List of mannerist structures in Central Poland

The mannerist architecture and sculpture in Poland have two major traditions: Polish-Italian and Dutch-Flemish, that dominated in northern Poland. The Silesian mannerism of South-Western Poland was largely influenced by Bohemian and German mannerism, while the Pomeranian mannerism of North-Western Poland was influenced by Gothic tradition and Northern German mannerism. The Jews in Poland adapted patterns of Italian and Polish mannerism to their own tradition. The mannerist complex of Kalwaria Zebrzydowska and mannerist City of Zamość are UNESCO World Heritage Sites.
Lublin region created its own style with folk motives (Kazimierz Dolny), while the urban mannerism in Greater Poland replaced the Gothic gables with Italian style arcades, tympanums, friezes and pillars in tuscan order (Poznań). Warsaw, as one of the main cities of the Polish-Lithuanian Commonwealth and due to its role as seat of Parliament and King, was a place of meetings of cultures. The mannerist architecture in the city was a combination of many types of mannerist traditions.
The Bohemian mannerism had also large influence on the architecture and sculpture in Poland. This concerned not only the lands that were part of the Kingdom of Bohemia, like Silesia. Bohemian mannerism in Silesia joined the Prague renaissance with its brunelleschian arcades (inspired by Queen Anna Jagiellon's Belvedere in Prague, 1535–1537) and German influences originating from the late Gothic (steep gable with renaissance decoration).


Ayshford Chapel

Ayshford Chapel is a former private chapel in the village of Ayshford, in the parish of Burlescombe, Devon, England. It is recorded in the National Heritage List for England as a designated Grade I listed building, and is under the care of the Friends of Friendless Churches. It is situated immediately to the south of the manor house of Ayshford Court, and to the north of the Grand Western Canal.
History.
The chapel was built in the 15th century by the Ayshford family of adjacent Ayshford Court. It is considered to be large for a private chapel in Devon. It was renovated during the 19th century. This renovation included installation of stained glass; this was the first signed work by the glass painter John Toms of Wellington. Since it was declared redundant, the chapel has been maintained by the charity, the Friends of Friendless Churches, who hold a 125 year lease with effect from 1 February 2000. In 2001–02 the charity undertook major conservation work. This included restoring the salmon-pink limewash in the interior, and repairing the stained glass.
Architecture.
Ayshford Chapel is constructed in local Westleigh chert rubble, with dressings in Beer stone. It has a slate roof. The plan consists of a rectangular building in one cell with no division between the nave and chancel. It is supported by corner buttresses. The ends are gabled and coped; at the west end is a bellcote, and at the east end is an apex cross. There are three two-light windows in each side wall and a three-light window in each end; all contain Perpendicular tracery. There are two doors, one at the west end, the other on the south side.
Internally the roof dates from the 15th century; it is a continuous open wagon roof and contains oak bosses with foliage carving. The carved oak chancel screen dating from the same period is panelled and includes blind arcarding. It was re-painted in the 19th century. Some of red, blue and green paint is still present. The remainder of the furniture, consisting of utilitarian oak pews, dates from the 19th century. The chapel is floored with red and black glazed tiles, and contains memorials to members of the Ayshford family. The stained glass is said to be in Art Deco style. There is a single bell inscribed with the date 1657.
Monuments.
On the floor in the sanctuary before the altar is the much worn yellow sandstone gravestone of Henry Ashford. The text reads as follows:
Hic jacet Henricus Ayshforde armiger qui obiit x die Februarii Anno Domini 1649 anno aetatis suo 73. Etiam jacet Anne uxor eius quae obiit ultimo die Octobris Anno Dom. 1656 anno aetatis sua ... (Here lies Henry Ayshford Esq., who died the tenth day of February in the year of our Lord 1649 in the 73rd year of his age. Also lies Anne his wife who died on the last day of October in the year of our Lord 1656 in the ... year of her age.)
Below is an escutcheon showing the arms of Ayshford impaling his wife's arms, now indistinct but still showing a chevron. His wife was "Amy" Bluett of nearby Holcombe Court, Holcombe Rogus, the arms of which family are: "A chevron between 3 eagles".
In the sanctuary to the left of the altar is the small black marble chest-tomb of the infant Henry Ashford (died 1666), great-grandson of Henry Ayshford (died 1649). The infant Henry was the only son of Arthur Ayshford (1640–1670) (eldest son of John Ayshford, third son of Henry (died 1649)), by his wife Grace Courtenay, daughter of John Courtenay (died 1660) of Molland. Grace's brother James Courtenay of Meshaw had married as his first wife Susanna Sanford, sister of John Sanford (died 1711) the eventual heir of Ayshford, whose tombstone can be seen in Molland Church. The infant Henry was the heir apparent to the Ayshford estates and his loss was clearly a great blow for his father, whose heir thereupon became his brother John Ayshford (died 1689), last of the Ayshfords whose mural monument is on the north wall of the Ayshford Chapel. The inscription on the top slab of Henry's tomb reads:
(Here lies)? the body of ...ry Ayshforde sone of Arthur Ayshforde Esq.r who departed this life the 17th day of January Anno Dom. 1666 aged one yeare and nine mo.
Below is an escutcheon with mantling showing the arms of Ayshford with a helm atop bearing the Ayshford crest of a saracen's head. An inscribed double arcade is shown on the front side.
On the north wall of the nave is a baroque marble mural monument to John Ashford (1641–1689), second son of John Ayshford (1604–1654) by Cicely Hacche, son of Henry Ayshford (died 1649). John Ayshford (died 1689) was the last Ashford lord of the manor of Ayshford, and his heir was his first-cousin John Sanford (1638–1711) (who married Elizabeth Knightley, his sister-in-law), the son of his aunt Mary Ayshford (1606–1662) and her husband Henry Sanford (1612–1644) of Nynehead Court, Somerset. The monument comprises a rectangular plaque flanked by Corinthian columns below a moulded entablature above which are shown the Ashford arms flanked by flaming urns. The columns sit on a shelf supported on consoles carved as cherubs heads. The apron is carved with swags, cherubs and the Ashford arms. The incised text reads as follows:
Near this place lies enterrd the body of John Ayshford of Ayshford in the county of Devon Esq.r who departed this life the 24th day of Febru: 1689 in ye 49th year of his aage "(sic)". As also the body of Susanna Ayshford his wife daughter of Lucy Knightley of London, merchant, the youngest son of Ritchard Knightley of Fausley in the county of Northamton Esq.r who departed this life the 6 day of Decem: 1688 in the 24 year of her age.
The Knightley family held the manor of Fawsley, 3 miles south of Daventry, Northamptonshire, from 1416 to 1914, and the grand Elizabethan manor house of Fawsley Hall survives, in the chapel of which survive effigies of the Knightley family. Two earlier and more elaborate mural monuments to the Ayshford family exist in nearby Burlescombe Church, the parish church of Ayshford Manor.
Ayshford Court.
Ayshford is recorded in the Domesday Book of 1086 as "Aiseforda". It is recorded even earlier in a charter dated 958. The manor house is now split into two residences. The main historic house was built by the Ashford/Ayshford family in about 1500 with major added in the 16th and 17th. centuries. The parlour wing was probably built by Roger Ayshford (died 1611), whose kneeling white marble effigy can be seen in his mural monument in Burlescombe Church, and the plasterwork was probably commissioned by Arthur Ayshford (1600 – 1642/7), his eldest son, who died without male progeny, his heir being his brother John (died 1654).
The owners of the building when it was listed in 1966 possessed a transcript of a 1689 inventory which showed the great wealth of the Ayshford family at that time. Mention was made of a "painted chamber". Ayshford Court, with its chapel and farmbuildings form an attractive group of buildings. The Ayshford estates passed to the Sanford family of Nynehead Court, Somerset, by the marriage of the heiress Mary Ayshford (1607–1662), daughter of Henry Ayshford, to Henry Sanford (1612–1644). A mural monument to the couple survives in Nynehead Church.


Okeover Hall

Okeover Hall is a privately owned Grade II* listed country house in Staffordshire. It is the family seat of the Okeover family, who have been in residence since the reign of William Rufus. The house lies close to the border between Staffordshire and Derbyshire, which lies on the far side of the small River Dove. The Hall is not open to the public.
The house and manor church (14th century, restored by Sir George Gilbert Scott) were pillaged by the Jacobite forces as they marched south to Swarkstone Bridge in 1745. In 1745–47, Leak Okeover had the old hall enlarged to Palladian designs by a London carpenter and joiner, Joseph Sanderson, a cousin of John Sanderson, the architect. The house is a testament to the high level of education and competence that might be elicited from a well-trained Georgian craftsman.
The Georgian east wing is the oldest part of the house dating from 1745–46. A north wing was demolished in the early 19th century. The south and west wings were rebuilt 1953–60 to a sensitive Neo-Georgian design by Marshall Sisson.
Stables at right angles to the house form a separate nine-bay range with a central pediment on Doric pilasters over three rusticated arches and are separately listed as Grade II.
A feature of the house is the Grade II* wrought iron inner gateway (1756) with armorial overthrow, by master smith Benjamin Yates, a pupil of Robert Bakewell, and the outer gates, also Grade II*, by Bakewell himself.
In 1887, the Hon. Maud Okeover married Sir Andrew Barclay Walker, a successful brewer of Gateacre, Liverpool (see Walker-Okeover baronets), who in 1884 had purchased Osmaston Manor in nearby Derbyshire. His son, Sir Peter Walker, the 2nd Baronet, married Ethel Okeover in 1899. Sir Ian Walker, the 3rd Baronet, inherited Okeover in 1956 and assumed the name of Walker-Okeover, demolished Osmaston Manor in 1964, and moved the family seat back to Okeover. The estate is currently owned by Sir Andrew Walker-Okeover, 5th Baronet.
Several members of the family have served as High Sheriff of Staffordshire and of Derbyshire.


Gainford Hall

Gainford Hall is a privately owned Jacobean manor house at Gainford, County Durham. It is a Grade I listed building but as of 2014 is registered as a Building at Risk.
The house was built about 1603 to a design possibly by architect Robert Smythson for Rev John Cradock, Vicar of Gainford. The upper storey was never fully completed internally and the east wing staircase was not built. The property was much restored in the 19th century.
Cradock was appointed Archdeacon of Northumberland in 1604 and Chancellor to the Bishop of Durham in 1619. William Cradock bought an estate at Hartforth, near Richmond, Yorkshire in 1720 and thereafter junior members of the family lived at Gainford. Marmaduke Cradock died at the Hall at the age of 90 in 1836.
A 17th-century dovecote in the grounds is Grade II listed and also a Building at Risk.
The present owners Raby Estates have restored the old coach house and converted it to residential use.


