John M. Lyle

John MacIntosh Lyle (13 November 1872 – 20 December 1945) was an Irish-Canadian architect, designer, urban planner, and teacher active in the late 19th century and into the first half of the 20th century. He was a leading Canadian architect in the Beaux Arts style and was involved in the City Beautiful movement in several Canadian cities. In the 1920s, he worked to develop his vision of a uniquely Canadian style of architecture.
Biography.
Lyle was born in Connor, County Antrim, Ireland on 13 November 1872. He came to Canada as a young child in 1878 and grew up in Hamilton, Ontario, where his father, Rev. Dr. Samuel Lyle, was minister of Central Presbyterian Church. Lyle attended the Hamilton School of Art. He trained as an architect at Yale University, enrolling in the École des Beaux-Arts, in Paris, France, in 1894. Following his graduation, he found work in 1896 with the New York architectural partnership of Howard & Cauldwell. Lyle subsequently became an associate with the New York firm of Carrère and Hastings—with which he was involved in the design of the New York Public Library Main Branch (Fifth Avenue at 42nd St., 1897)—and became a member of the Society of Beaux-arts Architects.
In 1904, John Lyle designed and supervised the construction of the main building (now named Rogers House) at Pickering College at 16945 Bayview Avenue in Newmarket, Ontario.
Lyle returned to Canada in 1905 to begin work on the Royal Alexandra Theatre in Toronto, Ontario. In 1906, he established his own company, Atelier Lyle, in Toronto.
During the 1920s, Lyle strove to develop a uniquely Canadian architectural style, incorporating traditional designs from the English and French colonial periods and stone, metal, plaster, fresco, glass and mosaic floral and faunal motifs inspired by the Canadian post-impressionist painters known as the Group of Seven.
In 1926, the Ontario Association of Architects awarded Lyle its Gold Medal of Honour for his design of the Thornton-Smith Building (1922) on Yonge Street in Toronto. Two years later, he was elected a Fellow of the Royal Institute of British Architects. From 1941 to 1944, he served as president of the Art Gallery of Ontario.
Most of Lyle's projects were in Toronto and other parts of Ontario (and mostly for banks, especially Dominion Bank), but completed projects in New Brunswick, Alberta, Nova Scotia. He submitted proposals for competition for two buildings in United States (1 in Providence, RI and another Chicago), but he did not win either one.
John M. Lyle died in Toronto on 20 December 1945.
Lyle's best-known contribution is Royal Alexandra Theatre, completed in 1907 in the Beaux-Arts style. It was renovated in 1963 and remains one of the city's valued arts venues.
Lyle designed the granite and Indiana limestone Memorial Arch at the Royal Military College of Canada, whose two large bronze tablets bear the names of the ex-cadets who gave their lives for their country in World War I. The stone was laid by Governor-General of Canada, His Excellency Viscount Byng, of Vimy, CGB KCMG MVO 25 June 1923; Nominal rolls of Cadets and Staff, pamphlets concerning the Arch, the RMCC Review of May 1923, Canadian coins and stamps and the Roll of Honour of the College are in a sealed copper box.


Attercliffe Chapel

Attercliffe Chapel, also known as the Hill Top Chapel, is a Gothic chapel in Attercliffe, now a suburb of Sheffield, South Yorkshire, England. The chapel was constructed in 1629, when Attercliffe was a township separate from Sheffield, although in the same parish. Consecration took place on St. Matthias' day, 24 February 1630.
By the 1840s, the chapel was used only for funeral services.
The chapel, surrounded by its cemetery, and lying on the south bank of the River Don, was largely rebuilt in 1909, but retains its period atmosphere. It is Grade II listed.
As of 2014, the Sheffield congregation of the Evangelical Presbyterian Church in England and Wales meets at the Chapel.
In popular culture.
The exterior of the chapel was a location used in the music video for Cabaret Voltaire's single "Sensoria". The video was directed by Peter Care and released in 1984.


St Margaret Lothbury

St Margaret Lothbury is a Church of England parish church on Lothbury in the City of London; it spans the boundary between Coleman Street Ward and Broad Street Ward. Recorded since the 12th century, the church was destroyed in the Great Fire of London in 1666 and rebuilt by the office of Sir Christopher Wren. St Margaret Lothbury still serves as a parish church, as well as being the official church of five Livery Companies, two Ward Clubs and two Professional Institutes. It also has connections with many local finance houses, all of which hold special services each year.
History.
The earliest mention of St Margaret Lothbury is from 1185. The patronage of the church belonged to the abbess and convent of Barking, Essex until the Dissolution, when it passed to the Crown.
It was rebuilt in 1440, mostly at the expense of Robert Large, who was Lord Mayor that year and is remembered as the Master of whom William Caxton served his apprenticeship. It suffered as did so many of London's churches in the Great Fire of London of 1666 and was rebuilt by Christopher Wren from 1686 to 1690.
In 1781 the parish of the church of St Christopher le Stocks, demolished to make way for an extension to the Bank of England, was united with that of St Margaret Lothbury.
Interior.
The church has exceptionally fine 17th-century woodwork from other now-demolished Wren churches. Among the best are the
reredos, communion rails and baptismal font, which are thought to be by Grinling Gibbons from St Olave, Old Jewry, the pulpit sounding board and the rood screen from All-Hallows-the-Great. Two paintings of Moses and Aaron flank the high altar, and came from St Christopher le Stocks when it was demolished in 1781. The organ was built by George Pike England in 1801. It was restored in 1984, stands in its original case and contains nearly all its original pipework.
The church was designated a Grade I listed building on 4 January 1950.


Page County Courthouse (Virginia)

Page County Courthouse is a historic courthouse building located at Luray, Page County, Virginia. It was built in 1832–1833, and consists of a two-story, four-bay court house with three-bay, one-story wings. The four-bays of the pedimented gable facade open onto a ground floor arcade with rounded arches in the Jeffersonian Roman Revival style. It is topped by a cupola with coupled pilasters and four pedimented gables. It was built by Malcolm Crawford and William B. Philips, who worked under Thomas Jefferson on the University of Virginia.
It was listed on the National Register of Historic Places in 1973. It is a contributing property in the Luray Downtown Historic District.


Athcarne Castle

Athcarne Castle is a ruined Elizabethan castle outside the town of Duleek in County Meath, Ireland.
The name "Athcarne" is thought to be derived from either "Ath Cairn" meaning the Bridge, or Fording Point at the Cairn, or burial mound, or alternatively from "Ard Cairn", meaning High Cairn. There is a burial mound to the south east of the castle, across the Hurley River. Dr. Beryl Moore, the Meath historian, wrote that the castle may actually be built on top of a cairn. These cairns were built around 4,000 years ago. In 861, the Vikings raided Newgrange and Dr. Moore wrote that the Cairn(s) at Athcarne were also raided at that time.
A location called "Cerne, Cernae or Cerna" in early historic times, including the townlands of Carnes to the east of the ford at Athcarne, was noted as the principal burial site for the men of east Midhe and Brega ("Cernoi nominatur, al. Cernai .i. coernia daiġ is ann atá primreilec Airthir Midi ocus Breaġ"). This included both "síd Cerna" and "Cnoc Cerna", the hill of Cerna, holding the bodies of the sons and grandsons of Áed Slaine mentioned in the Metrical Dindshenchus, located at the western end of the long ridge of Crockafotha and south of Duleek. The name also appears in Tochmarc Emire as part of the route south from Brú na Bóinne between Cleitech and Lusk outlined in the riddling colloquy of Cú Chulainn. The "Cerna" associated with a broken "geas" of Conaire Mór concerning the hunting of the "cloen-míla Cernai" (the crooked beasts of Cerne), a place located near the Slíghe Chualann in the Togail Bruidne Dá Derga, was probably located along the Boyne at Kilcarn, near Navan.
In 1172, the lands at Athcarne were granted to the Anglo-Norman knight Hugo De Bathe, who came from Bath in England. He arrived in Ireland, either with Richard, Earl of Pembroke ("Strongbow") in 1170 or with Hugh de Lacy, Lord of Meath in 1171. It is likely that he built a defensive structure on the site which evolved into a tower house over the next few hundred years. It was significantly extended in 1590 by the High Court judge Sir William Bathe and his wife Janet Dowdall. On Sir William's death in 1597 it passed to his brother James Bathe, and then to James's heirs: James Bathe, who owned Athcarne in the 1640s, was probably the earlier James's grandson.
On 31 August 1649, Oliver Cromwell marched north from Dublin with 12,000 men to take Drogheda from the 'Royalists'. He captured Ballygarth Castle on the River Nanny at Julianstown, where it enters the sea. This was a strategically important point to control. On 1 September, the Earl of Ormonde issued an instruction to the Royalist troops in Drogheda to capture three other castles near the crucial crossing points on the river Nanny, and hence strategically important: they were Athcarne, Bellewstown and Dardistown Castles. However, Cromwell's troops got there before them and captured all 3 castles on 1 and 2 September. Cromwell now controlled the river Nanny, running parallel to and south of the Boyne, where Drogheda was located.
Following its capture, Athcarne was granted to a Colonel Grace, one of Cromwell's officers. James Bathe and his family then moved to Ashbourne. James Bathe died sometime before 1660. His son, Luke Bathe, continued lobbying the Crown for return of their estates. Despite petitioning to get his lands back, under the Second Act of Settlement 1662, Athcarne, as well as many of the estates originally taken by Cromwell were transferred into the name of the Duke of York, the future King James II of England. The Bathe family never regained legal ownership of Athcarne, although they were allowed to live there: in 1668, the Duke of York allowed Sir Luke Bathe to rent Athcarne and 1,200 acres from him on a 99-year lease from 1668 for £430 in total, which was considered a "peppercorn" or nominal amount at the time. This lease expired in 1767. However, the future King kept all the other Bathe estates, Drumcondra, Glasnevin, Ballybough, Balgriffin, Clontarf, and Baldoyle, all in County Dublin, and Laudenstown in County Kildare, besides valuable other property in Dublin city and Drogheda.
Of many legends about the Castle, which is said to be haunted, the most plausible is that King James II slept here on his way to the Battle of the Boyne in 1690, the Castle being only six miles from the battlefield. In fact, James II actually owned Athcarne at the time and the Bathe family were simply renting it from him on a long lease (see paragraph above).
The Bathe family eventually left the castle about 1700 and it was owned by the Garnett family for the next 100 years or so. Around 1830, it was bought by the Gernon family who significantly remodelled it. They left the original tower house in place but demolished the Elizabethan mansion house built by William Bathe in 1590 and built a more modern extension with larger windows as was the fashion at the time. They changed the orientation so the front of the house was south facing and created a boating lake in the field at the front of the castle. This was achieved every winter by creating a dam in the river hurley, you can still see the dam to this day.
The Gernon family experienced a downturn in fortunes and eventually the Castle was sold at auction in 1939. The Castle was gutted and the parts sold off for architectural salvage. A plan to demolish the castle and use the rubble to extend roads in the area came to nothing, and eventually what remained of the Castle passed into the care of the Irish State.
References.
https://www.facebook.com/pages/Athcarne-Castle/1512769065639078?ref=hl


