block is now known by that name. In 1940 he designed the Garden Court flats on Marine Parade for his father-in-law, John Robert Lambie, who lived there for the next 20 years.
World War II.
Dorney's career as an architect was interrupted by World War 2, when he enlisted and served as a pilot in the Royal Air Force Volunteer Reserve from 1940 to 1945.
At the fall of Singapore, he was redeployed to Java and worked behind Japanese lines, establishing secret radar installations. Spending some time in a POW camp, he eventually escaped and remained with Chinese guerillas until the end of the war. This period of forced design inactivity generated a revolution in his architecture.
Post World War II.
Dorney returned to Australia, and moved from his home in Melbourne to Hobart, Tasmania, citing health and personal reasons. He designed a series of remarkable houses, beginning with his first tiny, circular house on the Fort Nelson constructed in 1949, and became the most noted post-war modernist architect in his adopted state. He did however continue to work in Victoria, designing amongst other projects Sandringham Hospital (1956–64), Caritas Cristi Hospice (with Stephenson and Turner)(1962).
His post war modernist projects in Tasmania included a number of innovative designs; his own houses at Fort Nelson were based on a circular plan (1949, 1966, both destroyed by fire, with the second house rebuilt in 1978), and another version of the circular plan is the Richardson House (1954). The Young House (1958) is one of his best known, with a structure of wide arches, a theme repeated on the Tate House (1960). The Jarvis House (1959) has a unique roof composed of a series of shallow arches, an idea repeated on the Thomas House (1960). Other notable designs include the arch-roofed St Pius X Church (1957), and opposing skillion roofs of Snows Dry Cleaners (1960). Other and later houses were more conventional, but usually with refined slim lines and details. His last house was the Fisher House (1989), completed after his death in 1991.
Notable works.
Windermere.
The Windermere flats at 49 Broadway, Elwood, were built in 1936. This celebrated block of flats in the Moderne style, with a dynamic interplay or horizontals, verticals and projecting curved balconies, creating a striking street presence, is one of the earliest Moderne flats added to the Victorian Heritage Register, in 1992.
St Kiernan's Flats.
This striking block of flats at 51 Ormond Esplanade was constructed in 1939, and like Windermere employs a complexity of horizontals and verticals, but uses only rectilinear elements, including long horizontal windows, some wrapping around corners, reminiscent of European modernist design. The triple fronted façade is composed of a north and south wing and a projected central portion featuring a large brick chimney giving the building a strong vertical element.
In 2018 St Kiernan's was completely facaded, leaving only the main exterior walls, and new flats with different arrangements built behind.
Dalcrombie.
Long mis-attributed to Harry Norris, this is possibly the most extraordinary Moderne private house in Victoria. Located on a large estate in the hills outside Melbourne at 11 Warwick Farm Rd, Olinda, it was built in c1939 for optometrist Earl Coles, a partner in the then well known optometrists Coles & Garrard, and originally called Lanhydrock.
The design exploits reinforced concrete to an unusual degree, with boldly cantilevered semi-circular window bays and an extensive first floor deck supported on just a few columns, allowing wide window openings below, and a tall circular stair tower largely composed of glass blocks. The house features multiple projecting semi-circular elements, a favoured element of Dorney's Moderne designs, projecting out from a central cuboid volume, with attached vertical elements, to create an elaborate dynamic composition.
A large 1980s single storey addition to the north side features an almost matching projecting semi-circular window element, adding to the complexity.
Young House.
Built in 1959 in the Hobart suburb of Sandy Bay, this was Dorney's most widely celebrated residential projects before his own house became publicly accessible. It is popularly known as the 'Butterfly House' because the most striking feature is the use of a long low steel arch which forms both roof shape and structure, with a secondary half arch rising from the centre in the opposite direction. Listed by Heritage Tasmania, internal alterations were permitted in 1999, and additions in 2009, in part because the family wished to keep occupying the house they enjoyed, the alterations were sympathetic, and because they were "based on the principles found in the existing house and in Dorney's own writings...", for instance that "A house should be planned like a machine, but a home is much more than a machine, and can in many ways express its owner's personality."
Dorney House.
Probably Dorney's most well-known and celebrated design, "one of the great modern houses of Australia", is his own house built on the circular foundations of the former Fort Nelson gun emplacements in the foothills of Mount Nelson, south of central Hobart. First constructed in 1966, it was destroyed by bushfire and redesigned in 1978. The design centres on an exploded radial form of 12 sides, each segment with an arched roofed, creating a flower like form. Supported on a light steel frame, the north, the east and much of the south and west is fully glazed, providing the living spaces with panoramic views over the city of Hobart, the harbour, the Derwent estuary and Storm Bay and the Southern Ocean. The City of Hobart purchased the house and site in 2006, and it has been opened occasionally for events and is available for public booking. The City Council is exploring options for a more permanent use for the house and land.
Posthumous recognition.
In 2008 James Jones, then president of the Tasmanian chapter of the Australian Institute of Architects posthumously awarded Esmond Dorney the President's Prize, which was accepted by his son, Paddy Dorney, stating "Dorney returns us to the worth of the architecture, saying something about humanity, who we are through how we build and how we live in the landscape." The Tasmanian chapter subsequently named their highest residential design award the Esmond Dorney Award. He is now possibly the most celebrated and well known Tasmanian architectural figure, credited with bringing modernism to the island state.