Frogner Church

Frogner Church () is a parish church in the Frogner borough of the city of Oslo, Norway. The congregation is part of the Oslo arch-deanery within the Diocese of Oslo in the Church of Norway.
History.
Frogner Church was designed by the architect Ivar Næss (1878–1936) and built in 1907. The Church's main facade is made of granite, while the secondary facades against courtyards are made of brick. The church is integrated into a row of houses and apartment buildings. A chapel associated with the church was built in 1937–39 by the architect Johan Meyer. The district surrounding the church was built in the years 1916–1925 and designed by architects , Harald Aars and Lorentz Harboe Ree.
The pulpit and the altar of clay stone were carved by Ivar Næss in 1907. It was decorated with gold mosaics by Per Vigeland in 1947. Vigeland also made the decorations at the organ gallery and the stained glass windows. Maria Vigeland completed the last window. The altar image as made by sculptor Valentin Kielland in 1907. Kielland also featured images of Olav the Saint, Martin Luther and Hans Nielsen Hauge. Kielland additionally designed the stone relief of the Lamb of God over the front door. In the side gallery there is a painting by Christian Skredsvig.


Fetcham Park House

Fetcham Park House is a Queen Anne mansion designed by the English architect William Talman with internal murals by the renowned artist Louis Laguerre and grounds originally landscaped by George London. It is located in the parish of Fetcham near Leatherhead in Surrey.
Construction of the present mansion began in 1699, although a reference in the Domesday survey suggests that there was already then a house at Fetcham Park. The house is built of red brick in Flemish bond with dressings of Portland stone, sandstone and terracotta with a slate roof and brick chimneys. The floor plan is rectangular under a 2-span roof with extensions at both ends and an added bay to the east front. The house is constructed in two and a half storeys over cellars, with an original west front of 8 bays, with additions of 1 bay to the left and 2 bays to the right and features a mix of both mansard and gambrel roofing. It is a Grade II* listed building, the second highest ranking.
History.
The mansion was commissioned by Henry Vincent, who inherited the estate from his father in 1697. He chose William Talman, an established architect with a reputation for his mercurial temperament, who was a pupil of Sir Christopher Wren and was in the service of King William III at Hampton Court. Before construction was complete, Vincent moved to Norfolk and let Fetcham Park House to Arthur Moore MP.
Fetcham Park House was sold to Moore for £8,250 in 1705. He invested a fortune on the house and grounds, commissioning the stairway murals and ceiling paintings by the celebrated French artist Louis Laguerre, whose work can also be seen at Blenheim Palace and Hampton Court. It was then too that Capability Brown advised on the garden design. Laguerre was born in Paris in 1663 and came to England in 1684. His father had been in charge of the royal menagerie and Louis XIV was his godfather. As well as Fetcham Park House and Chatsworth, he worked at Burghley, Blenheim, Marlborough House, Hampton Court and Buckingham House.
But Moore spent so extravagantly that after his death in 1730 there were insufficient funds to maintain the estate and it was sold in 1737 to Thomas Revell, Agent Victualler at Gibraltar. Revell's descendants sold the estate, then totalling , to John Richardson in 1788.
It was soon re-sold to the London banker Thomas Hankey, whose family owned it for the next 138 years. Before his death in 1793 Thomas Hankey added two curved wings at the north and south ends of the house. By 1875 John Hankey inherited the property and commissioned a major refurbishment by the respected architect Edward I'Anson. This was designed to alter the appearance of the house and brought French and Flemish influences to the original Queen Anne design and the later Georgian additions. I’Anson's legacy includes the mansard roof and typical Flemish turreted tower block on the west side, providing an entrance hall and two rooms above, and a two-storey wing at the south end of the house.
Captain George Hankey was the last of the family to live in the house, dying there in October 1924. Many members of the Hankey family are buried in the graveyard adjoining Fetcham Park.
The house remained empty for two years until it was acquired by the Reverend James Wilkie, Rector of the Parish of Badingham in Suffolk. Land to the east and south was sold for a housing development but the Rev Wilkie turned the mansion into a boys’ boarding school called Badingham College. Internal alterations were made and new buildings were added in the grounds, now less than .
The school thrived, but it had to be closed down in 1940 after several bombs had landed in the grounds. For the duration of the war, the building was taken over by University College Hospital's pre-clinical medical school. The Reverend Wilkie succeeded in restarting the school after the war, although he had to fight off a compulsory purchase order in the process. After he died in 1953, two of his sons took over the running of the school. In 1965, however, the school was moved to Norfolk and most of the grounds were sold off, leaving the mansion with four and a quarter acres. The house was badly neglected in the next few years, being "argued over, fought about and discussed but not occupied" (Surrey Villages, Pitt and Shaw, 1971). In 1979 the then derelict building was sold for £775,000 to a company called United Trading Group, which spent around £4 million returning it to its former splendour. False walls concealing Laguerre's stair and hall paintings were removed and his artwork sensitively restored after the ravages of Victorian over-embellishment, smoke damage from a fire and damp from a leaking roof.
The 1980–81 alterations included an extension to the second floor and the addition of catering facilities in the basement. Two of the rooms on the ground floor east side were panelled in oak and mahogany and the Shell Room, with its magnificent ceiling painting, was among those where the plasterwork, gilding and architectural details were painstakingly restored. The first and second floors were redecorated and adorned with mainly French antique furniture and some fine paintings. The grounds were replanted and ponds and illuminated fountains were created. During the renovation, the discovery of tunnels at the front of the house led to speculation about their history but they were later found to be Second World War air raid shelters.
UTG House, as it was then known, was sold in 1986 and renamed Fetcham Park House before being sold, with its contents, to local property investors The Wilky Group Ltd in 1999.
Today.
Fetcham Park House is currently operated as serviced office space.
In November 2011, Fetcham Park was launched as a luxurious wedding and events venue by Parallel Venues. The house is available for exclusive use during most weekends and public holidays throughout the year and is licensed for civil ceremonies.
The house featured in the 2013 film "Diana", which chronicles the life of Diana, Princess of Wales. Its Salon and Drawing Room represented the Imperial Suite at the Paris Ritz.


Newcastle Cathedral

The Cathedral Church of St Nicholas (1091—present) is a Church of England cathedral in Newcastle upon Tyne, England. It is the seat of the Bishop of Newcastle and is the mother church of the Diocese of Newcastle, the most northerly diocese of the Anglican Church in England, which reaches from the River Tyne as far north as Berwick-upon-Tweed and as far west as Alston in Cumbria.
Founded in 1091 during the same period as the nearby castle, the Norman church was destroyed by fire in 1216 and the current building was completed in 1350, so is mostly of the Perpendicular style of the 14th century. Its tower is noted for its 15th-century lantern spire. Heavily restored in 1777, the building was raised to cathedral status in 1882, when it became known as the Cathedral Church of St Nicholas.
History.
The cathedral is named after St Nicholas, the patron saint of sailors and boats. This may reflect the cathedral's position on the northern heights above the River Tyne. It was originally a parish church, built in 1091. It was built close to the line of Hadrian's Wall through Newcastle, which may have passed through the churchyard to the south, but unfortunately the exact location of its line through the very centre of the city is currently lost. Close to the south of the cathedral is Newcastle Castle, which gave the city its name, and which was itself built on the site of the Hadrian's Wall fort of Pons Aelius. The Norman church was destroyed by fire in 1216 and the present structure was completed in 1350.
The most famous incumbent of the cathedral was the Scottish reformer John Knox, who served as minister from late 1550 until 2 February 1553.
In the mid-19th century Newcastle experienced a huge increase in its population, leading to the construction of over 20 new churches in the suburbs. As Newcastle continued to grow, so did its need for a diocese separate from Durham, and so in 1882 the Diocese of Newcastle was formed, with St Nicholas's as its cathedral. With this, Newcastle was designated a City in the same year.
The cathedral is notable for its unusual lantern spire, which was constructed in 1448. For hundreds of years, it was a main navigation point for ships using the River Tyne. At its base the tower measures by and it is from the base to the top of the steeple.
On each corner of the lantern are gilded statues, of Adam eating the apple, Eve holding out the apple, Aaron is dressed as a bishop, and David holds a harp. Following work on the street in the 1860s the tower was found to be cracking and tilting, so two porches were added to buttress the structure. Since then the tower has settled and the ornate wooden font cover, which is suspended from the tower inside, does not hang in line with the font.
The interior of the church was badly damaged by Scottish invaders during their brief occupation of the city in 1640, and in 1644, during a nine-week siege, Scottish invaders threatened to bombard the lantern tower, but were deterred when the mayor Sir John Marley put his Scottish prisoners in it. The tower was repaired in September 1645, 1723 and 1761. A lightning conductor was added in 1777.
In 2020 and 2021, the cathedral is closed to visitors on account of the COVID-19 pandemic lockdown. However, the building work of the "Common Ground in Sacred Space" heritage project continues. The east end of the cathedral had previously remained in use and could formerly be accessed via a courtyard on the north side of the building. The current works entail removing the pews, installing underfloor heating, restoring and re-laying up to 130 ledger stones (gravestones), improving the cathedral gardens, and adding an east entrance to the building.
Bells.
The tower contains a complete ring of twelve bells, the tenor bell which weighs almost two tons, plus three 15th-century bells, one of which, "St Nicholas", is rung for daily services. The addition of a second treble bell (named "Gabriel") in 1999 has made it possible to ring a lighter peal of ten bells. Among the bells is a bourdon ('The Major') which weighs nearly six tonnes and is hung for swing chiming. Newcastle Cathedral is the second tallest religious building in Newcastle and the sixth tallest structure in the city overall.
Notable interior features.
The nave furnishings were designed by the local artist and craftsman Ralph Hedley in the early 20th century, after the parish church of St Nicholas became a cathedral in 1882. The high altar depicts Christ in Majesty holding an orb and sceptre, flanked by the Four Evangelists each with their special symbol.
Inside the cathedral a finely-carved marble monument commemorates Admiral Lord Collingwood (1748–1810), who took over command at the Battle of Trafalgar (21 October 1805) after the death of Admiral Lord Nelson. Collingwood was baptised and married in St Nicholas's and each year, on 21 October, a wreath is laid in his memory in front of the monument.
The cathedral is filled with beautiful stained glass. Much of the original glass was broken during the Civil War and most now dates from the 18th century onwards. St Margaret's Chapel contains the only known fragment of medieval stained glass in the cathedral, a beautiful roundel of the Madonna feeding the Christ Child. More-modern stained glass works such as in St. George's Chapel were erected in honour of two of Tyneside's late 19th-/early 20th-century industrial pioneers, who both died in 1931 within weeks of each other. Other references to industry can be found in the cathedral's stained glass, including in the Charles Parsons window, which features "Turbinia", the first turbine-driven steam yacht, with which Parsons astonished the Queen's Navy at the Spithead naval review in 1897.
The cathedral contains a number of memorials, the oldest being a 13th-century effigy of an unknown knight, probably a member of the household of Edward I. It is one of the oldest objects in the cathedral. Another is the "Thornton Brass", a monumental brass to Roger Thornton and his wife; he was a successful merchant, three times Mayor of Newcastle, several times Member of Parliament, and great benefactor to the cathedral. This is one of the finest examples of a Flemish brass and dates from at least as early as 1441 (may be pre-1429); it is believed to be the largest brass in the United Kingdom, and originally it covered Thornton's tomb in the nearby All Saints' Church, Newcastle upon Tyne. This commemoration to Thornton, his wife, seven sons and seven daughters can be seen fixed vertically behind the High Altar. A horizontal replica is kept near the north door of the cathedral for brass rubbing purposes.
Just to the north of the cathedral stands a bronze statue of Queen Victoria erected to commemorate 500 years of the Shrievalty (the jurisdiction of a sheriff) of Newcastle. Sculpted by Alfred Gilbert and unveiled in 1903, two years after Queen Victoria's death, the statue was a gift from W. H. Stephenson, a company director and politician who held the office of mayor in Newcastle seven times.
Dean and chapter.
As of 30 December 2020:
Music.
The cathedral has a strong tradition of music. In 1503, the thirteen-year-old Princess Margaret, daughter of Henry VII and engaged to marry James IV of Scotland, while passing through Newcastle on her way north, noted in her journal a number of children in surplices "who sang melodious hymns, accompanying themselves with instruments of many sorts". Later, the baroque composer Charles Avison (1709–1770) was organist and choirmaster at the church.
The cathedral choir has been featured on BBC Radio 3's "Choral Evensong", and has performed with the Northern Sinfonia at The Sage Gateshead. They have also recorded a number of CDs.
The cathedral is home to a fine organ, a four-manual Grand Organ built by T C Lewis, although rebuilt several times since, notably by Harrison & Harrison in 1911 and 1954 and by Nicholson & Co. of Worcester in 1981.