Gottlieb Storz House

The Gottlieb Storz House is located in the Blackstone neighborhood of Midtown Omaha, Nebraska. Built in 1905 by Omaha beer magnate Gottlieb Storz, the mansion was designated an Omaha Landmark on December 21, 1982, and was listed in the National Register of Historic Places on August 7, 1974. It was included in the Gold Coast Historic District when the district was listed in the NRHP on March 14, 1997.
About.
Prominent German immigrant Gottlieb Storz founded the Storz Brewing Company in Omaha in 1876. After two decades of success he constructed this 27-room mansion in 1905. Built in the Jacobethan Revival style, the Storz Mansion is said to provide a rare visual connection to a "golden era" in Omaha's history. The mansion is home to the Adele and Fred Astaire Ballroom on the top floor, which is the only memorial to their Omaha roots.
Built with beige brick and limestone trim, the mansion features a red tile roof, steep gables, rectangular windows with stone mullions and transoms, and a symmetrical facade. Much of the exquisite original interior remains, including hand-carved oak woodwork, a solarium covered by a stained glass dome, and distinctive mosaic fireplaces in the living and dining rooms.
The mansion's heyday was the mid-20th century when Arthur Storz, Jr., owned it. The mansion was the scene of an opulent party celebrating the movie "Strategic Air Command" in 1955. The movie premiere was held in Omaha and the premiere party was held at the Storz mansion with guests including James Stewart and June Allyson, as well as the Strategic Air Command Commander Curtis LeMay. During that same period Robert Storz raised his son, Todd, in the mansion. Todd Storz grew to love ham radio while living there; he eventually pioneered the Top 40 radio format that grew to popularity around the world.
The mansion has continuously been occupied by a single family throughout its history, unlike many of the other notable houses throughout this neighborhood, which were frequently converted from single to multiple-family dwellings, and often reconverted. After it left the Storz family, Michael Gaughan, son of Jackie Gaughan, bought the house in 1989 and gave it to Creighton University in 2002. After leasing it as a residence the University sold the 27-room mansion in 2007. The new owner, Wayne Stuberg, is a professor and director of physical therapy at the University of Nebraska Medical Center's Munroe-Meyer Institute.
The well-manicured grounds also include a three-story carriage house.
The "Bier Stube", or gazebo that was previously sat on the west side of the property underwent extensive renovation in 2012 and was relocated to Lauritzen Gardens. The gazebo is believed to be the only remaining structure from Omaha's Trans-Mississippi and International Exposition of 1898.


Mountain States Telephone and Telegraph Company Building (Meridian, Idaho)

The Mountain States Telephone and Telegraph Company Building in Meridian, Idaho, is a 1-story commercial office constructed of reinforced concrete, stucco, and brick in 1928. The building features a short, modest tile roof above its Main Street entrance, indicating a Spanish Revival design influence. The Main Street exposure is clad with brick veneer, and above the entrance is a corbelled brick frieze band. A masonry garage was added at the rear of the building in 1948. The garage was remodeled in 1998.
The building was constructed by local contractors William Heikes, Gus Scholin, and William Howry from plans provided by the Mountain States Telephone & Telegraph Company, and it was added to the National Register of Historic Places in 2008.
Mountain States Telephone & Telegraph Company.
The Mountain States Telephone & Telegraph Company (MST&T) was formed in 1911 from assets previously owned by the Rocky Mountain Bell Telephone Company and other telephone exchanges. In 1927 MST&T incorporated its Meridian exchange from assets purchased from Homer Tolleth's Independent Telephone Exchange.
Further reading.


Stoke Park Pavilions

Stoke Park Pavilions are all that remain of the stately house and grounds of Stoke Park near the village of Stoke Bruerne, Northamptonshire, England, approximately south of Northampton and north of Milton Keynes.
Stoke Park.
Stoke Park is listed grade II in English Heritage's "Register of Parks and Gardens of Special Historic Interest in England" and contains two listed buildings, the Pavilions, of " 'outstanding architectural or historic interest' ". Surrounding farmland contains areas of late parliamentary enclosure, ridge and furrow earthworks and four model farms built by the 4th Duke of Grafton "ca".1840. The Pavilions are the two wings of the former stately house, east and west. The house is long since gone but the pavilions remain as fine examples of the Palladian style.
Although formerly a single landholding, the park has now been divided between several properties, which include a large area of farmland, as well as a number of private residences accommodated within several converted farm and estate buildings as well as the remaining pavilions of the great house of Stoke Park. Access to the park is restricted. One footpath, which runs from the village at the bottom of Bridge Road, crosses the farmland to the south west of the village, and runs through the park and then continues to Alderton to the south west. Stoke Park Lane runs southwards from Shutlanger Road, through the farmland to the park, passing through Stoke Park Woods and approaches the group of buildings surrounding the pavilions at the heart of the Park.
Stoke Park preserves the remains of a formal designed landscape, built on a late medieval hunting park. Much of the character of the parkland has sadly been lost since the Second World War, largely as a result of changing agricultural use and felling of trees. An avenue of trees running along the drive (Stoke Park Lane) from Stoke Park Woods to the house is on the alignment of an avenue recorded on an early 18th-century map of the area.
The construction of large, modern agricultural buildings in the parkland to the north east of the house represents an unfortunate intrusion to the historic character of the area, but may be regarded as a necessary development for its continuing agricultural use. There is currently some controversial use of part of Stoke Park Wood, just outside the area, for 'paintball' and clay pigeon shooting games, with subsequent impact from increased traffic on Stoke Park Road and noise from participants.
The area of Stoke Bruene and the grounds of the park became property of the Crown when the Longueville family were forced to surrender it to Henry VIII.
Stoke Park – the original house.
Stoke park was the first English country house to display a Palladian plan: a central house with balancing pavilions linked by colonnades or screen walls. Palladio was the 16th-century Italian architect on whose work the design was based. The Palladian style became a standard type of country house construction in 18th century England under Lord Burlington. However, 80 years earlier Stoke Park in Northamptonshire was the first example, believed to have been constructed by Inigo Jones. The house "ca."1700 is pictured in Colen Campbell's (sic) "Vitruvius Britannicus" (meaning British Architect).
Charles I granted the park and Manor House to Sir Francis Crane, director and founder of the Mortlake Tapestry Works established on the estate of John Dee, the mathematician, at Mortlake, in 1619, later the site of the Queen's Head pub. Crane was made Secretary to Charles I when he was Prince of Wales and was knighted in 1617. With grants of land, money and high prices charged for tapestries, Crane became very wealthy. He was granted "ca."400 acres of Stoke Bruerne in 1629.
Crane brought the design of the house from Italy and had assistance from Inigo Jones to build it.
The Pavilions.
The surviving portions of the house built by Robert Crane in the late 1620s, consist of two pavilions and remains of a curving colonnade, form the centrepiece of the park, with an attractive terraced 17th-century garden with views across the parkland to the south. The pavilions represent some of the earliest Palladian structures built in England and, despite some remodelling in the 18th century and modern conversion for residential use of the eastern pavilion, they are of great historic and architectural significance. The associated house was destroyed by fire in the late 19th century, although details of its design have survived in drawings from the 18th century. It was almost immediately replaced with a large Neo-Jacobean building, which, in turn was largely demolished in the late 1940s following its use by the army during the Second World War.
The standing Neo-Jacobean building is the service wing of this house, now forming a discrete private dwelling. The structures of a home farm form a group of interesting historic buildings surrounding the pavilions, but are largely screened from it by mature trees, garden hedges and the bulk of the service wing of the late 19th-century house. They include a stableblock, a 17th-century dovecot, barns, farmhouse and several former tied cottages (ie owned by the farm for use by farmworkers). All are now used for residential purposes, which has involved some loss of historic character from the agricultural structures. As a group of buildings, they have a particularly interesting mixture of historic architectural detailing in their construction from the 17th, 18th and 19th centuries.
The west Pavilion contained the library, the east the chapel. The gardens have a statue of Sir George Cooke of Harefield, d.1740, probably by Henry Cheere, with a pose derived from James Cragg by Guelfi at Westminster Abbey.
Public Access.
The pavilions and park are currently private property and only occasionally accessible to the public from the narrow road between the villages of Stoke Bruerne and Shutlanger opposite the turn north to Blisworth. There is some limited permitted public access to the buildings during afternoons in August for a small fee. There are usually signs indicating this at the entrance along Shutlanger Road around this time. Access to the public is required as a condition of funding by English Heritage to continue preservation activity.
The buildings can also be seen from the A508 Northampton to Milton Keynes road about two miles south of the village of Roade and one mile before the hills at Grafton Regis. If you wish to stop at this spot, there is a lay-by on the east side of the road accessible only from the southbound direction; if travelling north you can turn in the lay by on the right just past the canal bridge at the turn for Stoke Bruerne. Note: the lay-by is one-way only southbound but exit north or south is permitted. Take care crossing the road which is always busy with fast traffic.
The Pavilions are also visible from an elevated position on the ridge of the River Tove valley which is just south of the site. Take to right turn to the village of Alderton on the A508 just before Grafton Regis and just after the lay-by referred to above.
Conservation Area.
The area of Stoke Bruerne village and surroundings, including Stoke Park, are the subject of an extensive Conservation exercise by South Northants Council where most of this text originates. Extensive additional documentation, including maps, pictures and historical documentation, is available on the South Northants Council's Planning website.