Harvington Hall

Harvington Hall is a moated medieval and Elizabethan manor house in the hamlet of Harvington in the civil parish of Chaddesley Corbett, south-east of Kidderminster in the English county of Worcestershire.
It is open to the public.
History.
Harvington Hall belonged to the Catholic Pakington family. It was constructed by Humphrey Packington during the 1580s. Mary Yate (née Pakington), daughter of Humphrey, came into possession of Harvington Hall upon his death on August 6, 1631. She became Catholic upon her marriage to Sir John Yate. She founded the Dame Mary Yate almshouses on Harvington Hall Lane.
In 1647 it was pillaged by Roundhead troops. The Hall later passed by marriage to the Throckmorton family from nearby Coughton Court. During the 19th century it was stripped of furniture and panelling and the shell was left almost derelict.
From 1722 till his death in 1743, Hugh Tootell served as one of the chaplains to Robert Throckmorton. It was here that he wrote "The Church History of England from 1500 to 1688", which was published under the pen name "Charles Dodd", a name Tootell had adopted as a student to spare his family the penalty under the Penal Laws for sending him abroad to school.
Since 1923, Harvington Hall has belonged to the Roman Catholic Archdiocese of Birmingham and is particularly notable for its vestment-hide and seven priest-holes, four of which are built around the main staircase and are thought to be the work of Nicholas Owen. The false fireplace in the Marble Room led to two hides in the attics. An altar stone is said to have been discovered in a secret recess in one of the angle turrets.
Harvington Hall was given to the Archdiocese of Birmingham by Ellen Ferris (1870–1955), whose son Robert was Deputy Speaker of the House of Commons from 1970 to 1974 and later became Lord Harvington.


Vulcano Buono

Il Vulcano Buono () is a shopping mall and leisure center located in Nola, near the frazione of Polvica, Italy. Inaugurated on December 7, 2007, it was designed by renowned Italian architect Renzo Piano.
Overview.
The complex is a large multi-center consisting of a five star hotel, an Auchan hypermarket, a spa with a gym and an indoor pool, a multiplex cinema and a gallery, double-height of 155 shops and several restaurants and bars. At the center there is a large circular square, which resembles the Naples' Piazza del Plebiscito and is used for concerts and events. The lobbies of the entrances consist of large squares connected to each other by avenues named after famous Neapolitan actors such as Antonio de Curtis (Totò), Massimo Troisi, Tina Pica and Pupella Maggio, while the upper floor is connected via escalators and elevators.
Architecture.
The architectural aspect of the building consists of a set of solid circles, each of them having a different slope, which fuse to form a volcano-structure which imitates the look of Vesuvius. The upper edge of the volcano-like structure has a height that varies from 25 to 41 meters, with a total diameter of 320 meters. The central square of 160 meters in diameter is divided into three concentric zones, the internal with a stage dedicated to shows and concerts, the medium reserved to the shops and the external zone that crowns the building consisting of a large park filled with pine trees.
From the outside, except for the five different entrances (called Capri, Sorrento, Amalfi, Positano and Ischia), the building is practically invisible as an architectural work as the reinforced concrete roofs are covered with soil, grass and bushes, effectively hiding the structure.
The project started in 1995, and works began in 2002. It was completed in 2007 at a cost of 180 million euros, partly covered by regional funding for reconstruction and development. The entire establishment occupies an area of approximately , the floor area is , and there are parking lots for 8,000 cars. The building hosts the largest photovoltaic roof system in Europe.
In 2007, the then President of Italy Giorgio Napolitano praised the structure, referring to it as "a marvellous face of Naples", "an amazing project" and "an example for Italy and for Europe".