Church of the Assumption of the Blessed Virgin Mary, Redenhall

The Church of the Assumption of the Blessed Virgin Mary, Redenhall (St. Mary's Church) is a Grade I listed parish church in the Church of England in Redenhall, Norfolk. It is the mother church of the large ecclesiastical parish of Redenhall-cum-Harleston and Wortwell, with the smaller church of St John the Baptist in Harleston originally being a chapel of ease to Redenhall.
History.
The site of St Mary's, Redenhall has been used for worship for around 1000 years or more, with the lines of an earlier round tower church of Saxon or Norman date discovered in 1858 beneath the nave arcades and chancel step when a new heating system was being installed.
The chancel is the oldest part of the present building, dating from the early 1300s and possibly built as an addition to an earlier church. Maintenance of the chancel was responsibility of the rector, the present chancel's benefactor reported to be William de Neuport (rector 1319–26). The 15th and 16th Centuries saw a period of grand church building and rebuilding throughout East Anglia, the present nave and aisles dating from this time. Construction of the crowning glory of the church, its magnificent tower, was started in c.1460, with several bequests for its construction being received between 1469 - 1514.


Spero Building

The Spero Building is a twelve-story building put up by David Spero at 19-27 West 21st Street in the Flatiron District neighborhood of Manhattan, New York City. Built in 1907–08, the store-and-loft edifice, which was designed by Robert D. Kohn in the Art Nouveau style, is located between Fifth and Sixth Avenues, and within the Ladies' Mile Historic District. Spero, a millinery goods wholesaler, purchased the site of the building from Benjamin Stern, and rented space in the completed building to "embroiderers, shirtwaist merchants, and cloak and suit merchants, all characteristic tenants in the district/"
The building's frontage measures , and the facade is composed of limestone, and buff-colored brick. The entire structure cost approximately $350,000 to build.


Burlington Arcade

Burlington Arcade is a covered shopping arcade in London, England, United Kingdom. It is long, parallel to and east of Bond Street from Piccadilly through to Burlington Gardens. It is one of the precursors of the mid-19th-century European shopping gallery and the modern shopping mall. It is near the similar Piccadilly Arcade.
The arcade was built in 1818 to the order of George Cavendish, 1st Earl of Burlington, younger brother of William Cavendish, 5th Duke of Devonshire, who had inherited the adjacent Burlington House, on what had been the side garden of the house and was reputedly to prevent passers-by throwing oyster shells and other rubbish over the wall of his home. It was designed by architect Samuel Ware. Burlington Arcade was built "for the sale of jewellery and fancy articles of fashionable demand, for the gratification of the public". However, it was also said to have been built so that the Lord's wife could shop safely amongst other genteel ladies and gentleman away from the busy, dirty, and crime-ridden open streets of London.
Burlington Arcade opened on 20 March 1819. From the outset, it positioned itself as an elegant and exclusive upmarket shopping venue, with shops offering luxury goods. It was one of London's earliest covered shopping arcades and one of several such arcades constructed in Western Europe in the early 19th century. (Other examples of grand shopping arcades include: Covered passages of Paris, Palais Royal in Paris (opened in 1784); Passage de Feydeau in Paris (opened in 1791), Galeries Royales Saint-Hubert in Brussels and The Passage in St. Petersburg, the Galleria Umberto I in Naples, and the Galleria Vittorio Emanuele II in Milan (1878).)
The original arcade consisted of a single straight top-lit walkway lined with 72 small two-storey units. Some of the units have been combined, reducing the number of shops to around 40. The Piccadilly façade, with sculptures carved by Benjamin Clemens, a professor of sculpture at the Royal College of Art, was added in 1911.
The arcade is patrolled by beadles in traditional uniforms that include top hats and frock coats. The original beadles were all former members of Lord George Cavendish's regiment, the 10th Royal Hussars. The arcade maintains Regency decorum by banning singing, humming, hurrying, and "behaving boisterously".
The present tenants include a range of clothing, footwear and accessory shops, art and antique dealers, and the jewellers and dealers in antique silver for which the Arcade is best known.
Historical events.
The arcade was almost destroyed by fire in 1836, when several shops were destroyed, in 1871, and in 1936, when the arcade was subject to looting.
Parts of the arcade were badly damaged in a bombing raid during the Second World War.
In 1964, a Jaguar Mark X charged down the arcade, scattering pedestrians, and six masked men leapt out, smashed the windows of the Goldsmiths and Silversmiths Association shop, and stole jewellery valued at £35,000. They were never caught. Gates were installed to prevent this happening again.
In 2010, Thor Equities and Meyer Bergman acquired the property for £104 million. The owners hired architect Michael Blair to restore the arcade.
In May 2018, the property was sold to David and Simon Reuben for £300 million.


Elite Picture Theatre, Nottingham

The Elite Picture Theatre, Nottingham was a cinema open from 1921 to 1977 in Nottingham.
History.
The cinema was designed by the firm of Adamson & Kinns of London in the Beaux-Arts style, with 250 tons of steel frame, concrete floors and expensive white "Hathernware" tiling facade manufactured by the Hathern Station Brick & Terra Cotta Company, surmounted by statues on the upper portion. The interior was decorated by Fred A. Foster, and the fittings included a concert organ by Willis-Lewis, a ballroom, a restaurant, a tea room and Louis XVI style cafe. The marble terrazzo work, steps and flooring were provided by the Marble Mosaic Company of Bristol.
It opened for business on 22 August 1922 with a luncheon hosted by Mr. T. Shipstone, chairman of the directors of the theatre, with the Mayor of Nottingham, Alderman Herbert Bowles and the Sheriff John H. Freckingham in attendance. There was then a private showing of Mary Pickford in Pollyanna, and the theatre was opened to the public later that day. The first programme included Mary Pickford in Pollyanna and the Adventures of Sherlock Holmes (The Beryl Coronet).
After the cinema closed in 1977 it operated as a bingo hall for around 15 years. It is now a Grade II* listed building.
The Cinema Organs.
The cinema opened with a large pipe organ built either side of the screen at a cost of £10,000 (). It was designed by Major F.J. Bullen of London and erected by Willis and Lewis of Brixton. The first musical director was Franklyn Glynn of Wolverhampton. This organ survived until 1929 when it was removed and transferred to Brangwyn Hall, Swansea.
The organ was replaced in 1930 when the cinema was upgraded from silent to talking films and a new instrument was opened. It was built by the firm of John Compton. It was intended to be played whenever a silent film was shown and to connect up other features of the programme.


Odd Fellows Hall (Big Horn, Wyoming)

The Odd Fellows Hall, also known as Big Horn Odd Fellows Hall, is located in Big Horn, Wyoming, and was built in 1894. The hall was originally used by Big Horn's chapter of the Independent Order of Odd Fellows and was later used by the Odd Fellows' sister organization, the Rebekahs. The organizations hosted community events until the Odd Fellows merged with another chapter in 1949 and the Rebekahs disbanded in 1970; the groups mainly folded because they lacked the resources to maintain their building. The building features a false front, a common design feature in buildings in Western boom towns; it is one of three remaining historic buildings in Big Horn with a false front.
The hall was listed on the National Register of Historic Places in 1980.