Agnes Vaille Shelter

The Agnes Vaille Shelter is a beehive-shaped stone shelter along E. Longs Peak Trail near the summit of Longs Peak in Rocky Mountain National Park, Colorado, USA. The first shelter was built in 1927 by the National Park Service after a number of climbers died ascending Longs Peak. The shelter was named for Agnes Vaille, who died while descending from the first winter ascent of the east face of Longs Peak on January 12, 1925. Herbert Sortland also died of exposure during an attempt to rescue Vaille. Vaille's family rebuilt the shelter in 1935.
Agnes Vaille.
Agnes Wolcott Vaille was born in 1890 and graduated from Smith College. She came from a prominent Denver family; her father was president of the first telephone company in Denver. During World War I, Vaille volunteered to work overseas for the Red Cross. After the war, Vaille was appointed secretary of the Denver Chamber of Commerce.
Vaille was a member of the Colorado Mountain Club, served as Outing Chairman and was an early member of the '14,000 Footers Club'. In 1923, she made a solo winter ascent, the first known, of James Peak. Mountaineer Carl Blaurock called Vaille "a strong, husky woman, just crazy about climbing".
Vaille's death on Longs Peak.
Vaille met Walter Kiener in the Colorado Mountain Club; they decided to be the first climbers to make a winter ascent of the east face of Longs Peak. Their first three attempts were unsuccessful. The fourth attempt began on the morning of January 11, 1925. On January 12, 1925, they reached the peak at 4:00 a.m.; Kiener noted that the temperature was . On the way down from the summit, the temperature dropped further and the wind picked up. At , Vaille slipped and fell . She survived but was exhausted, and her hands and feet were frozen. Kiener went for help but when rescuers arrived, Vaille had died of hypothermia. One of the rescuers, Herbert Sortland, suffered a broken hip from a fall, and also died of hypothermia. His body was found in late February, a few hundred yards from Longs Peak Inn.
Vaille was buried in Fairmount Cemetery, Denver, Colorado.
The first stone shelter was built in 1927 under the direction of Roger Toll, Superintendent of Rocky Mountain National Park and Vaille's cousin. Recent scholarship asserts that the present shelter was built by Vaille's family in 1935 to replace the 1927 Park Service shelter. The shelter was designed in the spirit of the National Park Service rustic style to blend with the local landscape, located above elevation on the edge of an area known as the Boulder Field. The stone for the shelter came from this area. It consists of a single circular room with a conical ceiling formed by the walls and roof of the shelter, entered by a single door opening whose door has been removed. As a result, the interior may be partially filled with snow for much of summer. There are two glazed windows and one filled-in opening, and the floor is paved with stone.
A plaque mounted near the shelter reads,
The Agnes Vaille Shelter was listed on the National Register of Historic Places on December 24, 1992.
Walter Kiener.
Kiener was born in Bern, Switzerland, the son of a sausage maker. He left school at 15 to help support his family. In his free time, Kiener became an expert mountaineer in the Alps. After serving his mandatory military service, he immigrated to the United States. Kiener arrived in Denver in 1923, took a job as a butcher, and joined the Colorado Mountain Club where he met Vaille.
Kiener suffered frostbite as a result of the Longs Peak expedition and lost several fingers, most of his toes, and part of a foot. Vaille's father, who was grateful for Kiener's rescue attempt, paid Kiener's medical bills. The accident left Kiener unable to continue his job as foreman of a Denver sausage factory. He was given the job of seasonal ranger, manning the fire lookout station on top of Twin Sisters, by Superintendent Toll. He worked there for five summers, then, with financial assistance from the Vaille family, he enrolled in biology at University of Nebraska, graduating in 1930. He earned his master's degree in 1931 and his Ph.D. in 1940. His doctoral thesis was titled, "Sociological Studies of the Alpine Vegetation on Longs Peak".
Kiener taught at University of Nebraska and served as chief biologist for the State of Nebraska Game, Forestation, and Parks Commission. He also founded the Nebraska Game Commission's Fisheries Research Department. He died of pancreatic cancer on August 24, 1959. Keiner's extensive collection of plant specimens, catalogs, field notes, reference books is housed at the University of Nebraska State Museum.


Marsa Battery

Marsa Battery () was an artillery battery in Marsa, Malta, built by Maltese insurgents during the French blockade of 1798-1800. It was part of a chain of batteries, redoubts and entrenchments encircling the French positions in Marsamxett and the Grand Harbour.
The battery was built at the bottom of Jesuit Hill, close to the shoreline. Jesuit Hill Battery was located nearby on higher ground. The battery was small, and consisted of a small masonry parapet with three embrasures, a hardstone gun platform, a sentry room on the left, and a flanking rubble wall on the right. A magazine was also built to the rear of the battery. Marsa Battery was designed by Salvatore Camilleri from Valletta.
Like the other French blockade fortifications, Marsa Battery was dismantled, possibly sometime after 1814. No traces of the battery can be seen today, and the area is now heavily industrialized. The site of the battery is now occupied by the Marsa Power Station.
Apart from the Battery on the hill, the insurgents built another smaller battery close to the seashore which was also demolished after the blockade. During the British period a battery, known as Ta' Cejlu Battery, was built for its eventual use in WWII - which no longer exits today. The battery was a typical anti-aircraft warfare battery, one of a series of batteries built around Malta. The latter was located at the top of the Jesuit’s Hill, a stratigic position in the Grand Harbour.


Castle of Buitrago del Lozoya

The Castle of Buitrago del Lozoya (Spanish: "Castillo de Buitrago del Lozoya") is a castle located inside the walls of Buitrago del Lozoya, Community of Madrid region, Spain.
It was built in the 15th century in Gothic-Mudéjar style. It has a rectangular plan, with seven towers of various shapes (round, pentagonal, square), all in stone. The interior is in ruins.
It was declared "Bien de Interés Cultural" in 1931.


San Sebastian, Requena

San Sebastián (St Sebastian) is Renaissance-style, Roman Catholic church located in the Plaza de San Sebastián in Requena, province of Valencia, Spain.
The church was erected in the 14th century as a hermitage for new converts to Christianity. These were subsequently expelled as Moriscos in the 17th century. In 1663, to prevent pillaging by Moriscos of the church soldiers of Don Pedro de Cisneros, looted the interior. In 1748, the mudéjar apse and chapels were refurbished in a baroque fashion. recent restorations, have revealed some of the former architectural elements.


Seteais Palace

The Seteais Palace () is a neoclassical palace located in Sintra, on the Portuguese Riviera, operating as a luxury hotel known as the Tivoli Palácio de Seteais Hotel. The palace is a national landmark and is included in the UNESCO "Cultural Landscape of Sintra" World Heritage Site listing.
Etymology.
Jose Alfredo mentions in “Seteais fields” that this field is very old and has always been an integral part of the precinct behind the palace. Some people believe that its name comes from the tradition of shouting “ai” on the road where its echo is repeated 7 times. On the other hand, a very old manuscript by an anonymous author kept in Sintra library mentions that the origin of the word of Seteais derives from the land named Centeais where rye () was being cultivated.
History.
The Seteais Palace was built between 1783 and 1787 for the Dutch consul Daniel Gildemeester, on lands granted by the Marquis of Pombal.
Although Daniel Gildemeester had a land in the neighborhood of Quinta da Alegria property, there was not any house to live in. So Gildemeester had lived in the Palace of Marquis of Pombal as a tenant during summer. He started to build his own mansion close to the property (Monserrate Palace) of his friend British consul Gerard de Visme in order to leave the Palace of Marquis of Pombal.
The consul chose to build his house on the border of an elevation, from which the vast landscape around the Sintra hills could be admired. The palace was surrounded with a large garden with fruit trees.
In 1797, some years after the consul's death, his widow sold the palace to Diogo José Vito de Menezes Noronha Coutinho, 5th Marquis of Marialva. The palace was enlarged between 1801 and 1802, probably by neoclassical architect José da Costa e Silva, author of the São Carlos Theatre in Lisbon. The palace was turned into a symmetrical U-shaped building, with the consul's house becoming one of its wings. The cornice of the buildings that compose the main façade was decorated with typical neoclassical motifs like vases, busts and reliefs of garlands. The gardens of the palace were remodelled following romantic trends.
The old and the new wings were connected in 1802 by a neoclassical arch, built in honour of Prince regent John VI and Princess Carlota Joaquina, who visited the palace in that year. The monumental arch, decorated with the bronze effigies of the royal pair and a commemorative Latin inscription, is attributed to architect Francisco Leal Garcia.
The walls of several inner rooms of the palace were decorated with frescos attributed to French painter Jean Pillement and his followers. Painted motifs include exotic vegetation and mythological characters, typical of the neoclassical taste.
After changing hands several times, the palace was acquired by the Portuguese government in 1946. The Seteais Palace has been used as a luxury hotel since 1954 but its original characteristics have been preserved.