Regina Coeli Convent Church

Regina Coeli Convent Church is a Roman Catholic parish church and former convent built in the historic center of Mexico City, on the corner of Regina and Bolivar Streets.
The church building is the only functioning portion of a former 16th century convent. The church is Churrigueresque in style from the 18th century and was part of the convent of Regina Coeli Conceptionist nuns. The former convent was closed during the Reform War and is generally not open to the public. The church is still open to worship and visitors and contains several of its original gilded Churrigueresque altarpieces from the 18th century. One in particular, the altar dedicated to the Virgin of the Fountain is an early, but developed example of the Churrigueresque style. Despite the church’s status as a national monument, it has had serious conservation problems due to deterioration since the mid 20th century.
History.
The land was ceded to the Conceptionists in 1573 to establish a convent, with official Vatican permission obtained from Pope Gregory XIII in 1578. It was the second convent of this order established in New Spain. The name of Regina Coeli is derived from a prayer directed to the Virgin Mary during Easter, referring to Mary’s participation in the Resurrection of Jesus . The church portion of the complex dates from 1655. It was repaired several times then consecrated once again in 1731. Nuns from this institution founded other Concepcionista convents in Oaxaca, San Miguel Allende, and others in Mexico City.
The convent operated until 1863, when the Reform Laws closed it down, with the convent building becoming became state property and the church becoming a parish. The government sold it in 1863 to Florencio Velasco del Castillo for 8,000 pesos. However, this transaction was canceled 43 years later by the judiciary. In 1908, the Secretary of the Government (Secretaria de Gobernación) installed a public clock in the building. By 1929, parts of the convent area were being used to raise domestic fowl and pigs with a large quantity of debris in one of the courtyards. It was used as a barracks shortly thereafter and in 1931, was declared an “Artistic Monument.”
In 1982, the complex was declared a Historical Monument of the Nation.
Starting in the mid 20th century, the deterioration of the church building has been a serious problem. In 1945, a water leak ruined a painting of Saint Christopher. This water seeping prompted remodeling work in 1966, which included of water sealants. However, the building continues to deteriorate, mostly due to humidity in the roof and walls. This causes the crumbling masonry and danger to those paintings directly applied to the building. Recently the arches near the choir area were replaced completely due to the severe damage from time and elements. In 2006, the outer walls facing Regina Street were scraped and painted but not those facing Bolivar Street. More work needs to be done but the city has offered limited funds and the parish has not been able to raise the remainder to seal the walls from further water damage.
The church has suffered robberies of its paintings, mostly during the Reform War and the Cristero War, with a number on the altarpieces now being copies. Other robberies of art objects, money and other items have been much more recent.
The “Fenix Novohispano” National Theater Company performed a work based on the legends associated with the church and its convent called “Historias de vivos, muertos y aparecidos” (Story of the living, dead and appearances). It consists of four works based on different legends, such as "Panes maravillosos" (Marvelous breads), "Delito con su castigo" (Crime with its punishment) y "De la tentación" (Of Temptation), The first tells of a nun of the order who could cure the sick with her bread. The second refers to the story of Don Felizardo Peñalva, who robbed a head of Christ made of gold and was found dead in the church, appearing to have been hanged. The last centers on a friar who is attracted to a voluptuous woman.
Regina Street was revitalized by the city by making it pedestrian only, with all services such as electricity and water provided underground. Stone and brick paving was installed as well as benches, lighting and trees. This work has prompted the revitalization of many of the private buildings on the street as well.
Description.
The complex was built with masonry, tezontle and other stone. The church portion remains open to worship and visitors, but the former convent area is mostly closed to visitors. Much of the building is dedicated to the Concepción Beistegui Hospital, a senior citizen’s facility. The complex also has a rental hall, a conference hall and a garden with a tile fountain that dates to 1930, as well as 26 gold sconces and many valuable paintings and sculptures. One of the courtyards is called the Patio de la Estampa, which was originally covered. It only conserves one of its arches and parts of others. In 2008, the Sor Juana Salon was inaugurated, dedicated to the Mexican nun from the 17th century . The plaza is located in front of the former convent and church. The plaza contains green areas, benches and a pedestrian corridor. On the opposite side from the church are homes and local businesses.