Temple Beth Israel of Highland Park and Eagle Rock

Temple Beth Israel of Highland Park and Eagle Rock is an egalitarian synagogue located at 5711 Monte Vista Street in Highland Park, Los Angeles, California. Though originally a Conservative synagogue, it is unaffiliated with any Jewish religious movements.
First organized as the Highland Park Hebrew School Association in 1923, it completed construction of its Spanish Colonial Revival style building in 1930, at a cost of $4,077.88 (today $). It is the second oldest synagogue in Los Angeles still operating in its original location, after the Wilshire Boulevard Temple (built in 1929).


Wilkeson Arch

Wilkeson Arch is a monumental gateway structure at the west entrance to Wilkeson, Washington. The stone and timber structure was built in 1925 by the Wilkeson Booster Club, at a cost of $2000. It is similar in design to the Chinook Pass, Nisqually and White River entrance arches in nearby Mount Rainier National Park, deriving its style from the National Park Service Rustic style prevailing in the national park structures of the time. The arch was intended to promote tourism and the local products, coal and sandstone.
Description.
The Wilkeson Arch is located on Washington State Route 165, standing across the road. The arch comprises two squared pillars of local sandstone with simple stone bases and capitals, topped by log cribbing supporting a single fir (originally cedar) log spanning the road between the pillars. The lintel supports a sign that from the entrance side reads "WILKESON COAL MINES - WILKESON SANDSTONE" and "GATEWAY TO THE CARBON GLACIER." The exit side of the sign reads "TACOMA 30 MILES - SEATTLE 50 MILES and "REMEMBER WILKESON." The pillars are square and tall.
History.
The arch was originally located on Route 165 at Brierhill Boulevard, but was damaged during the February 28, 2001 Nisqually earthquake. The structure, rebuilt in 2004 and dedicated in 2009, is now located on 165 near Hill Street, several blocks to the south, in a move that provoked local controversy. Its span has been widened by two feet.
The Wilkeson Arch was placed on the National Register of Historic Places on August 10, 2000.


Berkhamsted Place

Berkhamsted Place was an English country house which was erected sometime around 1580 in Berkhamsted, Hertfordshire, England. It was built by Sir Edward Carey, the keeper of the Jewels to Queen Elizabeth I from stones removed from Berkhamsted Castle. Several notable residents of Berkhamsted lived in the house and over the years its owners welcomed guests such as King Charles I and William Gladstone.
The house was one of two Elizabethan mansions in the town, the other being Egerton House on the High Street which was demolished in 1937. Berkhamsted Place survived fire and renovation for over 380 years before it became derelict and was demolished in 1967.
Construction.
Queen Elizabeth I granted the manor of Berkhamsted, along with the lease of Berkhamsted Castle, to her Keeper of the Jewels, Sir Edward Carey (or Cary), in 1580. Carey was descended from the Carys of Cockington, an ancient Devon family whose lineage went back to Adam de Karry, the first Lord of Castle Karry in Somerset, in the 13th Century.
Berkhamsted Castle had, by this stage, fallen into disrepair and the lease of a ruined castle was possibly intended as some sort of royal joke; Carey owed a nominal annual rent of one red rose, payable yearly on St John the Baptist's Day (24 June). Rather than live in the castle grounds, Sir Edward built for himself a mansion house on top of the hill overlooking the castle, and purloined stonework from the castle ruins to build his house.
Architecture.
Berkhamsted Place was a two-storey building with attics above. The plan of the house was in the shape of a letter E, with wings to the north and south-east. The walls were originally faced with 7-inch square stone chequers of flint and Totternhoe stone with brick additions and a tiled roof. An avenue of lime trees led up the hill to the house.
A survey of the house in 1650 by parliamentary commissioners, later held by the office of the Duchy of Cornwall, described the house thus:
According to a survey by the Royal Commission on Historical Monuments in 1910, the house was said to be in "fairly good" condition, although it noted some decay around the stonework of the original windows. The house retained part of the original courtyard house built by Sir Edward Carey, c. 1580, and hall on the south-eastern side, built after the 1662 fire, occupied part of the old courtyard between the wings. The front of the house was brick with an embattled parapet and a porch with a Tudor-style four-centred arched doorway.
The survey noted that a commemorative stone could be seen below the drawing-room windows on, also facing south-east, bearing the inscription "1611", possibly marking the alterations made for Prince Henry when he purchased the house. The rest of the south-eastern side was covered in cement, and had several small projections and gables.
Much of the original decorative stonework was lost after the 1662 fire but that which was preserved could be seen on the north-western side of the house. Here, there were also two brick buttresses and two projecting octagonal brick chimneys which had been added to the building in the 17th Century. At each end of the north side was a plain gable which had a three-light window, stone mullions and a transom, topped with a small stone pediment. The other windows were modern sash windows
At the north-eastern end of the house was a stone oriel window; by 1910 this was partially blocked and cut away to accommodate a newer brick chimney.
The interior of the house had been considerably altered, but a number of 17th-century features had been retained, including a decoratively carved oak fireplace, another fireplace with plaster decoration, a panelled ceiling, and a decorated plaster ceiling with moulded ribs, vine ornaments, and heads. There was also an ornate 17th-century wooden staircase with square newels, turned balusters and moulded handrail.
History.
Sir Edward Carey's occupation of Berkhamsted Place was brief; in 1588 he took possession of the Manor of Aldenham and went to live in the town, leasing Berkhamsted Place to his brother, Sir Adolphus Carey. He was the first of many tenants of Berkhamsted Place, passing the tenancy on to his son, Sir Henry Carey, who was later to become Lord Falkland and Lord Deputy of Ireland. Various members of the Carey family used the house until 1612, when it was bought by Henry Frederick, Prince of Wales for the sum of £4000. Henry, who died later that year, passed the house to his brother, Charles, who was later crowned King Charles I.
Prince Charles leased the property to his tutor Thomas Murray and his wife Mary or Jean Drummond, who had been his nurse and had been Lady of the Privy Chamber to the prince's mother, Anne of Denmark. It is known that the young Prince Charles, then aged sixteen, paid a visit to the Murrays on 14 August 1616, when they spent an afternoon hunting in the estate, Berkhamsted Park.
During the reign of Charles I, it is known that some alterations were made to the house, supervised by Sir David Cunningham of Auchenharvie. One of Cunningham's letters to his cousin describes a royal command for him to supervise building work at Berkhamsted Place in 1629 and his account for this survives counter-signed by Thomas Trevor, on behalf of Sir John Trevor, surveyor of works at Windsor Castle.
The turbulent events of the English Civil War came to Berkhamsted Place in the 1640s when the Murrays' daughter, Ann Murray, became in a Royalist plot to protect the life of the King's second surviving son, the young Duke of York (who was later to become King James II of England, from the Parliamentarian forces. King Charles was executed in 1648, and Ann, fearing for her life as a Royalist, fled from Berkhamsted Place. Possession of the house was taken by a Berkhamsted-born soldier in Cromwell's Army, Lieutenant Colonel Daniel Axtell. Aged only 26, Axtell was known for his ruthlessness and had risen in the ranks, having served as Captain of the Parliamentary Guard at the execution of King Charles.
Axtell's political fortunes reversed following the Restoration of the English monarchy; in 1660 he was hanged, drawn and quartered at Tyburn for the crime of regicide. Ann Murray was later honoured for her loyalty to the crown when King James II granted her a royal pension. In St Peter's Church, Berkhamsted, a memorial on the north wall of the old chancel commemorates James and John Murray, inscribed "youths of the most winning disposition who lived and died at Berkhamsted Place".
In 1660 the lease of Berkhamsted was taken on by the Lord Treasurer, Jerome Weston, 2nd Earl of Portland; it was during his residency that a large fire broke out, destroying two-thirds of Berkhamsted Place. Reconstruction was hastily commenced, probably financed by John Sayer, a wealthy local man who was Chief Cook to King Charles II. The central part of the house was rebuilt but the two wings which formed the side of the courtyard were never restored. Some of the original Elizabethan decorative stonework was retained on the north wall and can be seen in later photographs of the property. Sayer took ownership of the house shortly after it was rebuilt, and he lived there with his family until his death in 1662. Sayer became well known as a benefactor to the town of Berkhamsted, and his legacy enabled a row of almshouses to be built for the poor widows of the town; these houses still stand today on the High Street and bear a stone inscription "The gifte of John Sayer, 1664". Around 1690, the Dutch artist Jan Wyck painted "A huntsman with a hare and hounds above Berkhamsted", which shows the church, castle, and Berkhamsted Place in the background.
The Sayer family remained in residence at Berkhamsted Place until 1716, when they sold the lease to William Atwell; he in turn sold it to John Roper in 1718, whose family stayed in the house for nearly a century. In 1807 the lease was reassigned to John Egerton, 7th Earl of Bridgewater. The house was eventually bought outright from the estate of the Prince of Wales by Earl Brownlow.
Ownership of the property was then passed to General John Finch and his wife, notable benefactors of the town who were responsible for rebuilding the Thomas Bourne School and supporting the town hall fund.
After General Finch, the house was occupied by Lady Sarah Spencer and Gertrude, Countess of Pembroke. The two ladies entertained many notable establishment figures in their fashionable country residence, including the Duke of York (who was later crowned King George V) and the Prime Minister William Gladstone.
The house was subsequently purchased by the Ram family, first occupied by a Mr S.J Ram KC and later in 1937 by his son, Sir Granville Ram who was First Parliamentary Counsel to the Treasury.
Decline.
Berkhamsted Place served well over the centuries as an English country house; at the time of the Second World War the house had nine bedrooms, three bathrooms and five upstairs staff bedrooms. By the 1950s, the cost of running and maintaining a fully staffed great house became prohibitive, and like many other staffed residences, the property was sold off to be converted into flats in the 1950s. The surviving 17th-Century wing of the house became the studio of the renowned sculptor Reg Butler, whose 1953 work "Unknown Political Prisoner" won the Grand Prize in a competition held by the London Institute of Contemporary Arts.
By 1963 the house had become unoccupied and fell into dereliction and was finally demolished in 1967. Today, the site is occupied by a number of private cottages and a farm.