All Saints Church, East Meon

All Saints Church is an Anglican parish church in the village of East Meon, Hampshire, England. It is a Grade I listed building and the oldest building in the village, lying so tight to a hill to the north of the village – part of the South Downs – that there was no room for a north aisle to be built. Most of the church dates from the Norman period, with the south chapel and south aisle being added in the 13th century.
According to Pevsner it is "one of the most thrilling village churches in Hampshire", to John Betjeman it is "a striking, boldly massed church set above the village against a green down", while Simon Jenkins states that of the Saxon foundations in the Meon valley, "few are as satisfying as East Meon".
History.
Norman.
There is uncertainty as to when building work on the church commenced: one source gives a date between 1130 and 1140, while the parish history gives 1080, and the instigator as probably Bishop Walkelin, who rebuilt Winchester Cathedral. The church was probably built on a site where there was a pre-existing Anglo-Saxon structure, the church that we see today being "essentially that of the conquerors". The original church was in the shape of a cross, 110 feet long and 62 feet wide, and is easily identified by the Romanesque arches. The tower is of c. 1150, although the lead-covered broach spire – which can be seen from the South Downs Way – is later, probably 1230, and its decoration – scallops and zigzag – is similar to that found on Winchester Cathedral.
The massive and ornate Tournai font of c. 1130–40, like three others in Hampshire (Winchester Cathedral, St Michael's, Southampton, and St Mary's Church, Bourne) and three elsewhere in England, is made of Tournai marble (not strictly a marble but a dark limestone). It was probably a gift to the church from Henry of Blois, Bishop of Winchester. The Romanesque friezes on its sides, carved by Flemish masters, depict the creation of Adam and Eve and the Temptation (N face); the Expulsion from the Garden of Eden and Adam being shown how to dig (E); and various animals, birds and dragons on the S and W faces.
13th–18th century.
The south (Lady) chapel and south aisle in the Early English style date from the early 13th century, with the south aisle's windows being made later on; the east window of the Lady Chapel is by Sir Ninian Comper from his 20th-century restoration, as is the chapel's wood and alabaster reredos. There appears to have been rebuilding of the chancel between 1470 and 1498, the clue being the arms of Prior Hinton and the Priory and Convent of St Swithun on the chancel's east wall. The windows of the south chapel also date from the late 15th century.
The north transept was used as a Sunday school and a school for 160 children during the 18th and first part of the 19th century, before the school moved to its own premises in 1845.
19th–20th century.
Ewan Christian oversaw the restoration of the interior in 1869–70, which saw the removal of the 18th-century high pews and galleries, and there was further rebuilding between 1906 and 1922 by Sir Ninian Comper, including the perpendicular east window in the chancel, which is a copy of the original, the altar and the screen that divides the chancel and Lady's Chapel. The pulpit, made in 1706, was brought from the Church of Holy Trinity, Minories, London in 1906; in the same year new woodwork – quire seats, and screens in the arcade separating the chancel from the south chapel − was installed. The organ dates from 1983 and was built by Peter Wells.
The church hall was built in 2000. A Millennium embroidery that was made by 40 hands was installed in the church in 2008.


Cathedral of Funchal

The Cathedral of Our Lady of the Assumption () in Sé, Funchal, Madeira, Portugal, is the cathedral of the Roman Catholic Diocese of Funchal, which encompasses all of the Autonomous Region of Madeira. The late fifteenth-century cathedral is one of the few structures that survives virtually intact since the early period of colonization of Madeira. The patron of the cathedral is Our Lady of the Assumption ().
Design and artwork.
The cathedral is designed in a Gothic style and has three naves. The building was constructed using thousands of blocks of volcanic rocks carried from the cliffs at Cabo Girão, namely trachybasalt, trachyandesite, trachyte, tephrite and ashes, lapilli and breccia tuff. The facades are predominantly plastered and painted white, with stonework corners.
The roof of the cathedral features a Mudéjar-inspired design and is of cedar wood.
The wooden choir stalls depict prophets, saints and apostles in 16th-century garb. In the decorative details of the seats and armrests, aspects of Madeira's life can also be seen, such as cherubs carrying a bunch of bananas or a wineskin.
The cathedral contains a silver processional cross donated by King Manuel I of Portugal, considered one of the masterpieces of Manueline liturgical silverwork.
As Pope John Paul II visited Madeira in 1991, a statue of Pope was built to remember the event. It is located outside the cathedral, which was moved to its current position after formerly being installed in the urban area of Funchal adjacent to the waterfront.
History.
During the 1490s, Manuel I sent architect Pêro Anes or Gil Enes to work on the design of the Cathedral of Funchal. The cathedral was structurally complete in 1514. Prior to completion, however, by 1508, when Funchal was elevated to the status of a city, the cathedral was already being used for the celebration of Mass. The spire of the bell tower and a few additional details were finalized in 1517-1518.


Oxburgh Hall

Oxburgh Hall is a moated country house in Oxborough, Norfolk, England. The hall was built for Sir Edmund Bedingfeld who obtained a licence to crenellate in 1482. The Bedingfelds gained the manor of Oxborough through marriage in the early 15th century, and the family has lived at the hall since its construction, although ownership passed to the National Trust for Places of Historic Interest or Natural Beauty in 1952. The house underwent extensive refurbishment in the mid 19th century under John Chessell Buckler and Augustus Pugin.
History.
An example of a late medieval, inward-facing great house, Oxburgh stands within a square moat about 75 metres on each side, and was originally enclosed; the hall range facing the gatehouse was pulled down in 1772 for Sir Richard Bedingfeld, providing a more open U-shaped house, with the open end of the U facing south. The entrance, reached by a three-arched bridge on the north side, is through a fortified gatehouse, described by Nikolaus Pevsner as "the most prominent of the English brick gatehouses of the 15th century". The gate was designed to evoke the owner's power and prestige, though as fortification its value is largely symbolic; it is flanked by tall polygonal towers rising in seven tiers, with symmetrical wings extending either side that reveal nothing on the exterior of their differing internal arrangements. About 1835 the open end of the U was filled in with a picturesque, by no means archaeologically correct range that recreated the central courtyard. Other Victorian additions include the Flemish-style stepped gables, the massive southeast tower, the oriel windows overhanging the moat and terracotta chimneys. Four towers were added to the walled kitchen garden. In the 1830s under Sir Henry Richard Paston-Bedingfield, John Chessell Buckler and Augustus Pugin were commissioned to restore and develop the hall. A chapel was added, and the walled kitchen garden and flower gardens were rebuilt. A stable block was also added.
The hall is known for its priest hole. The Catholic Bedingfelds constructed the closet, accessed through a lavatory, to enable the concealment of priests. The hall is also notable for the Oxburgh Hangings, needlework hangings by Mary, Queen of Scots and Bess of Hardwick. Mary worked on these while imprisoned in England, in the custody of the Earl of Shrewsbury.
A landscape park was laid out to the south and west of the house in the 1830s. A French parterre was laid out to the east of the moat at this time and a pleasure ground to the west of the new chapel was also created. The estate has a number of woodland walks, including a 'Woodland Explorer' trail.
Oxburgh Hall and the remaining estate was auctioned in lots in 1950. The Hall and gardens faced demolition in 1951, but were saved when Sybil, Lady Bedingfeld, her daughter Mrs Frances Playford, and niece Mrs Violet Hartcup raised enough funds to buy Oxburgh back before giving it to the National Trust in 1952.
In 2021, the Trust announced plans for the reversion of the 175 acres of land at Oxburgh from farmland back to wildlife-friendly woods and pasture. The project will be informed by the use of photographs taken during an RAF aerial survey in 1946 and will see the planting of 227 trees to recreate habitats for local wildlife.
Architecture and description.
The hall has been listed Grade I on the National Heritage List for England since 1951. This is the highest level of designation. The landscaped and formal gardens of the hall have been Grade II listed on the Register of Historic Parks and Gardens since 1987.