The facade of the church is simple and has been recently painted. It is marked by a slender bell tower and an octagonal dome. A set of tiles at the foot of the bell tower laid in 1773 marks the 200th anniversary of the convent’s founding. The exterior of the dome is divided into clearly marked segments that are decorated with tiles and pinnacles.
Inside, the nave runs east-west and is covered by a barrel vault. The cupola area is painted with images of Church founders Augustine, Jerome, Gregory and Ambrose. On the west end of the nave is the main altar. Due to its flared form, the main altar area can be described as a niche containing other niches. The main altar is made of wood which has been gilded in pure Churrigueresque style. The figures on the main altar include Anthony of Padua and the Four Evangelists. The smaller interior niches contain images of saints Dominic and Francis of Assisi, who is also depicted on one of the medallions. In the center, there is a canvas showing the birth of the Virgin Mary, and above this, there is a sculpture of Saint Joseph. The main altar is framed by slender inverted truncated pyramid (estipite) pilasters. One particularly important niche is gilded, decorated with mirrors, tortoise shell and mother-of-pearl. It contains a sculpture of the Immaculate Conception dating from the 19th century. Far above the altar, there is a depiction of God the Father holding the world in his hands.
In addition to the main altar, several original side altarpieces remain. Two of the side altars, located side-by-side are dedicated to the Calvary and to the Sacred Heart and decorated with eight Salomonic columns adorned with leaves and racemes. These columns flank paintings and two niches. One of these niches contains a well carved depiction of Calvary set against a polychromatic background. The altarpiece of the Virgin of the Fountain was done by Felipe de Ureña, who was instrumental in the application of the Baroque style to Mexican churches, especially those along the silver routes north of Mexico City. He was commissioned to create this work in 1738 soon after the church had been expanded and remodeled by Miguel Custodio Duràn. The altarpiece is an example of early Baroque or Mexican Churrigueresque style, using estipite (inverted truncated pyramid) pilasters and decorative niches. The latter feature often leads scholars to give the piece a later date. The pose of the Virgin in the painting is static and folkloric and contrasts with the ornate geometry and animated statues of archangels. It is attributed to José de Ibarra .
Other features of the interior of the main nave are interior pediments with black and gold mouldings and are decorated with paintings which are possibly done by Nicolás Rodríguez Juárez . The church also contains nine life-sized sculptures in wood, as well as other altars in Neoclassical and Plateresque styles.
Over the main door is an enormous canvas of Saint Christopher and opposite this, next to the altarpiece dedicated to Francis of Assisi, is a doorway leading to the Medina Picazo Chapel, the work of architect Miguel Custodio Durán, which dates from 1733. This chapel began as the cell, or living quarters, of the daughter of colonial doctor Pedro López after she took her vows to become a nun. After her death, her brother had the cell restored and transformed into the current chapel. The entrance of this chapel is made of sculpted sandstone and was once golden, looking like an altarpiece flanked by somewhat flame, flame-shaped Salomonic columns. The undulations of the columns are repeated in the pinnacles above, which are topped by a crest bearing images of the sun and moon. The sun represents Christ and the moon represents the Virgin, who reflects the light of her son. The central section of the entrance is dedicated to a sculpture of the Immaculate Conception, above which there is a dove representing the Holy Spirit and a cross. The doors have a wooden grate that has been elaborately carved with Franciscan coats of arms and other decorative items. Inside the chapel, there are oils here done by Villalobos. These include the Visitación de María, Los Esponsales de José y María, La Adoración de los Pastores, Anunciación and La Adoración de los Reyes. To the right of the presbytery, there is a realistic sculpture of the chapel's benefactor, Father Buenaventura de Medina Picazo.
The upper choir area has a rectangular iron railing and also has the appearance of an altarpiece. Acanthus leaves are used to form the fretwork containing a series of medallions bearing the anagrams of the "Five Persons": Jesus, Mary, Joseph and Mary's parents Joaquín and Ana. The railing is surrounded by moulding that appears to thread through the fretwork. Originally this work was red and gold but the red has turned gray over time. Inside the choir, there are eight paintings by Pueblan artist Francisco Antonio Vallejo.