All Saints Church, Theddlethorpe

All Saints Church is a redundant Anglican church in the village of Theddlethorpe All Saints, Lincolnshire, England. It is recorded in the National Heritage List for England as a designated Grade listed building, and is under the care of the Churches Conservation Trust. The church stands to the east of the A1031 road in the area of the village named Theddlethorpe All Saints, and is some northeast of Mablethorpe. It has been called the "Cathedral of the Marsh".
History.
The church dates from the 12th century, with some additions and alterations undertaken in about 1380–1400, and more in the late 17th century. Minor repairs were carried out in 1865–66. The church was declared redundant in July 1973.
Architecture.
Exterior.
All Saints is constructed in greenstone rubble and limestone rubble, with limestone dressings. In parts the stonework has been patched with brick. The roofs are lead. Its plan consists of a nave with a clerestory, north and south aisles and a south porch, a chancel, and a west tower. The tower is in four stages, with string courses, corner buttresses, and a battlemented parapet with gargoyles at the corners. On top of the tower is a central lead-covered crocketed pinnacle. On the west side of the tower is a doorway, with a four-light window above it. The third stage contains small ogee-headed windows on the west and south sides. On each side of the top stage are three-light louvred bell openings. The north aisle has a battlemented parapet with gargoyles and corbels. The north side of the clerestory is also battlemented, and has gargoyles and pinnacles; it contains five two-light windows. In the north aisle is a two-light west window, a three-light east window, and along its north wall are four three-light windows and a doorway. The north wall of the chancel contains a blocked three-light window. The east window has three lights. The south wall of the chancel contains a three-light and a two-light window, and a priest's door. The parapet at the east end of the nave is pierced with quatrefoils and has crockets. The east wall of the south aisle also has a crocketed parapet, and corner pinnacles. The west window of the aisle has three lights, and there are two three-light windows and one four-light window in the south wall. The south porch is gabled and contains benches along the sides. The door leading into the church has an ogee head and a round rear arch.
Interior.
Both arcades have five bays and are carried on octagonal piers. Incorporated into the fabric of the north wall are 12th-century stone fragments carved with chevrons, and beaked voussoirs. The roof of the nave is decorated with fleurons, and the coats of arms of the church donors. In the east wall of the south aisle is a medieval altar slab carved with crosses. Above it is a stone reredos decorated with quatrefoils, fleurons, human heads, and pinnacles. On the north walls of both aisles are fragments of painted texts. In the north aisle is another medieval altar slab, a bracket for a statue, and a doorway leading to the rood loft. The south wall of the chancel contains a triple sedilia and a piscina, and on its east wall are brackets for statues carved with human heads. There are fragments of 15th-century glass in the south aisle windows. The altar rails date from the 18th century, and the marble altar was given to the church in 1717. The chancel screen dates from the 15th century and is in seven bays. The pulpit and lectern are from the 19th century. There is another pulpit at the back of the church dating from the 17th century; this is in carved oak and was formerly in Skidbrooke Church. The 16th-century pews are carved with poppyheads. The octagonal font is from the 15th century, and is decorated with quatrefoils, fleurons and human heads; it has a wooden 18th-century cover. In the church are memorials, including a brass dated 1424, 18th-century wall plaques, and a marble monument dated 1727.


First Church of Christ, Scientist (Vancouver)

The former First Church of Christ, Scientist is an historic Christian Science church edifice located at 1160 Georgia Street in the west end of Vancouver, British Columbia, Canada. It was designed in the Colonial Revival style by the noted Vancouver architectural firm of Matheson and De Guerre. Built in 1918, it is a two-storey brick building with basement. In 2002, First Church of Christ, Scientist sold its building to Coastal Church. On December 20, 2003, The city of Vancouver designated the building a local Heritage site.


Odeon Cinema, Weston-super-Mare

The Odeon Cinema, Weston-super-Mare in Somerset, England, is an art deco cinema building, designed by Thomas Cecil Howitt. Still largely intact and retaining its originally installed Compton organ, it is a Grade II listed building.
Background.
After working in Nottingham's city engineer's department, Howitt joined private architectural practice, where he was asked by Odeon Cinemas to design four new buildings for them, in Clacton, Bridgwater, Warley and Weston-super-Mare. All of the designs based around a common theme, incorporating: a square tower; squat main building; projecting slab roof, supported by columns. The Clacton and Warley buildings have since been demolished.
Exterior.
In Weston, the tower is positioned at the corner of the site, above and behind the foyer. A curved canopy projects outwards from the slab tower, while the foyer is accessed from the street via four circular steps leading to five sets of double doors. Howitt used a second smaller tower to the left of the slab tower (when looking towards the building from Regent Street), with a large double-height metal framed window. There are two three storey high wings which enclosed the original single auditorium, allowing commercial revenue from shop units at street level and offices above. The Regent Street elevation comprises three bays with Crittall-style metal framed windows, while the Walliscote Road elevation comprises five bays. There was an additional canopy along both elevations, but these were later removed.
The facade of the building is covered in biscuit-coloured faience, except the shop areas on both wings which are clad in black glass Vitrolite panels. The basket-weave pattern faience encompasses three horizontal bands of green faience. At night neon lighting placed in line with the green faience, around the 'Odeon' and along the edge of the canopies provided an a-typical Art Deco attractive feel to the building. The original "Odeon" lettering has been replaced, despite this occurring after the building was listed.
Interior.
The original split-level auditorium was split into three smaller units in 1973, with a fourth screen added in 1991. Many of the original art deco features however survive, including the Compton organ.
Compton organ.
Installed during the original fitting out of the building in 1935, the 3manual/6rank instrument is the only Compton theatre pipe organ in an Odeon cinema outside London, and one of only two working theatre organs left in the country still performing in their original location in commercially operating cinemas, the other being in the Odeon Leicester Square, London. The six ranks of pipes are: Tuba; Tibia Clausa; Vox Humana; Oboe; Flute; Cello. Although the organ does not have the common Compton feature of a Melotone, it does have a rare Solo Cello stop which involves a mechanical bow and pitching fingers, operated directly from the organ console. The organ today is preserved under the care of the West of England Theatre Organ Society, and occasional organ concerts continue to be held at the venue.
Present.
The building was awarded Grade-II listed status on 21 August 1986.


Holy Trinity Church, Bolshaya Martynovka

Holy Trinity Church is a Russian Orthodox church in the village of Bolshaya Martynovka, Rostov Oblast, Russia. It belongs to the Diocese of Volgodonsk and Salsk. It was built in 1904 in Pseudo-Russian style. This is the only church in Russia constructed in honour of coronation of Emperor Nicholas II.
The church possesses particles of relics of Matrona of Moscow and Paul of Taganrog. The church is visited mostly by locals rather than tourists due to the low level of infrastructure development in the village.
History.
The first Holy Trinity Church in Bolshaya Martynovka was built of wood in 1799. Money for the construction were donated by Major General Dmitry Martynovich Martynov. At the church there was a chapel in memory of death of Alexander II.
In 1895 parochial custody council decided to construct a new church on the site of Holy Trinity Church.
The construction place was consecrated on May 26, 1896, the day of the coronation of Nicholas II. The first stone was laid on the following day.
The funds for construction donated by village dwellers were not sufficient, so in 1900 the parish assembly decided to seek support from the Diocese and requested for the opening of fundraising. In the same year the construction works were launched on the project of architect Avraam Melnikov, who had drafted it a few decades earlier. The main construction works were finished in 1904.
Local dwellers say that during these times Feodor Chaliapin sang with the church choir.
There are three aisles in the church: the main one is consecrated in the name of the Holy Trinity, the right one ― in the name of Alexandra of Rome, and the left one ― in the name of St. Nicholas.
In 1930 the church was closed, and its building was first housed a granary, and then as a tractor station. The paintings were covered with plaster, the iconostasis was destroyed, the bells were thrown away. In 1945 the church was handed over to believers community, but only partially: 4/5 of its area still housed a granary. That caused great inconvenience for the parishioners, yet all requests from Rostov diocesan administration to free the building were ignored by authorities.
In 1963, the church was closed again.
In 1991 the church building was exempted from the warehouse and worship services began to be held there. Restoration works were carried out during the following years.


Corkbeg House

Corkbeg House was an historic house built on the island of Corkbeg in Cork Harbour. It was demolished to facilitate the creation of the Whitegate oil refinery.
House.
The land where Corkbeg House was built originally belonged to the Condons. The remains of the castle they built in 1369 lie near the location of the house. The area of Corkbeg was tied very closely to the Fitzgeralds who been there since John FitzEdmond de Gerald purchased it from the William Condon in 1591.
The original house on the site was built before 1786. Robert Uniacke Fitzgerald built a new mansion house to replace his older one in the 1820s. The house itself was a three-bay, two-storey square house with a ‘very impressive central top-lit staircase hall’.
The Fitzgerald family sold it, after Robert Uniacke-Penrose-Fitzgerald died in 1919, though Lady Fitzgerald was still living in the house in 1921. It was turned into a fifty-roomed luxury hotel. The hotel was run by Major Patrick William Coghlan and Molly Colan. They sold the house and island in 1955. Molly died in the November 1957 Aquila Airways Solent crash in the Isle of Wight.
The whole site was cleared to allow the building of an oil refinery at Whitegate.
The hotel advertising claimed:


Isaac Ware

Isaac Ware (1704 — 1766) was an English architect and translator of Italian Renaissance architect Andrea Palladio.
Early life.
Ware was born to a life of poverty, living as a street urchin and working as a chimney sweep, until he was adopted by Richard Boyle, 3rd Earl of Burlington at the age of eight (in about 1712) after which he was groomed and educated as a young nobleman. Reportedly he was drawing on the pavement of Whitehall whereupon Burlington, recognising the talent, intelligence and personality, took him into his own household. His subsequent education included a Grand Tour of Europe and the study of architecture. (On his deathbed the ingrained soot of the chimney-sweep was still detectable.)
Architectural career.
He was apprenticed to Thomas Ripley, 1 August 1721, and followed him in positions in the Office of Works, but his mentor in design was Lord Burlington. Ware was a member of the St. Martin's Lane Academy, which brought together many of the main figures in the English Rococo movement, among them Louis François Roubiliac, who sculpted Ware's portrait bust about 1741.
Although he held various posts with the Office of Works between 1728 and his death, including Secretary, a position previously held by Nicholas Hawksmoor, Ware's major works were for private patrons. Aside from Chesterfield House, Westminster, (1747–52; demolished 1937) with its Palladian exterior and rococo interior details he built a small number of country houses, most of which have been subsequently remodelled or demolished. Clifton Hill House, Bristol, and Wrotham Park, Hertfordshire survive, Clifton Hill House, built in 1746 –50, is a Palladian villa, a type Ware also used for two houses in Scotland in the next ten years, both with service wings linked to the main house by passages. At Wrotham (1756) the central block was flanked by wings ending in octagonal pavilions. He also engaged in speculative building in the West End of London.
Ware was dissatisfied with the first English language edition of Andrea Palladio's I Quattro Libri dell'Architettura, translated by Giacomo Leoni), and in particular with Leoni's illustrations. In 1738 Ware published his translation illustrated with his own careful engravings. Ware's version of the "Four Books of Architecture" remained the best English translation into the twentieth century in the opinion of Howard Colvin.
"Having thoroughly assimilated Palladian theory", wrote Colvin "he looked beyond it, and in the 1740s himself helped to dissolve the dictatorship of taste that Burlington imposed in the 1720s.", In 1756 he published "A Complete Body of Architecture" a wide-ranging work intended to "supply the place of all other books". It was described by John Summerson as "ably compiled, reflecting very fairly the solid, thoughtful competence of its author's executed works".
Publications.
The following list is taken from Colvin; all were published at London.