Bielefeld Hauptbahnhof

Bielefeld Hauptbahnhof is the main station in the region of Ostwestfalen-Lippe in German state of North Rhine-Westphalia. It is an important station because of the size of the city of Bielefeld and its location at the Bielefeld Pass, which makes it a node for long-distance and regional traffic. It was opened in 1847 with the opening of the Cologne-Minden trunk line. It is classified by Deutsche Bahn as a category 2 station.
Station environment.
Bielefeld Hauptbahnhof is located in the north-west of Bielefeld between the "Neue Bahnhofsviertel" (new station district) and the city centre. Not far from the station building is the entrance to the underground station on the Stadtbahn line running through the inner city. Opposite is the "Stadthalle Bielefeld" conference centre, which includes a hotel.
It is a through station on the Hamm–Minden railway, which runs through the city from the north-east to the south-west. Since it has no train shed, the platforms have individual canopies.
History.
At the opening of the Hamm–Minden railway section of the Cologne-Minden Railway Company’s trunk line on 15 October 1847, Bielefeld station had only a temporary wooden building. The first stone station building was completed in 1849. It was rebuilt and enlarged in 1885. The station at the time was far to the north of the city, because enough flat land was available there. Southwest of the station, the line passes close to the old town, but is already rising to cross the Bielefeld Pass. The almost one km between the old town and the station stimulated the development of public transport in Bielefeld. In the coming decades, the residential and industrial development of the city extended to the station and eventually beyond.
In the first decades not all express train stopped in Bielefeld. Minden as a seat of the provincial government and a fortress with a large garrison was more important to the government of Prussia than the industrial town of Bielefeld.
The number of passengers rose sharply, so that a new station building was required in Bielefeld. The construction of today's entrance building began in 1907. The Art Nouveau building with natural stone facades was opened on 1 May 1910. In the west wing there was a waiting room for first and second class passengers and a waiting room for third and fourth class passengers, in the east wing rail offices and apartments for rail staff. In the entrance hall there were a ticket office and a baggage counter. The entrance building originally had an adjoining platform. During the reconstruction of the Hamm–Minden line to four tracks between 1911 and 1917, six platform tracks were built on three platforms connected to the station building by passenger and baggage tunnels. Until the beginning of the 21st century the platforms were hardly changed. This means that track 1 runs directly alongside the station building and all the platforms are only accessible through the tunnel. A freight terminal building, which was stylistically matched to the entrance building, but without its natural stone facades, was built on the north side of the station's tracks.
The heavy air raids on Bielefeld in September 1944 left the station almost undamaged so that the façade is virtually unchanged despite several modernisations of the building. There is a memorial on the station forecourt in remembrance of the deportation of Jews to the extermination camps from Bielefeld station during the Nazi dictatorship.
In 1946 and 1947 Bielefeld station was the headquarters of the railways of the American and British occupation zone ("Hauptverwaltung der Eisenbahnen des amerikanischen und britischen Besatzungsgebiets"), from which Deutsche Bundesbahn emerged in 1949. The last act of the Deutsche Bundesbahn, "Generalbetriebsleitung" (general management) West, Bielefeld was to publish the official winter timetable for the period from 2 October 1949 to 13 May 1950.
The importance of the station in the railway network was consolidated with the electrification of the Hamm–Hanover main line on 29 September 1968 and the introduction of the Intercity-Express connection between Cologne and Berlin in the 1990s, stopping in Bielefeld, with connections at regular-intervals with regional services.
Recent reconstruction.
During the rebuilding of the central sections of the Bielefeld tramway underground, the underground Stadtbahn station was not built under the Hauptbahnhof for cost reasons. The Hauptbahnhof Stadtbahn station was instead built 150 m to the south-east and is connected to the station forecourt by a covered travelator (popularly known as "die Tüte": "the bag"). At the beginning of the 21st century the old freight yard to the north of the line was demolished to make room for an entrance and exit of the "Ostwestfalendamm" expressway and the "Neue Bahnhofsviertel" (new station district).
The construction included the widening and extension of the pedestrian tunnel to the north and the provision of barrier-free access to existing platforms and to the heritage-listed station building. Additional tracks and a new platform were built on the north side of the station. The station was expanded to seven platform tracks next to four platforms.
The expansion and modernisation of the station were intended to be completed in 2000. But after the bankruptcy of the general contractor, construction work was suspended due to unresolved financial issues for a period of 17 months. Since the reconstruction took place under traffic, this resulted in significant disruptions for passengers. Construction was finally completed in September 2006. These works cost a total of €26.2 million.
The station is now directly connected to the new station district on the north side, increasing the attractiveness of the city. The dining establishments, nightclubs, spa and leisure facilities benefit from the direct access to the station. The station district and the railway station also support each other, as for example the car park of the new district is also used by rail passengers.
Rail services.
Long-distance and regional services run from Bielefeld Hauptbahnhof on the Ruhr–Hanover line and regional services run within the Ostwestfalen-Lippe region. Because the station has only 7 platform tracks, individual platforms are sometimes occupied by two trains at the same time.
Regional services.
All regional trains, trams and buses can be used with "Der Sechser" (“the six”) fares of the "Zweckverband Verkehrsverbund OWL" (Ostwestfalen-Lippe transport association) and "NRW-tariff" fares. An exception to this rule are the night buses running between 1 AM and 5 AM. The Niedersachsen-Ticket can be used on the Regional-Express service RE 70 (Weser-Leine-Express) by buying a supplement from/to Herford.
Stadtbahn connections.
The underground Stadtbahn station is served by all Stadtbahn lines:
Buses run from the station forecourt to, among other places, Bad Salzuflen, Leopoldshöhe, Borgholzhausen, Gütersloh and Steinhagen. These also serve urban destinations, such as Heepen, Dornsberg and Quelle (Bielefeld). Nevertheless, the central bus transfer point in Bielefeld is located at "Jahnplatz" (a stadbahn stop away), where buses run in all directions.
Parking and cycle facilities.
There is a parking area In the new station district on the north-west side of the station. There is cycle parking right next to the station building. Alternatively, it is possible to hire bikes and electric bikes.
Access.
The main entrance is located in the station forecourt ("Bahnhofsplatz"), just 200 metres walk from the entrance to the Stadtbahn station. It is accessible by barrier-free lifts and moving walkways. Furthermore, the station is accessible from the new station district, which lies on the opposite side of the station.
Platform tracks 1 to 6 are accessible by wheelchair using lifts and the underpass. Track 8 can be reached from ground level from the new station district, which can be reached by lift and underpass from the station building.


Chester Cathedral

Chester Cathedral is a Church of England cathedral and the mother church of the Diocese of Chester. It is located in the city of Chester, Cheshire, England. The cathedral (formerly the abbey church of a Benedictine monastery, dedicated to Saint Werburgh) is dedicated to Christ and the Blessed Virgin Mary. Since 1541, it has been the seat of the Bishop of Chester.
The cathedral is a Grade I listed building, and part of a heritage site that also includes the former monastic buildings to the north, which are also listed Grade I. The cathedral's construction dates from between 1093 and the early 16th century, having been modified a number of times throughout history, a typical characteristic of English cathedrals; however, the site itself may have been used for Christian worship since Roman times. All the major styles of English medieval architecture, from Norman to Perpendicular, are represented in the present building.
The cathedral and former monastic buildings were extensively restored during the 19th century (amidst some controversy), and a free standing bell tower was added in the 20th century. In addition to holding services for Christian worship, the buildings are a major tourist attraction in Chester and the cathedral is used as a venue for concerts and exhibitions.
History.
The city of Chester was an important Roman stronghold. There may have been a Christian basilica on the site of the present cathedral in the late Roman era, while Chester was controlled by Legio XX Valeria Victrix. Legend holds that the basilica was dedicated to Saint Paul and Saint Peter. This is supported by evidence that in Saxon times the dedication of an early chapel on this site was changed from Saint Peter to Saint Werburgh.
During the Early Middle Ages Barloc of Norbury, a Catholic Celtic saint and hermit, was venerated at Chester Cathedral with a feast day on 10 September. He is known to history mainly through the hagiography of the Secgan Manuscript; he also occurs in a litany in MS Tanner 169* of the Bodleian Library, Oxford.
In 907 Chester was refortified against the threat from the Vikings, and shortly afterwards the minster was founded or refounded, and Werburgh's remains were transferred there from Hanbury, probably by Æthelflæd, Lady of the Mercians. The collegiate church, as it was then, was restored in 1057 by Leofric, Earl of Mercia and Lady Godiva. This church was razed to the ground around 1090, with the secular canons evicted, and no known trace of it remains.
In 1093 a Benedictine abbey was established on the site by Hugh Lupus, Earl of Chester, with the assistance of St Anselm and other monks from Bec in Normandy. The earliest surviving parts of the structure date from that time. The abbey church was not at that time the cathedral of Chester; from 1075 to 1082 the cathedral of the diocese was the nearby church of St John the Baptist, after which the see was transferred to Coventry. In 1538, during the dissolution of the monasteries, the monastery was disbanded and the shrine of Saint Werburgh was desecrated. In 1541 St Werburgh's abbey became a cathedral of the Church of England, by order of Henry VIII. At the same time, the dedication was changed to Christ and the Blessed Virgin. The last abbot of St Werburgh's Abbey, Thomas Clarke, became the first dean of the new cathedral, at the head of a secular chapter.
Although little trace of the 10th-century church has been discovered, save possibly some Saxon masonry found during a 1997 excavation of the nave, there is much evidence of the monastery of 1093. This work in the Norman style may be seen in the northwest tower, the north transept and in remaining parts of the monastic buildings. The abbey church, beginning with the Lady Chapel at the eastern end, was extensively rebuilt in Gothic style during the 13th and 14th centuries. At the time of the dissolution of the monasteries, the cloister, the central tower, a new south transept, the large west window and a new entrance porch to the south had just been built in the Perpendicular style, and the southwest tower of the façade had been begun. The west front was given a Tudor entrance, but the tower was never completed.