Church of St Mary the Virgin, Beighton

The Church of St Mary the Virgin is situated in Beighton, a suburb of the City of Sheffield, England. It is located just off High Street, it is the parish church for the parish of Beighton and a Grade II* listed building. Although the original church dated from the 12th century there is no remaining trace of this original structure, although there are some later Medieval parts (see below). It is dedicated to Mary, the mother of Jesus. The present minister is Mike Healey.
History and architecture.
Beighton was mentioned in the Domesday Book of 1086 but there was no reference to any church in the settlement. It is believed that St. Mary’s dates from the year c.1150, this is based on the discovery of a disintegrating late Norman semi-circular chancel arch which was unearthed during late 19th century repair work. The first documented mention of the church is in an undated deed written during the reign of Edward I (1272-1307). At that time the church was dedicated to Saint Radegund who originated in Thuringia, there is no date for the change of dedication to St Mary and as late as 1557 there was a mention of "the churche yard of V(ir)gyn Radegond at Beghton".
The tower arch is thought to be the oldest part of the present building and may date to the 13th century, while the north aisle dates from the 15th century, there was probably once a chantry chapel at its east end. There was a period of rebuilding and alteration towards the end of the 14th century that saw the addition of a pointed chancel arch and nave arcades. There was further restoration in 1773 but by the 1860s the church was in a dilapidated state and the newly appointed minister the Reverend George Antrobus employed the Chesterfield architect Samuel Rollinson (1827-1891) to oversee an extensive programme of reconstruction and renovation which took place between October 1867 and December 1868. The work included taking down the walls of the chancel and the south aisle and rebuilding them on the original footprint, the Clerestory windows to the nave were removed, and a gallery at the west end of the church was taken down. Bench pews replaced the box pews allowing for the capacity of the church to be increased to 291.
The north door or Devil's door, was blocked up at one time and then later re-opened. The devil’s door was left ajar during baptisms to release any evil spirits in the child. On the north side of the chancel are two gravestones, one of these refers to the Jermyns, a wealthy family who owned property in Beighton, Hackenthorpe and Eckington. There is a Hagioscope or squint cut into the wall between the chancel and the nave, this enabled worshippers to see the priest’s actions indirectly. Two brasses on the south wall of the nave mark the resting places of William Jessoppe, vicar of Beighton, who died in 1667 and M. Robert Jessoppe of Waterthorp Gent who died in 1753. The rood was designed by Ninian Comper.
In December 2006, Ed Dennison Archaeological Services Ltd were commissioned by the church council to conduct archaeological observations during internal refurbishment of the church and the replacement of the external drainage system. The result of this observation found no evidence of any remaining features connected with the original medieval church. The most noteworthy feature uncovered was the rediscovery of an early stone floor, last recorded in 1816 and buried in the 1867 restoration. The floor is thought to date from the early 16th century.
List of Rectors.
Chantry Priests


Trinity Church, Dublin

Trinity Church, Dublin also called the Protestant Episcopal Church, was a Church of Ireland church on Gardiner Street, Dublin, the building of which began in 1838. It closed around 1909 and was reopened in the 2000s by an independent Christian group.
History.
Trinity Church was designed by Frederick Darley who designed many buildings in Trinity College Dublin, and the church would have accommodated up to 1,800 people. The first rector was the future Bishop of Cork, Rev. John Gregg from 1839 until his elevation in 1862 to Bishop. Mr. Vance, a wealthy Dublin businessman, funded it, on condition that Rev. Gregg could raise the other half of the money required to build it, which he did. It was a "Proprietary Church", independently funded by wealthy laypeople, and the term "Episcopal" was used to distinguish it from other movements in the reformed faith at the time - the church was evangelical, verging on Calvinist.
The Rev. Dr. John Duncan Craig served as the incumbent in Gardiner street from 1884 until 1901, he was a poet, chaplain in the Franco-Prussian war, and a deputy chaplain in the Orange Order.
Construction began in 1838 and the church opened in 1839 in Gardiner Street Dublin.
Trinity Church Schools were developed at the church, along Beresford lane.
People Associated with Trinty Church, Dublin.
Rev. Thomas Preston Ball(c.1825-1913) served as Chaplain of Trinity Church, Dublin, from 1879 to 1884. The Rev. John Olphert Gage Dougherty served as Rector of Trinity Church, Dublin, from 1902 to 1904. George Howard, 7th Earl of Carlisle, attended services in the Church as did the future provost of Trinity College John Pentland Mahaffy. Rev. Henry Irwin served as assistant chaplain to Bishop Gregg. Rev. A. Thomas was assistant chaplain.
Closure.
The Trinity Church built in 1839, closed in about 1909.It served as an Employment Exchange for almost a century, and the building became known as "The Exchange". It closed as a labour exchange in 2003.
Reopening.
In 2006 it was bought by a non-denominational Christian group, and it reverted to being a church renaming itself "The Trinity Church Network". Since 2015 the charity ACET which assists those living with HIV are hosted by the church at the exchange building.
Protestant Episcopal Chapels.
Other protestant episcopal churches at the time in Dublin were:-