All Hallows Church, Great Mitton

All Hallows Church, Great Mitton, is in the village of Great Mitton, Lancashire, England. It is an active Anglican parish church in the deanery of Whalley, the archdeaconry of Blackburn, and the Diocese of Blackburn. Its benefice is united with that of St. John's Church, Hurst Green. The church is recorded in the National Heritage List for England as a designated Grade I listed building.
History.
The oldest fabric in the church dates from the late 13th century. The tower was added in the early 15th century, followed by the north chapel in the 16th century. The church was refurbished in 2000.
Architecture.
All Hallows is constructed in sandstone with a stone slate roof. The south wall of the chancel is pebbledashed. The plan consists of a nave, a narrower chancel, a north (Shireburne) chapel, a south porch, and a west tower. The tower is in three stages, with diagonal buttresses. It has a west doorway, a four-light west window, and two-light bell openings. On its summit is an embattled parapet. The windows along the sides of the nave have two lights with Y-tracery. There is a priest's door on the south wall of the chancel. The east window has five lights. Inside the church is a west gallery. The chancel screen includes some medieval woodwork, which possibly came from Sawley Abbey. In the chancel are a triple sedilia and a piscina. The chapel contains memorials to the Shireburn family, dating from the late 16th to the early 18th century. There is a ring of six bells. The earliest two were cast in 1567, possibly in France. These are followed by a bells of 1624 by William Oldfield, of 1726 by Samuel Smith II, of 1834 by Thomas Mears II from the Whitechapel Bell Foundry, and of 1872 by John Taylor and Company.
External features.
In the churchyard is a sandstone sundial dated 1683, with a brass gnomon and plate. It has been listed at Grade II. Also listed at Grade II is a cross of 1897 with a 14th-century head, again in sandstone. It has a square base, which broaches to a tapering octagonal shaft.


Santa Maria Maddalena

The Santa Maria Maddalena is a Roman Catholic church in Rome, named after Saint Mary Magdalene. It is located on the Via della Maddalena, one of the streets leading from the Piazza della Rotonda in the Campo Marzio area of historic Rome.
History.
The Clerks Regular, Ministers to the Sick (), order established by Saint Camillus de Lellis, had a church at that location in Rome since 1586 and in the 17th century started the construction of the current church, which was completed in 1699 in the Baroque style.
In seventy years of work several architects were involved including Carlo Quadri, Carlo Fontana (who is thought to have designed the dome) and Giovanni Antonio de Rossi.
It is uncertain who designed the curved main facade, which was finished circa 1735 and is Rococo, an unusual style in Roman church facades. It also displays motifs reminiscent of Borromini. Early guide books credit Giuseppe Sardi with its design. Between 1732 and 1734, however, as architect of the order, the Portuguese architect Manuel Rodrigues dos Santos directed the completion of works at the church. The historian Alessandra Marino believes that it is to Dos Santos, rather than Giuseppe Sardi, that the design for the highly unusual façade decoration should be attributed. The architectural historian Nina Mallory has also maintained that Sardi is unlikely to be the designer of the façade.
To the left of the church is the monastery, constructed circa 1678, by Paolo Amato from Palermo and completed by Carlo Francesco Bizzacheri in the early 1680s.
Interior.
The interior is architecturally complex, it has a Borrominesque elongated octagonal nave, with two chapels at each flank.
The Cappella di San Nicola di Bari, financed by Paolo Girolamo della Torre, was begun in 1690 by Mattia de Rossi and finished from 1694-96 by Bizzaccheri whose choice of colour tones would determine the colour scheme of the rest of the church in the mid-18th century. In this chapel is the painting "Christ, Virgin, and San Nicola di Bari" by Baciccia.
To the right is the chapel dedicated of Saint Camillus with the vault frescoed (1744) by Sebastiano Conca.
In the church is also has a painting of "San Lorenzo Giustiniani with Infant Jesus" by Luca Giordano.
The rococo sacristy is elaborately painted, stuccoed, and decorated with polychrome marble.