In 1636 the space beneath the south west tower became a bishop's consistory court. It was furnished as such at that time, and is now a unique survival in England, hearing its last case, that of an attempted suicide of a priest, in the 1930s. Until 1881, the south transept, which is unusually large, also took on a separate function as an independent ecclesiastical entity: the parish church of St Oswald. Although the 17th century saw additions to the furnishings and fittings, there was no further building work for several centuries. By the 19th century, the building was badly in need of restoration. The present homogeneous appearance that the cathedral presents from many exterior angles is largely the work of Victorian restorers, particularly George Gilbert Scott.
The 20th century has seen continued maintenance and restoration. In 1922, the Chester War Memorial was installed in the cathedral grounds and dedicated to the fallen soldiers of the First World War and later the Second World War. In 1973–75 a detached belfry, the Addleshaw Tower, designed by George Pace, was erected in the grounds of the cathedral. In 2005 a new Song School was added to the cathedral. During the 2000s, the cathedral library was refurbished and relocated. It was officially reopened in September 2007. The cathedral and the former monastic buildings were designated as Grade I listed buildings on 28 July 1955.
Architecture.
Cathedral.
Plan.
Chester Cathedral has an east–west axis, common to many cathedrals, with the chancel at the eastern end, and the façade to the west. The plan is cruciform, with a central tower (as is usual in English monastic churches), but is asymmetrical, having a small transept on the north side remaining from an earlier building, and an unusually large south transept. As the plan shows, the asymmetry extends to the west front, where the north tower remains from the Norman building, and the south tower is of the early 16th century. At the eastern end, the symmetrical arrangement of the aisles was lost when the end of the south aisle was demolished and rebuilt in an apsidal shape. The nave, choir and south transept have wide aisles on either side, and are lit by clerestory windows and large multi-light windows in each of the three cliff-like ends. To the north of the cathedral are monastic buildings, including the cloister, refectory and a rectangular chapter house. The façade of the building is abutted on the north by later buildings.
External appearance.
LIke the cathedrals of Carlisle, Lichfield and Worcester, Chester Cathedral is built of New Red Sandstone, in this case Keuper Sandstone from the Cheshire Basin. The stone lends itself to detailed carving, but is also friable, easily eroded by rain and wind, and is badly affected by pollution. With the other red sandstone buildings, Chester is one of the most heavily restored of England's cathedrals. The restoration, which included much refacing and many new details, took place mainly in the 19th century.
Because the south transept is similar in dimension to the nave and choir, views of the building from the south-east and south-west give the impression of a building balanced around a central axis, with its tower as the hub. The tower is of the late 15th century Perpendicular style, but its four large battlemented turrets are the work of the restoration architect George Gilbert Scott.
With its rhythmic arrangement of large, traceried windows, pinnacles, battlements and buttresses, the exterior of Chester Cathedral from the south presents a fairly homogeneous character, which is an unusual feature as England's cathedrals are in general noted for their stylistic diversity. Close examination reveals window tracery of several building stages from the 13th to the early 16th century. The richness of the 13th-century tracery is accentuated by the presence of ornate, crocketted drip-mouldings around the windows; those around the perpendicular windows are of simpler form.
The façade of the cathedral is dominated by a large deeply recessed eight-light window in the Perpendicular style, above a recessed doorway set in a screen-like porch designed, probably by Seth and George Derwall, in the early 1500s. This porch formed part of the same late 15th-century building programme as the south transept, central and southwest towers, and cloister. Neither of the west towers was completed. To the north is the lower stage of a Norman tower, while to the south is the lower stage of a tower designed and begun, probably by Seth and George Derwall, in 1508, but left incomplete following the dissolution of the monastery in 1538. The cathedral's façade is abutted on the north by a Victorian building housing the education centre and largely obscured from view by the building previously used as the King's School, which is now a branch of Barclays Bank. The door of the west front is not used as the normal entrance to the cathedral, which is through the southwest porch which is in an ornate Tudor style.
Interior.
The interior of Chester Cathedral gives a warm and mellow appearance because of the pinkish colour of the sandstone. The proportions appear spacious because the view from the west end of the nave to the east end is unimpeded by a pulpitum and the nave, although not long, is both wide and high compared with many of England's cathedrals. The piers of the nave and choir are widely spaced, those of the nave carrying only the clerestory of large windows with no triforium gallery. The proportions are made possible partly because the ornate stellar vault, like that at York Minster, is of wood, not stone.
Norman remnants.
The present building, dating from around 1283 to 1537, mostly replaced the earlier monastic church founded in 1093 which was built in the Norman style. It is believed that the newer church was built around the older one. That the few remaining parts of the Norman church are of small proportions, while the height and width of the Gothic church are generous would seem to confirm this belief. Aspects of the design of the Norman interior are still visible in the north transept, which retains wall arcading and a broadly moulded arch leading to the sacristy, which was formerly a chapel. The transept has retained an early 16th-century coffered ceiling with decorated bosses, two of which are carved with the arms of Henry VIII and Cardinal Wolsey.
The north west tower is also of Norman construction. It serves as the baptistry and houses a black marble font, consisting of a bowl on a large baluster dating from 1697. The lower part of the north wall of the nave is also from the Norman building, but can only be viewed from the cloister because the interior has been decorated with mosaic.
Early English.
The Early English Gothic chapter house, built between 1230 and 1265, is rectangular and opens off a "charming" vestibule leading from the north transept. The chapter house has grouped windows of simple untraceried form. Alec Clifton-Taylor describes the exterior of this building as a "modest but rather elegant example of composition in lancets" while Nikolaus Pevsner says of the interior "It is a wonderfully noble room" which is the "aesthetic climax of the cathedral". To the north of the chapter house is the slype, also Early English in style, and the warming room, which contains two large former fireplaces. The monastic refectory to the north of the cloister is of about the same date as the chapter house.
The Lady Chapel to the eastern end of the choir dates from between 1265 and 1290. It is of three bays, and contains the Shrine of St Werburgh, dating from the 14th century. The vault of the Lady Chapel is the only one in the cathedral that is of stone. It is decorated with carved roof bosses representing the Trinity, the Madonna and Child, and the murder of Thomas Becket. The chapel also has a sedilia and a piscina.
Decorated Gothic.
The choir, of five bays, was built between 1283 and 1315 to the design of Richard Lenginour, and is an early example of Decorated Gothic architecture. The piers have strongly modelled attached shafts, supporting deeply moulded arches. There is a triforium gallery with four cusped arches to each bay. The sexpartite vault, which is a 19th-century restoration, is supported by clusters of three shafts which spring from energetic figurative corbels. The overall effect is robust, and contrasts with the delicacy of the pinnacled choir stalls, the tracery of the windows and the rich decoration of the vault which was carried out by the ecclesiastical designers, Clayton and Bell. The choir stalls, dating from about 1380, are one of the glories of the cathedral.
The aisles of the choir previously both extended on either side of the Lady Chapel. The south aisle was shortened in about 1870 by George Gilbert Scott, and given an apsidal east end, becoming the chapel of St Erasmus. The eastern end of the north aisle contains the chapel of St Werburgh.
The nave of six bays, and the large, aisled south transept were begun in about 1323, probably to the design of Nicholas de Derneford. There are a number of windows containing fine Flowing Decorated tracery of this period. The work ceased in 1375, in which year there was a severe outbreak of plague in England. The building of the nave was recommenced in 1485, more than 150 years after it was begun. The architect was probably William Rediche. Remarkably, for an English medieval architect, he maintained the original form, changing only the details. The nave was roofed with a stellar vault rather like that of the Lady Chapel at Ely and the choir at York Minster, both of which date from the 1370s. Like that at York, the vault is of wood, imitating stone.
Perpendicular Gothic.
From about 1493 until 1525 the architect appears to have been Seth Derwall, succeeded by George Derwall until 1537. Seth Derwall completed the south transept to a Perpendicular Gothic design, as seen in the transomed windows of the clerestory. He also built the central tower, southwest porch and cloisters. Work commenced on the south west tower in 1508, but it had not risen above the roofline at the time of the dissolution of the monasteries, and has never been completed. The central tower, rising to , is a "lantern tower" with large windows letting light into the crossing. Its external appearance has been altered by the addition of four battlemented turrets by George Gilbert Scott in the 19th century.
Former monastic buildings.
The Perpendicular Gothic cloister is entered from the cathedral through a Norman doorway in the north aisle. The cloister is part of the building programme that commenced in the 1490s and is probably the work of Seth Derwall. The south wall of the cloister, dating from the later part of the Norman period, forms the north wall of the nave of the cathedral, and includes blind arcading. Among the earliest remaining structures on the site is an undercroft off the west range of the cloisters, which dates from the early 12th century, and which was originally used by the monks for storing food. It consists of two naves with groin vaults and short round piers with round scalloped capitals.
Leading from the south of the undercroft is the abbot's passage which dates from around 1150 and consists of two bays with rib-vaulting. Above the abbot's passage, approached by a stairway from the west cloister, is St Anselm's Chapel which also dates from the 12th century. It is in three bays and has a 19th century Gothic-style plaster vault. The chancel is in one bay and was remodelled in the early 17th century. The screen, altar rails, holy table and plaster ceiling of the chancel date from the 17th century. The north range of the cloister gives access to a refectory, built by Simon de Whitchurch in the 13th century. It contains an Early English pulpit, approached by a staircase with an ascending arcade. The only other similar pulpit in England is in Beaulieu Abbey.
Restoration.