The Elms (Elmwood, Nebraska)

The Elms, also known as the Bess Streeter Aldrich House, was listed on the National Register of Historic Places in 1977.
Built in 1922 in Prairie School style, it was home of author Bess Streeter Aldrich.
It is a two-story frame house with brick veneer.
It is located off one block off Nebraska Highway 1 at 204 East F Street.


Holy Trinity Church, Holdgate

Holy Trinity Church is in the village of Holdgate, Shropshire, England. It is an active Anglican parish church in the deanery of Ludlow, the archdeaconry of Ludlow, and the diocese of Hereford. Its benefice is united with those of St Peter, Diddlebury, Broadstone Church, St Michael, Munslow, and St Catherine, Tugford. The church is recorded in the National Heritage List for England as a designated Grade I listed building. It stands in the former southwest bailey of Holdgate Castle.
History.
A church with a priest is recorded in the Domesday Book, but none of the fabric from that church has survived. The nave and possibly part of the chancel date from the 12th century, with the rest of the chancel and the lower part of the tower from the following century. The south porch was probably added in the 14th century. The upper part of the tower was added either in the 15th, or in the 17th century. The west end of the nave was partitioned off as a schoolroom after 1793, and the church was restored and re-pewed in 1854–55. In 1894–95 there was a further restoration by J. P. St Aubyn and Henry Wadling, during which a chancel arch was inserted, windows were renewed, the ceilings were taken down, new roofs and a new porch were built, and the partition in the nave was removed.
Architecture.
Exterior.
Holy Trinity is constructed in sandstone with tiled roofs. Its plan consists of a nave with a south porch, a chancel, and a west tower. The tower is in two stages. On three sides of the lower stage are lancet windows. The upper stage contains bell openings on each side, and two string courses, each of which incorporates gargoyles. On the summit is a battlemented parapet with corner pinnacles. The upper stage is Perpendicular in style. In the south wall of the nave is a Norman round-arched doorway with capitals decorated with volutes and foliage. The arch is of three orders, the inner order being carved with beakheads, the middle order with a frieze of arches, and the outer order with zigzags. Above this is a hood mould carved with zigzags and pellets. The windows are mostly Early English, although some of the lancets in the chancel appear to be later insertions. In the south wall of the chancel is a sheela na gig, dating probably from the 12th century.
Interior.
In the north wall of the chancel is an aumbry, and in the south wall is a piscina. The pews are box pews, one of which has a desk dated 1707 attached to its back. Also in the church is a pair of Jacobean seats with carved canopies. The circular Norman font is elaborately carved with rope moulding, a dragon, interlace, foliage, and medallions. In the church are royal arms of 1757. The stained glass in the east window, dating from about 1904, is by Herbert Bryans. In the south wall of the nave is a tomb recess dating from the 14th century. The monuments include brasses from the 17th and 18th centuries. There is a ring of three bells, two dated 1657 and 1666 are by John Martin, and the other dated 1754 is by Abel Rudhall.
External features.
In the churchyard are three memorials, each listed at Grade II. To the south of the chancel is an ashlar headstone dated 1716, and to the southeast of the chancel is a similar headstone inscribed with the dates 1748 and 1771. To the south of the nave is a chest tomb dating from the early 19th century.