Church of St Lawrence, Alton

The Church of St Lawrence, Alton is an Anglican parish church in Alton, Hampshire, England. It is a Grade I listed building and is notable both for the range of its architecture and for being the site of the concluding action of the Battle of Alton during the English Civil War.
History.
The Church of St Lawrence, like many older English churches, is an amalgam of styles resulting from repeated additions and extensions being made down the centuries. In the words of William Curtis:
Anglo-Saxon.
Anglo-Saxon settlement in Alton began in around AD 500 and there was certain to have been a church in the township. There are no remnants of this structure left, except for the baptismal font that is now situated in St Lawrence's. The font is fashioned from one massive block of stone and crude axemarks may be seen on it, showing its primitive workmanship. When the church was restored in 1868 the font was discarded in favour of one of a more contemporary design; it ended up in Cirencester, but was purchased for £10 in 1934 and brought back to St Lawrence's, where it stands at the west end of the south nave on a mill wheel, symbolising Alton's status as a centre of the paper industry. It has been in use as a font since 1950.
Norman.
The present-day church had its origins in the Norman period, with building probably starting at some time not long after 1066. The conventional date for the founding of the church is 1070, and the church celebrated its 900th anniversary in 1970. This early church took the shape of a cross, the four Norman arches that formed the tower being described in Pevsner as "emphatically Early Norman, say around 1100". These arches, built of stone probably from Selborne or Binsted, are situated midway down what is now the southern nave, and some remnants of the original door may be seen in the wall behind the 19th-century font located in the centre of the arches. At the top of the pillars supporting the arches are designs fashioned by French craftsmen with axes, including a wolf eating a bone (pictured, below left), a pelican, several winged cherubs, a demon and a pair of donkeys.
This Norman church passed to the ownership of William the Conqueror through Edith, the wife of Edward the Confessor, following the Norman Conquest. In the first mention of the church, in a charter of 1087 marked at its foot by William's trademark cross, we read that William exchanged it with the monks of Hyde Abbey in Winchester for their burial ground, upon which he wished to build his new palace.
Alton grew in prosperity during the 12th century as it was on the main route to London from the west country, so it was found necessary to extend the church; it was during this period that what is now the southern nave was extended to the west and building work was also made to the north part of the church. The old west door, which was walled up in the redevelopment of 1868, was built in 1140 and Pevsner notes that a southern arcade was added in c. 1140 ("there are faint traces of this arcade inside, i.e. remains of the pier imposts with a band of ornaments"). The first known vicar of Alton, also vicar of Colmer and sheriff of Alton, comes from this period, one Richard Turstin, who held the office of Parson from 1161 to 1170.
13th–15th century.
Despite the 12th-century extensions, by the 13th century the church was yet again found to be too small, and so the Lady Chapel was built as an extension to the east of the Norman tower. At the eastern end of this chapel niches in the wall were built, at the time containing statues of St Lawrence and the Virgin and Child, but today containing painted wooden statues of St George and St Michael by Mr Southwick.
The well-known Alton Fair started in 1307, following a grant from Edward I; the church grounds were for a while used as a site for commerce and festivities, but on 19 August 1317 the Bishop of Winchester, accompanied by an abbot, two priors and a deacon, hurried to Alton and forbade the holding of fairs "in the churches or cemeteries of the diocese of Winchester, and especially in the church or cemetery of Aulton [sic]". The parishioners of the church were also told
This is the first documentary evidence that St Lawrence was the church's patron saint.
The 15th century saw a great number of extension and additions to St Lawrence's, including: the new northern nave – this was of roughly the same proportions as the existing southern nave, and made the church, in Pevsner's words, "essentially a parallelipiped"; what was previously the north wall to the old church was demolished and seven arcades were installed in its place, with three paintings of saints (pictured, left) remaining on the northern side of the second pillar from the west; new roofs over both naves; windows recast in the Perpendicular style; carved screens to choir and altar, and rood screen; a spire on top of the old tower. The exterior of the church (apart from the Victorian broach-spire) also dates from the 15th century, and is fashioned from local flint and stone covered with plaster. A chapel was also constructed in the southern nave, which is the current choir vestry, as well as a chapel to the north of the choir called the Champflour Chantry Chapel (of which only a stone fragment remains). The royal licence for the building of this chapel was issued on 20 October 1463:
16th–17th century.
Following the Dissolution of the Monasteries, St Lawrence's passed to the patronage of the Dean and Chapter of Winchester on 1 May 1541. It appears that in this period the church was also a seat of learning; with the exception of Winchester College, the oldest record of any educational establishment in Hampshire comes from a report of 1548 to Edward VI's Chantry Commissioners, which states that there was in Alton:
Couper writes that the church "must have been gravely despoiled at this time", but gives scant evidence for this claim. Further building work occurred in the 16th century – the south door and porch, a priest's entrance to the Lady Chapel (made by the vicar Ralph Herriott; his initials may be seen on it) – but it is only in the 17th century, again in Couper's words, that the church "steps into the full light of day", with an instruction of Elizabeth I to the local JPs that the Poor Law provisions are being implemented, the beginning of the parish registers in 1615 and the churchwarden's accounts in 1625. These continue unbroken to the present day, except for some minor gaps during the upheaval of the English Civil War. The churchwarden accounts of 1625 mention that the church possesses a peal of bells, and these were rung when Charles I came to the town in 1625. The church's pulpit – described as "an outstanding mid c17 piece" in Pevsner – dates from this period.
Battle of Alton.
St Lawrence's played a significant part in the Battle of Alton – part of the English Civil War – which took place on 13 December 1643. Alton was a Royalist town, and on 1 December 1643, a large force, commanded by the Earl of Crawford, occupied the town. Parliamentary forces, led by Sir William Waller, marched against Alton on 13 December and Crawford fled the town for Winchester, leaving behind a small force commanded by Colonel Richard Boles (Godwin gives his name as "Bolle"). This defensive force was beaten back through Amery Farm and the churchyard of St Lawrence's, and eventually barricaded themselves in the church itself, where, "having made scaffolds in the Church to fire out of the windows [they] fired very thick from every place."
According to Tony MacLachlan:
After a concerted assault, during which, according to the Parliamentarian Lieutenant Archer, "the churchyard was full of our men, laying about them stoutly with halberts, swords, and musket-stocks, while some threw hand-granadoes in at the church windows," the Parliamentarians eventually broke through the west door of the church, and Colonel Boles, who had threatened to kill any of his soldiers who asked for quarter, was killed – the traditional place given for his death was on the steps of the pulpit. (The brass to Boles states that his force in the church was "neare four score strong".) Bullet holes can be seen in the church's south door, as well as in both external and internal walls and pillars. When the church was restored in the 1860s many bullets were removed from the church ceiling, and a number of soldiers who died in the fighting were dug up in the churchyard; various relics of the battle – a key, a uniform button, bullets and a pipe – are displayed in a cabinet in the church. A brass memorial to Boles is on one of the arcade pillars in the church. A facsimile of a tablet at his tomb in Winchester Cathedral (and containing the same mistakes – the date of the battle, for instance, is given as 1641), it states in part:
When Charles I heard of Boles's death he is said to have exclaimed, "Bring me my mourning scarf; I have lost one of my best commanders in this Kingdom."
1686 thunderstorm.
On 19 December 1686 a violent thunderstorm took place in Alton that damaged much of the church. According to an eye-witness account:
All of the church's windows were broken, the roof and steeple were badly damaged after being set on fire, the tower had a hole blasted through it and the weathercock, according to the same eye-witness, "was carried quite away, and the hand and Boards belonging to the Clock fell among the Congregation." No one was hurt, but the vicar's eyebrows were singed. The churchwarden's accounts for 1687 list many repairs having taken place in the preceding months, but the church bells rang both in 1687 when James II passed through Alton and in 1688 upon the proclamation of William III and Mary II.
18th century.
During the 18th century a large number of galleries were built in the church. Couper comments:
Amongst the galleries were: a singing gallery at the west end; two or three at the east end (one of these was over the high altar (pictured, right)); various galleries filling the southern nave, with staircases leading up to them, "some of which were for paying customers and some free."
In 1724 work began to change the church roof from tiles to lead, work that was completed in 1758; until this point the church had a three-span roof but this work saw the roof assuming the one-span structure that is maintained to the current day. In 1742 the plain window on the northern wall behind the pulpit was replaced "with a Square Crown Glass in order to give it better light, and also to alter the Sounding Board in such a manner as shall be thought most proper upon the opinion of the Revd. Mr. Smith, Vicar, and the workman." According to Couper, the housekeeping records during this century became "more meticulous than ever"; records were kept of the monies received for each member of the congregation ("1/- for each person 'seated' in the Church or Churchyard, and 3/4 for a child's") as well as for items such as "a pound of soft soap" (7d), "oyle" (3d) and "a chamber pott" (9d).
The charitable works undertaken by the church are also meticulously detailed; this was the era in which charitable trusts were set up, and we find that John Fisher made a gift of £8 in 1741, which was "as an annual allowance for three sermons to be preached in Alton Church on the Anniversary of his death, and for a distribution of bread and money to the Poor of Alton." The Poor House was established in 1740 in the Malt House on Mount Pleasant, and the church was also responsible for housing and maintaining the town fire engine; the churchwardens' records contain details of the costs involved in its "oyling".
John Murray, the founder of the Universalist denomination in the United States, was born in 1741 in Alton and baptised in St Lawrence's. Murray's "Life" gives an account of the customs surrounding baptism at St Lawrence's:
19th century.
Three further galleries were built in 1810 and 1824, at a cost of £200 and £150 respectively. In 1817 Francis Austen, the brother of Jane Austen who lived a few miles south-west of Alton in Chawton, was appointed to a committee to "superintend and investigate the affairs of the parish", possibly on account of the problems being caused at the time by the collection of tithes, which had led to the breaking of all of the windows of the vicarage. In 1829 the church, apparently with "some reluctance", bought a "barrel organ", which "shall have finger keys as well as barrels".
Restoration.
In 1862, in the most significant decision affecting the church in the modern era, an appeal was launched by Canon Woodrooffe for the restoration of the church. The appeal read:
A ceremony marking the completion of the renovations was held on 16 April 1868, when the Bishop of Winchester reopened the church. Amongst the items that had been given to the church were a new font, a lectern (carved by Revd A. W. Deey), several new windows, and new seating for the chancel. The most notable addition was an organ, paid for by public subscription (at a cost of £850), and built by Messrs Speechly and Ingram. It was used until its rebuilding in 1966, and in 1898 a gas engine to power it was bought from Winchester Cathedral for £25. A permanent choir was also created, under the direction of Mr H. D. Newman, the organist. A number of other modifications to the church were made – a window was added to the tower and a staircase to the belfry, the west door was filled in with stone, and new pews installed – but, in Couper's words, "on the whole the restoration was carried out with restraint, and the interior of the Parish Church returned in essence very nearly to what it had been in the 15th century." The church now seated 816 people, compared with the 899 it seated before the restoration. To cater for the enlarged population of Alton, a new church was built (All Saints' Church) and the parish divided.
Tower, steeple and clocks.
In 1874, on the initiative of the Alton Church Tower and Steeple Repairing Fund, the steeple was faced with oak to replace the lead that previously covered it, and a weather vane was placed atop it; this is the steeple that we see today. Over the years a number of turret clocks have been positioned on the tower; Couper states that there had been one since "at least the 17th century", based on the references in the church accounts to "the diall", and it has a clock (not on display) with the date 1700 on it. The clock in use today was installed in 1890 by Messrs J. W. Benson; a Mrs Gerald Hall started its mechanism at 12 noon on Saturday 7 June 1890. Sundials have also long been used in the church; one on a buttress on the church's east face is either from the 14th century or earlier. The one currently in the churchyard dates from the 18th century.
Stained glass.
All of the stained glass in the church comes from the Victorian period; the east window (1870) was filled by Jean-Baptiste Capronnier of Brussels; the Mary window beside the pulpit (1873) is dedicated to Martha Hutchins; the window in the Lady Chapel (1884), like the Mary window, was filled by Messrs Heaton, Butler and Bayne of London. The window to the north of the high altar (1899) depicts the archangels Gabriel, Michael and Raphael; it was dedicated to Henry Hall (the brewer). When Hall's wife died, the mosaic to Faith and Charity, which surrounds the archangel window, was put up in 1906.
20th century.
Chapel of St Michael and St George.
The Lady Chapel was converted into a war memorial following an initiative that began immediately after the end of World War I in 1918. During the war the vicar had kept the names of soldiers who were killed on a roll of vellum parchment; at the end of the war this was transcribed onto a mural tablet with the words: To the glory of God/In memory of the men of this town/Who gave their lives in the Great War 1914–18/And in thankfulness for many who have been spared/This chapel is restored A.D. 1919.
The chapel was dedicated by the Bishop of Winchester on 28 November 1920, and in 1927 the two figures of St Michael and St George, which occupy the niches at the east end of the southern nave once filled by the statues of St Lawrence and the Virgin and Child, were donated by Miss E. H. Davenport. Other additions to the chapel include: various new tablets, oak moveable pews and a grand piano.
Further changes.
An appeal of 1920 raised £2,743 16. 7 for the church, the main work being done on the tower and the roof. The western gallery that was part of the 1868 renovations was taken down. A new ring of eight bells was cast for the church in 1926 by Gillett & Johnston; the bells were hung for change ringing and the old oak frame was replaced by one made of steel. In 1932 it was discovered that the tower was cracking in many places, partly as a result of the bells' vibrations, so the bell cage was reinforced with steel and the walls around it were strengthened with reinforced concrete. In 1939 the church was converted from gas to electric lighting, in memory of Dr E. J. L. Leslie, the vicar's warden from 1906 to 1936.
Further work was carried out on the organ in 1993.
The parish centre is St Lawrence Hall, which was built 100 m south of the church in 1970.


All Saints Church, Waldershare

All Saints Church is a redundant Anglican church in Waldershare, Kent, England. It is recorded in the National Heritage List for England as a designated Grade II* listed building, and is under the care of the Churches Conservation Trust. The church is located north of Dover on the west side of the A256 road. The North Downs Way passes through the churchyard. The church is notable for the memorials in its chapels.
History.
The church dates from the 12th century. Mortuary chapels were added in about 1697 and in about 1712. The main part of the church was restored and virtually rebuilt in 1886 by Ewan Christian. A further restoration was carried out in 1902. A lychgate was built at the entrance to the churchyard in about 1930. The church was declared redundant on 1 June 1980, and was vested in the Churches Conservation Trust on 27 June 2006.
Architecture.
Exterior.
The plan of the church consists of a nave with a south porch, and a chancel with a north and a south chapel. The body of the church is constructed in flint and rubble with a slate roof. The chapels are in red brick with tiled roofs. The brickwork of the south chapel is in English bond and the north chapel is in Flemish bond. The west wall is buttressed, and there is a bellcote on its gable. In the south wall of the chancel is a Norman window. The other windows in the body of the church are lancets, other than the two-light window in the north wall of the nave. The windows in the chapels date from the 15th century, and also have two lights.
Interior.
Inside the church is a double-chamfered chancel arch, and arches between the chancel and the chapels. The chapels have wooden barrel roofs. There is a piscina in the nave and another in the chancel, both of which are damaged. The reredos is partly painted and partly in mosaic, with a marble triptych. On the sanctuary walls are paintings by Clayton and Bell dating from about 1886. Between the chancel and the chapels are 19th-century screens. In the chapels are hatchments, two in the north chapel and one in the south. The windows contain Victorian stained glass.
Monuments.
The major monument in the south chapel was erected by Sir Peregrine Bertie to his wife, Susan, shortly after her death in 1697. It consists of a tomb chest surrounded by railings. On the chest are the effigies of Sir Peregrine and his wife who "recline uncomfortably with hands clasped and legs crossed". On the sides of the chest are carvings including a memento mori, achievements, and panels with drapes and cherubim. On the south wall of the chapel is a monument to members of the Monins family, erected before 1642. It consists of a black and white marble plaque containing an inscribed oval plaque surrounded by Corinthian columns and an interrupted segmental pediment. The north chapel is filled by a free-standing monument to Sir Henry Furnese who died in 1712. It was made by Thomas Green of Camberwell in four kinds of marble, and is in three stages. The base is square, inscribed on each side, and surrounded by four life-size mourning women sitting on chairs. The central section has panels with cartouches containing arms, and four putti on pedestals holding torches. The top stage consists of an urn standings on four volutes. These are carved with the cherub's heads and acanthus leaves, and is surmounted by a torch finial. The grading description describes the monument as being "outstanding".
External features.
In the churchyard are a tomb chest and a headstone of two former workers at Waldershare Park. The chest tomb is that of William Hull, who died in 1756 and had been a gardener for 25 years, and the headstone is that of Mrs Elizabeth Harman, who died in 1772 and had been housekeeper for 40 years. Together they have been designated as a Grade II listed building.


Palacio de La Cava

The Palacio de los Duques de Maqueda, also known as Palacio de La Cava is a palace located in Toledo, in Castile-La Mancha, Spain. In the vicinity of the Puerta del Cambrón and the Monastery of San Juan de los Reyes was this palace built by the Cárdenas family, Dukes of Maqueda and magistrates of Toledo between the 16th and 18th centuries. Of the remains that are conserved it emphasizes the portal, a unique one of Mudéjar style built in the 14th century.
According to legend, Florinda Cava, the Count Don Julián's daughter, thanks to her love relationship with Don Rodrigo allowed the Muslim occupation in Spain. But if so it is also argued that Muley Hazen lost the throne of Granada due to his weariness in the love affair with the Christian lady Isabel de Solís.
It is a private property, so it cannot be visited inside.


Essex Club


Temple Beth-El (Pensacola, Florida)

The Temple Beth-El (), located in downtown Pensacola, Florida, is the oldest dedicated Jewish house of worship in Florida. The temple was founded in 1876.
Beth-El is a member of the Union for Reform Judaism, and has led the congregation in Reform Judaism services since the temple's foundation. The current rabbi is Joel Fleekop.
History.
The first Jews who migrated to northwest Florida originally stopped at Milton, twenty miles to the east, because Milton was a national hub for lumber production and distribution in the South (the first Jews to the area were skilled in lumber production; they came from heavily wooded areas in what is now southern Germany).
Sensing more business opportunities to the west, a congregation settled in Pensacola and founded a Reform temple after forming in 1876. Many of the lumber workers in Milton did not follow the congregation, and eventually started a smaller Jewish community in Okaloosa County when lumber opportunities dried up. The male members of Beth-El's first congregation consisted largely of businessmen and tavern owners.
Temple Beth-El is now in its third building, still in its same spot on 800 North Palafox Street. The current building, designed in the 1930s, is an example of Art Deco architecture, which was prominent in Florida at the time.
Today, many members of the current congregation are descendants of the men who founded the temple over 125 years ago. Immigrants from Eastern Europe, Israel, and the Caucasus eventually settled in Pensacola and became part of the congregation as well. Beth-El is unique today in that a large number of the congregation consists of Jews who converted from other faiths.
Starting in 1962, Paula Ackerman, the first woman to perform rabbinical functions in the United States, served the congregation at Beth-El. A Pensacola native, Beth-El was Mrs. Ackerman's home temple and she was asked to fill in until a suitable replacement was found in 1963.
See also.
Oldest synagogues in the United States


Lassen Volcanic National Park Highway Historic District

The Lassen Volcanic National Park Highway Historic District includes the main roadway developed within Lassen Volcanic National Park in northern California from 1925 to 1951. The road was developed to allow tourists access to the central part of the national park, and was designed in accordance with National Park Service design principles for naturalistic road design and the National Park Service Rustic style of design and construction. The new road was intended to supplant existing primitive roads that led into the park from the periphery, cutting straight through the park to its major sights. The road is designated California State Route 89.
Design and construction.
Planning began in 1922 with survey work by Park Service Chief Engineer George E. Goodwin and landscape designer Daniel Ray Hull. A route was selected and final design work took place in 1923. There was considerable internal debate concerning the extent of the road network, and the plan was scaled back to allow for more back country. Construction began in 1925 on two sections in the southwest and northwest, intended to create a road on the eastern slopes of Lassen Peak. At the same time a ranger station was developed at Summit Lake, which was to be the midpoint of the road network. Control of the project was transferred to the Bureau of Public Roads in 1926, with design adjustments to conform to BPR practice. Work continued in the short building season available each year. In 1929 the park was expanded and the road network was adjusted to create an entrance at Manzanita Lake. The route was essentially complete in time for the park's dedication in July 1931. Work continued on surfacing and accessories, including entrance signs and rustic entrance stations at the Sulphur Works and Manzanita Lake.
It was immediately apparent that further work was needed to create a durable road surface, and the road was reconstructed between 1931 and 1948, with work in the 1930s done by Civilian Conservation Corps labor. The road was finally paved entirely with asphalt in the 1950s. Further work was done in connection with the Mission 66 program in the 1950s and 60s, while blighted commercial inholdings were purchased and removed. The road was again reconstructed in the 1990s.
Description.
The road features typical Park Service rustic details such as stone retaining walls and culvert headwalls. It is designed to work naturally with the landscape to provide a progression of views to motorists without adverse impact on the land. Major contributing structures include the Northwest Entrance Pylon, the Northeast Entrance Checking Station and Ranger Residence and the Summit Lake Ranger Station. The Raker Memorial Gateway is not listed as a contributing structure due to its extensive rebuilding. The Summit Lake Ranger Station and the area around Manzanita Lake are listed on the National Register in their own right.
The highway was placed on the National Register of Historic Places on June 23, 2006.


Brigham City Carnegie Library

The Brigham City Carnegie Library, at 26 E. Forest St. in Brigham City in Box Elder County, Utah, dates from 1915. It was listed on the National Register of Historic Places in 1984.
It is a one-story Prairie School-style building, one of 23 Carnegie libraries built in Utah, only three designed in Prairie style. In 1983 it was one of 17 surviving Carnegie libraries and was deemed "one of the best of less than twenty well preserved examples of public
buildings designed in [Prairie School] style in Utah."


Marcell Ranger Station

The Marcell Ranger Station is a historic United States Forest Service ranger station in Marcell Township, Minnesota. It was built from 1934 to 1935 to serve as the headquarters for the Marcell District of Chippewa National Forest. It was listed as a historic district on the National Register of Historic Places in 1994 for having state-level significance in the themes of architecture, conservation, and politics/government. It was nominated for its associations with the expansion and development of Chippewa National Forest during the New Deal, for being a well-preserved example of that era's Forest Service administrative facilities, and for its fine National Park Service rustic architecture. Marcell Ranger Station was closed in 2001 and the property was converted into a vacation rental known as Marcell Lodge. A 1963 office adjacent to Minnesota State Highway 38 was turned into the Edge of the Wilderness Discovery Center, a visitor center for the Edge of the Wilderness Scenic Byway.
History.
In 1902 the Morris Act created the Minnesota Forest Reserve from Ojibwe lands. The timber was to be cut and sold for the benefit of the Ojibwe. A percentage was kept standing and parts of the reserve were protected. Six years later president Theodore Roosevelt made the forest a national reserve. It was later renamed the Chippewa National Forest Reserve. The reserve was meant to protect, conserve, and use the natural resources of the forest. In 1933 it was expanded northward. This created a need for ranger districts. One of them was named the Marcell District.
In 1934 the construction of a ranger station to administer the Marcell District began. The station was constructed by the Civilian Conservation Corps (CCC). The station encompassed on the northern shore of Lake Rainier and included several buildings. By the spring of 1935 there were three CCC camps operating in the Marcell District. At times the camps were at full capacity, with a total of 200 men per camp. Many projects were completed at the camps. They included land and timber surveys, stand and roadside improvements, and land acquisitions. Workers also planted trees annually and restocked fish populations. Erosion and fire hazards were monitored as well.
The rustic architecture of the Marcell Ranger Station is representative of the design practiced by the National Park Service and the U.S. Forest Service during the Great Depression era. It sought to achieve harmony with nature, to use materials native to the landscape, and to build the minimal number of structures needed. It was a little-noticed movement in American architecture and unique for government buildings. In 1935 the Park Service published a textbook to train new architects in its building practices.
Most of the major buildings that comprise the Marcell Ranger Station were based on a standard plan. Each of them features finely crafted, rustic-style elements. These elements include split stone fireplaces, interior log partition walls, and hand-wrought hardware. Together, the buildings at the Marcell Ranger Station remain fine examples of the high-quality log construction for which northern Minnesota was recognized.
For the second half of the 20th century the Marcell Ranger Station served its original purpose. In 2001 it was closed as part of the merging of the National Forest's administrative offices. In 2006 and 2007 the Chippewa National Forest was granted $20,000 to convert the station into an interpretive center. The station became a rest stop for travelers and a center for educating the public about the environment. It was renamed the Edge of the Wilderness Discovery Center.


Samuel F. Glass House

The Samuel F. Glass House is a property in Franklin, Tennessee that dates from 1859. It was listed on the National Register of Historic Places in 1988. It has also been known as Pleasant View.
It was the manor house of one of the three largest plantations in Williamson County, prior to the American Civil War, having more than in area and having many slaves. Other contenders for the largest antebellum plantation are the plantations of Beechwood Hall (the H. G. W. Mayberry House) and of Ravenswood (the James H. Wilson House), which are also NRHP-listed.
It includes Greek Revival, Italianate, Central hall plan and other architecture.
The NRHP eligibility of the property was addressed in a 1988 study of Williamson County historical resources.
The house was part of a larger farm, Pleasant View Farm which also contains an archeological site, a Mississippian culture village site.