By the 19th century the fabric of the building had become badly weathered, with Charles Hiatt writing that "the surface rot of the very perishable red sandstone, of which the cathedral was built, was positively unsightly" and that the "whole place previous to restoration struck one as woebegone and neglected; it perpetually seemed to hover on the verge of collapse, and yet was without a trace of the romance of the average ruin". Between 1818 and 1820 the architect Thomas Harrison restored the south transept, adding corner turrets. This part of the building served until 1881 as the parish church of St Oswald, and it was ecclesiastically separate. From 1844 R. C. Hussey carried out a limited restoration including work on the south side of the nave.
The most extensive restoration was carried out by the Gothic Revival architect, George Gilbert Scott, who between 1868 and 1876 "almost entirely re-cased" the cathedral. The current building is acknowledged to be mainly the product of this Victorian restoration commissioned by the Dean, John Saul Howson. In addition to extensive additions and alterations to the body of the church, Scott remodelled the tower, adding turrets and crenellations. Scott chose sandstone from the quarries at Runcorn for his restoration work. In addition to the restoration of the fabric of the building, Scott designed internal fittings such as the choir screen to replace those destroyed during the Civil War; the roof had also been melted down to make musket balls. He built the fan vault of the south porch, renewed the wooden vault of the choir and added a great many decorative features to the interior.
Scott's restorations were not without their critics and caused much debate in architectural circles. Scott claimed to have archaeological evidence for his work, but the Liverpool architect, Samuel Huggins argued in an 1868 address to the Liverpool Architectural Society, that the alterations were less like restoration and more like rebuilding. One of the larger changes was to shorten the south aisle and restyle it as an apse. The changes also proposed the addition of a spire above the existing tower, but this proposal was later rejected. Samuel's further paper of 1871 entitled "On so-called restorations of our cathedral and abbey churches" compelled the Dean to attempt to answer the criticism. The debate contributed to the establishment of the Society for the Protection of Ancient Buildings.
Later in the century, from 1882, Arthur Blomfield and his son Charles made further additions and modifications, including restoring and reinstating the Shrine of St Werburgh. More work was carried out in the 20th century by Giles Gilbert Scott between 1891 and 1913, and by F. H. Crossley in 1939.
Bell tower.
Towards the end of 1963 the cathedral bells, which were housed in the central tower, were in need of an overhaul and ringing was suspended. In 1965 the Dean asked George Pace, architect to York Minster, to prepare specifications for a new bell frame and for electrification of the clock and tolling mechanism. Due to structural difficulties and the cost of replacing the bells in the central tower it was advised that consideration should be given to building a detached bell and clock tower in the southeast corner of the churchyard. It was decided to proceed with that plan, and in 1969 an announcement was made that the first detached cathedral bell tower was to be erected since the building of the campanile at Chichester Cathedral in the 15th century. In February 1969, nine of the ten bells in the central tower were removed to be recast by John Taylor & Co as a ring of twelve bells with a flat sixth. The new bells were cast in 1973. Work on the new bell-tower began in February 1973. Two old bells dating from 1606 and 1626 were left in the tower. On 26 February 1975 the bells were rung for the first time to celebrate the wedding of a member of the Grosvenor family. The official opening on 25 June 1975 was performed by the Duke of Gloucester. The belfry is known as the Dean Addleshaw Tower, after the dean of the cathedral responsible for its construction. The tower is built in concrete, faced with sandstone at its base. It is the first detached bell tower to be built for a cathedral in this country since the Reformation. Between the bell tower and the south transept is a garden in remembrance of the Cheshire Regiment (originally the 22nd Regiment of Foot).
Fittings and glass.
The treasures of Chester Cathedral are its rare fittings, specifically its choir stalls and the 17th-century furnishing of the bishop's Consistory Court in the south tower, which is a unique survival.
Choir stalls.
The choir stalls date from about 1380. They have high, spiky, closely set canopies, with crocketed arches and spirelets. The stall ends have poppyheads and are rich with figurative carving. The stalls include 48 misericords, all but five of which are original, depicting a variety of subjects, some humorous and some grotesque. Pevsner states that they are "one of the finest sets in the country", while Alec Clifton-Taylor calls them "exquisite" and says of the misericords that "for delicacy and grace they surpass even those at Lincoln and Beverley".
Organ.
In 1844, an organ by Gray & Davison of London was installed in the cathedral, replacing an instrument with parts dating back to 1626. The organ was rebuilt and enlarged by Whiteley Bros of Chester in 1876, to include harmonic flutes and reeds by Cavaillé-Coll. It was later moved to its present position at the front of the north transept. In 1910 William Hill and Son of London extensively rebuilt and revoiced the organ, replacing the Cavaillé-Coll reeds with new pipes of their own. The choir division of the organ was enlarged and moved behind the choirstalls on the south side. The instrument was again overhauled by Rushworth and Dreaper of Liverpool in 1969, when a new mechanism and some new pipework made to a design by the organist, Roger Fisher, was installed. Since 1991 the organ has been in the care of David Wells of Liverpool.
Stained glass.
Chester suffered badly at the hands of the Parliamentary troops. As a consequence, its stained glass dates mainly from the 19th and 20th centuries and has representative examples the significant trends in stained glass design from the 1850s onwards. Of the earlier Victorian firms, William Wailes is the best represented, in the south aisle (1862), as well as Hardman & Co. and Michael Connor. Glass from the High Victorian period is well represented by two leading London firms, Clayton and Bell and Heaton, Butler and Bayne. The Aesthetic style is represented by Charles Eamer Kempe. Early 20th century windows include several commemorating those who died in World War I.
There are also several notable modern windows, the most recent being the refectory window of 2001 by Ros Grimshaw which depicts the Creation. The eight-light Perpendicular window of the west end contains mid-20th century glass representing the Holy Family and Saints, by W. T. Carter Shapland. Three modern windows in the south aisle, designed and made by Alan Younger to replace windows damaged in the Second World War. They were donated by the 6th Duke of Westminster to celebrate the 900th anniversary of the cathedral and contain the dates 1092 and 1992 to reflect the theme of "continuity and change".
Features.
Nave.
The west end of the nave is dominated by an eight-light window in the Perpendicular Gothic style which almost fills the upper part of the west wall. It contains stained glass designed by W. T. Carter Shapland dating from 1961 and depicts the Holy Family in the middle two lights, flanked by the northern saints Werburgh, Oswald, Aidan, Chad and Wilfrid, and Queen Ethelfleda.
The stone nave pulpit was designed by the restorer R. C. Hussey and the lectern, dated 1876, is by Skidmore. The mosaic floor of the tower bay was designed by John Howson (Dean, 1867–1885) and executed by Burke and Co. The same firm installed the mosaics which decorate the wall of the north aisle, depicting the patriarchs and prophets Abraham, Moses, David and Elijah. They were designed by J. R. Clayton of Clayton and Bell, and date from 1883 to 86.
Monuments in the nave include those to Roger Barnston, dated 1838, by John Blayney, to Nicholas Stratford (Bishop, 1689–1707), dated 1708, to George Hall (Bishop, 1662–1668 (d.)), to Edmund Entwistle, dated 1712, to John and Thomas Wainwright who died respectively in 1686 and 1720, to Robert Bickerstaff who died in 1841 by Blayney, to William Smith (Dean, 1758–1787 (d.)) by Thomas Banks, and to William Mainwaring, dated 1671.
Quire.
The most famous feature of the quire is the set of choir stalls, dating from about 1380, and described above. The lectern, in the form of a wooden eagle, symbol of John the Evangelist, dates from the first half of the 17th century. The candlesticks also date from the 17th century and are by Censore of Bologna who died in 1662.
With these exceptions, most of the decoration and the fittings of the quire date from the 19th century and are in keeping with the Gothic Revival promoted by the Oxford Movement and Augustus Welby Pugin. The restored vault of the quire is typical of the period, having been designed by Scott and decorated and gilded by Clayton and Bell.
The quire is entered through a screen designed by George Gilbert Scott, with gates made by Skidmore. The rood was designed by Scott, and was made by F. Stuflesser. The bishop's throne or "cathedra" was designed by Scott to complement the choir stalls. It was constructed by Farmer and Brindley in 1876. The reredos and the floor mosaic date from 1876, and were designed by J. R. Clayton. The east window has tracery of an elegant Decorated Gothic design which is filled with stained glass of 1884 by Heaton, Butler and Bayne.
Lady Chapel.
The 13th-century Lady Chapel contains the stone shrine of Saint Werburgh which dates from the 14th century and which used to contain her relics. The shrine, of similar red sandstone as the cathedral, has a base pierced with deep niches. The upper part takes the form of a miniature chapel containing statuettes. During the Dissolution of the Monasteries it was dismantled. Some of the parts were found during the 1873 restoration of the cathedral and the shrine was reassembled in 1888 by Blomfield. A carving of St Werburgh by Joseph Pyrz was added in 1993. Also in the chapel are a sedilia and a piscina. The stained glass of 1859, is by William Wailes. The chapel contains a monument to Archdeacon Francis Wrangham, made by Hardman & Co. and dating from 1846. In 1555, George Marsh, Martyr stood trial here accused of heresy.
North quire aisle.
The north quire aisle has a stone screen by R. C. Hussey and an iron gate dated 1558 that came from Guadalajara. At the east end of the aisle is the chapel of St Werburgh which has a vault of two bays, and an east window depicting the Nativity by Michael O'Connor, dated 1857. Other stained glass windows in the north aisle are by William Wailes, by Heaton, Butler and Bayne, and by Clayton and Bell. The chapel contains a piscina dating from the 14th century, and monuments to John Graham (Bishop, 1848–1865) dated 1867, and to William Bispham who died in 1685, Other monuments in the north aisle include a tablet to William Jacobson (Bishop, 1865–1884), dated 1887, by Boehm to a design by Blomfield.
North transept, sacristy and chapter house.
The small Norman transept has clerestory windows containing stained glass by William Wailes, installed in 1853. The sacristy, of 1200, has an east window depicting St Anselm, and designed by A. K. Nicholson. In the north transept is a freestanding tombchest monument to John Pearson who died in 1686, designed by Arthur Blomfield and carved by Nicholas Earp, with a recumbent effigy by Matthew Noble. Other monuments in the transept include one to Samuel Peploe, dating from about 1784, by Joseph Nollekens. The wall monuments include cenotaphs to members of the Cheshire (Earl of Chester's) Yeomanry killed in the Boer War and in the First and Second World Wars. At the corner of the transept with the north aisle is a 17th-century Tree of Jesse carved in whale ivory. A niche contains a rare example of a "cobweb picture", painted on the web of a caterpillar. Originating in the Austrian Tyrol, it depicts Mary and the Christ-Child, and is based on a painting by Lucas Cranach the Elder.
The chapter house has stained glass in its east window by Heaton, Butler and Bayne and grisaille windows in the north and south walls, dated 1882–83, by Blomfield. It contains an oak cope cupboard from the late 13th century. The front of the chapter house was rebuilt to a design by Hussey.
South choir aisle.
The south aisle was shortened in about 1870 by Scott, and given an apsidal east end, becoming the chapel of St Erasmus. The stained glass in the apse window is dated 1872 and is by Clayton and Bell. Below this is a mosaic designed by J. R. Clayton and made by Salviati, and a fresco painting by Clayton and Bell, dated 1874. Elsewhere the stained glass in the aisle is by Wailes, and by Hardman & Co. to a design by Pugin. The aisle contains the tomb of Ranulf Higdon, a monk at St Werburgh's Abbey in the 12th century who wrote a major work of history entitled "Polychronicon", a monument to Thomas Brassey (a civil engineering contractor who died in 1870), designed by Blomfield and made by Wagmuller, a monument to Samuel Peploe (Bishop, 1726–1752) who died in 1752, and three painted monuments by a member of the Randle Holme family.
South transept.
The south transept, formerly the parish church of St Oswald contains a piscina and sedilia in the south wall. On the east wall are four chapels, each with a reredos, two of which were designed by Giles Gilbert Scott, one by Kempe and the other by his successor, W. E. Tower. The south window is dated 1887 and was made by Heaton, Butler and Bayne to a design by R. C. Hussey. Other stained glass in the transept is by Clayton and Bell, by C. E. Kempe and by Powell.
The monuments include those to George Ogden who died in 1781, by Hayward, to Anne Matthews who died in 1793, by Thomas Banks, to John Philips Buchanan who died at Waterloo in 1815, to the first Duke of Westminster, designed by C. J. Blomfield, and two memorial plaques to members of the Egerton family. On the wall of the southwest crossing pier are monuments which include a cenotaph to the casualties in HMS "Chester" in the Battle of Jutland in 1916 who included the 16-year-old John Cornwell VC. The west wall of the south transept has many memorials, including cenotaphs to the Cheshire Regiment, the Royal Air Force and the Free Czech Forces.
Cloisters and refectory.
The cloisters were restored in the 20th century, and the stained glass windows contain the images of some 130 saints. The cloister garth contains a modern sculpture entitled "The water of life" by Stephen Broadbent. The refectory roof is dated 1939 and was designed by F. H. Crossley. The east window with reticulated tracery was designed by Giles Gilbert Scott and is dated 1913. The stained glass in the west window, depicting the Creation, was designed by Ros Grimshaw and installed in 2001 to celebrate the Millennium. On the refectory's west wall there is a tapestry depicting Elymas being struck with blindness which was woven at the Mortlake Tapestry Works in the 17th century from one of the Raphael Cartoons. The heraldic paintings on the north wall represent the arms of the Earls of Chester.
Library.
A library has been present since the time of St Werburgh's Abbey, and following the dissolution of the monasteries it became the cathedral library. It continued to grow over the centuries, but by the 19th century it had become neglected. Between 1867 and 1885 it was enlarged and in the 1890s new bookcases were added. A further reorganisation took place in the 1920s but by the 1980s the contents were contained in five separate sites around the cathedral. A programme of repair and re-cataloguing of the contents was instituted. During the 2000s more work was carried out and the refurbished library, housed in three rooms, opened in 2007. The library is available for research and for organised visits by groups.
Ministry.
Dean and chapter.
As of 30 November 2020:
Services.
The cathedral is a place of Christian worship, with two services held daily, and four or five each Sunday. There is Holy Communion each day, and Choral Evensong each day except Wednesday. There is a sung service of cathedral Eucharist every Sunday.
Music.
The Director of Music is Philip Rushforth and the Assistant Director of Music is Benjamin Chewter; they are assisted by an Assistant Organist, Geoffrey Woollatt. There are lunchtime organ recitals weekly on Thursday. The monthly program of music is available on the cathedral's website.
The hymn-writer William Cooke (1821–1894) was a canon of Chester.
Organists.
The earliest recorded appointment of an organist is of John Brycheley in 1541. Notable organists include the composers Robert White and John Sanders, conductor George Guest and the recording artist Roger Fisher.
Choirs.
The choral tradition at Chester is 900 years old, dating from the foundation of the Benedictine monastery. In 1741 Handel heard the first recital of his Messiah at Chester. There are usually eight choral services in the cathedral each week. Chester has a cathedral choir of male lay clerks, choral scholars, and boy and girl choristers. They rehearse in the Song School, built on the site of the former Monks' Dormitory. In addition to singing at services, the choir perform in concerts, tour abroad, and make recording on CDs. There is no choir school at Chester, so the choristers come from local schools. There is also a mixed choir of adults, the Nave Choir, which sings Compline on Sunday evenings and in other services. This choir also takes part in concerts, and undertakes tours. Having been founded during the 1860s, it is the longest-running voluntary cathedral choir in Britain.
Activities.
Apart from services, a variety of events such as concerts, recitals, exhibitions and tours are held at the cathedral. There are weekly lunchtime organ recitals each Thursday, and concerts by the Chester Cathedral Nave Choir.
The cathedral and precinct are open to visits both by individuals and by groups. The former Refectory of the abbey is used as a café. The Refectory, the Cloister Room, the Chapter House, and the Vestibule can be hired for meetings, receptions and other purposes.
References and notes.
Notes
Citations
Sources


Donaghey Building

The Donaghey Building is a historic commercial building at 103 East 7th Street and 703 South Main Street in Little Rock, Arkansas. It is a fourteen-story structure, built out of reinforced concrete and faced in brick. The building forms a U shape, with a central courtyard open to the south. It was built in 1925–26 to a design by New York City architect Hunter McDonnell, and was Little Rock's tallest building for three decades, housing a variety of commercial offices, and retail spaces on the ground floor. It featured the latest advances in lighting, ventilation, and fire-resistant construction.
The building was listed on the National Register of Historic Places in 2012.


MacMillan-Dilley House

The MacMillan-Dilley House is a historic house at 407 Martin Avenue in Pine Bluff, Arkansas. It is a two-story wood-frame structure, with a cross-gable roof configuration, and distinctive siding consisting of boards topped by moulding. The underside of the extended roof gables are painted white, and the building has other features that are signatures of the Prairie School of design. It was built in 1903 to a design by Chicago architect Hugh M.G. Garden, who had supposedly studied with the major exponent of the Prairie School style, Frank Lloyd Wright.
The house was listed on the National Register of Historic Places in 1976.


Roosevelt Lodge Historic District

The Roosevelt Lodge Historic District comprises the area around the Roosevelt Lodge in the northern part of Yellowstone National Park, near Tower Junction. The district includes 143 buildings ranging in size from cabins to the Lodge, built beginning in 1919. The Lodge was first conceived as a field laboratory for students and educators conducting research in the park. It later became a camp for tourists, specifically designed to accommodate automobile-borne tourists. The Lodge is a simplified version of the National Park Service Rustic style.
The location is close to the reputed campsites of U.S. Presidents Chester A. Arthur and Theodore Roosevelt. In commemoration of Roosevelt's 1903 visit, a tent camp called Camp Roosevelt was set up by the Wylie Permanent Camping Company.
The lodge was built in 1919, and with the nearby supporting buildings built in subsequent years, was planned to give the ambience of a dude ranch. Significant buildings include:
These structures are surrounded by a variety of utility buildings and visitor cabins. The cabins can be divided into four main types:
The Roosevelt Lodge is located near Tower Junction on the Grand Loop Road, which is itself a National Historic District.


Joy Gas Stations

Joy Gas Stations operated uniquely designed stations in Toronto, Ontario, Canada, in the 1930s for the Joy Oil Company Limited. The stations are examples of the Château style of architecture, a style that was promoted as a uniquely Canadian architectural form in the 1930s.
Of the 16 stations built in the Greater Toronto Area, only one station survives today, at Lake Shore Boulevard West and Windermere Avenue built in 1937. In April 2007, the City of Toronto moved part of the station from the site to a location across the street at Sir Casimir Gzowski Park. The station was restored and will be repurposed as an eatery and tourist information centre once the current contract with the nearby vendor expires after 2016.
As of 2020, the station sits vacant. "It was restored a dozen years ago by the city at a cost of nearly $400,000 but has been vacant and fenced off ever since, with plans floated along the way that never panned out." The city expects it to re-open soon.
Lost stations.
The Joy Gas Station at 1947 Bloor Street West was built in 1937 on the north-west corner of High Park. It was demolished in 1986 to make way for a commercial complex by developer Zenon Greszta, a development which sparked opposition by local residents. It had been designated as a historic building, but its protection expired in July 1986.
A station existed on Kingston Road in Scarborough has since been demolished.
A station at 910 Lake Shore Boulevard West was demolished in 1977 and replaced with the current Esso station.
A station in Scarborough was demolished in the 1990s.
Other locations included:


Volkshaus

The Volkshaus is a 1,200-seat concert hall located in Zürich, Switzerland. The building construction began in June 1909 and publicly opened the following year.
On 26 February 1964, Thelonious Monk (with trio Charlie Rouse, Butch Warren and Ben Riley) performed there.
In November 1973, King Crimson performed a set at the Volkshaus which included the instrumental recording for song "The Mincer". John Wetton would later overdub vocals for the song on the album "Starless and Bible Black".
Kiss performed there on June 2, 1976 during their "Destroyer" album tour of Europe that started on 13 May.
Kraftwerk performed at the venue during a European tour on 3 October 1976 and during their "The Mix" tour on 26 November 1991. Their last concert was partially broadcast on radio and fairly well bootlegged afterwards.
DEVO performed their "Freedom of Choice" show at the venue on 16 June 1980.
New Order performed at the venue during a European tour on 2 April 1984. The concert was entirely broadcast on DMS3-FM radio.
Metallica played the venue twice in 1984; first on February 3rd in support of Venom as part of their 'Seven Dates of Hell' Tour, then again on 30th November, this time as the headline act with Tank opening the night as part of the promotional tour for their newly released album Ride The Lightning. Replica posters for both of these shows were included in the 2016 deluxe box set reissue of Ride The Lightning.
R.E.M. played the venue on 13 June 1989 as part of their "Green" world tour.
The Pet Shop Boys performed at the venue during their "Release" tour on 15 June 2002 and on 15 May 2007 during their "Fundamental" tour.
Johnny Clegg performed at the venue on 22 October 2010.
Tokio Hotel performed at the venue during their "Club Experience" "Feel It All" world tour on 15 March 2015.
Little Mix performed at the venue during The Get Weird Tour in June 2016.


Alpena County Courthouse

There have been several Alpena County Courthouses in Alpena, Michigan. These included buildings which housed the Circuit Court (the court of general jurisdiction), the District Court (the court of limited jurisdiction) and the Probate court (involving "e.g.", probate estates, trusts, protection of persons, guardianship, conservatorship).
Alpena County's first courthouse was destroyed by a fire on December 12, 1870. Its replacement built in 1881 met a similar fate on December 22, 1932. The current courthouse built in 1934 is an historic Art deco courthouse building located at 720 Chisholm Avenue in Alpena, Michigan. It was designed by architect William H. Kuni of Detroit and built by the Henry C. Webber Construction Co. of locally produced poured Portland cement made from locally quarried limestone. According to Kuni, it was the first monolithic poured building constructed during the winter in a cold climate. Kuni also designed the Tuscola County Court House.
It was financed partly by local bonds and WPA grants.
The building, dubbed "Fort Alpena" by a local writer, is embellished by architectural sculpture, including an eagle perched atop the clock on the main facade and figures of "Justice" and "Law" as well as "fascia designs show(ing) images of the county's lumbering, shipbuilding, farming, fishing and recreational industries."
On December 8, 1983, it was added to the National Register of Historic Places, item # 83003643. It is a state registered historic site.
The Alpena Courthouse Annex which houses the District Court and the Probate Court is located at 719 Chisholm Avenue and was built in 1997.


Rouen-Rive-Droite station

Rouen-Rive-Droite is a large railway station serving the city of Rouen, Normandy, France. The station is on Rue Verte in the north of the city. Services are mainly intercity but many services are local. There are also TGV from Le Havre to Marseille-Saint-Charles and to Strasbourg.
History.
The station opened its doors in 1847 when the Rouen–Le Havre section of the Paris–Le Havre railway opened to service. The line previously had its terminus at Rouen Rive-Gauche. With the increase in traffic, the construction of the new station on the North bank of the River Seine started. The station building was designed in Art Nouveau style by architect Adolphe Dervaux, with commissioned sculpture by Camille Lefèvre. The station was inaugurated on 4 July 1928 by French President Gaston Doumergue. At first named Rue Verte, the station then changed name to Rive-Droite. In 1994 an interchange was built to serve Rouen métro.
Services.
With the high-speed rail network TGV, Rouen is connected to the following stations: