The Carolingian Renaissance is deeply in debt to the success of Charlemagne as a king and patron, and the driving force behind what we see in St John Abbey. Throughout history, art, education and leisure have all only truly thrived in times of peace, although war is often the most important factor for technological change.  In the early Middle Ages the constant conflicts between the Frankish Kingdoms hindered the artistic progress previously enjoyed by the Romans when their empire was at its height. Under Charlemagne's prosperous kingship, the introduction of a new peacetime monastic order began, paving the way for the frescos and architecture seen at Saint John Abbey.
As a devout Christian, Charlemagne wished to further the ability for his people to be both educated in the teachings of the church, and for his kingdom to be stable. One of the many ways that he achieved this was through his patronage of many monasteries throughout the Frankish Kingdom. The monasteries served as a training ground for missionaries, who were to be sent to the newly conquered areas of his empire and effect their conversion to Christianity. His goals were mostly focused on education, and his mission as king was to provide the basis for the education of the clergy so they could, in turn, educate the parishioners.  These monasteries served as canvas for much of the art and architecture of the Carolingian Renaissance.
The Carolingian artisans were known to be skilled painters, jewelers, and goldsmiths. Their aptitude for extensive and grandiose decoration was often used to decorate the manuscripts that were written by monks at abbeys such as St John’s. Such skilled and advanced artistry further highlights the importance of peace as a canvas for improved art and architecture in a civilization. As it is possible to see from the Pictures of St John's frescoes, painting was also a large part of the Carolingian Renaissance. The Carolingian style of painting was founded in Roman, Christian and Germanic styles. The manner in which figures were portrayed was clearly Roman in style, the subject matter very often Christian, and the geometric designs and animal figures were Germanic in nature. Depictions from the gospels, as well as those of King David were particularly popular, as well as some Carolingian kings, and of course Christ in majesty.
It is believed that the abbey was established ca. 780 by a bishop of Chur, perhaps under orders from Charlemagne. It was built during a wave of monastery construction that included the nearby monasteries at Cazis, Mistail, Pfäfers, and Disentis.  The abbey was located along the Val Müstair pass over the Alps from Italy and was fortified to allow it to control the pass.  In 881 the abbey passed over to be completely under the control of the Bishop of Chur.  During the early years of the abbey, in the early 9th century, a series of frescos were painted in the church.  Later, in the 11th and 12th centuries, the abbey experienced a second expansion and new paintings were added or painted over the old frescoes.  These paintings were only rediscovered in the 20th century.
In the 10th century, the church tower was added to the abbey church.  During the expansion of the 11th century, the bishop of Chur enlarged his residence at the monastery.  A fine tower home, cloister, and the double chapel of St. Ulrich and St. Nicholas were added.  During the expansion, the two-story residence chapel of the bishop was also decorated with extensive stucco and fresco work. At some time in the 12th century, the occupants of the abbey changed from monks to nuns.  This change is first mentioned in 1167, but it happened sometime before this date. The first abbess known by name is Adelheid, attested between 1211 and 1233.
The Swabian War, which was an attempt by the Habsburgs to assert control over the Grisons and key alpine passes, started at the convent. On 20 January 1499, Habsburg troops occupied the surrounding valley and plundered the convent, but were soon driven back by the forces of the Three Leagues at the Battle of Calven.  Following the raid, an armistice was signed between the Habsburgs and the Three Leagues.  However, this armistice only lasted a few days before the conflicts broke out between the Three Leagues' Old Swiss Confederacy allies and the Habsburg troops.  These raids quickly escalated into the Swabian War, which ended in September 1499 with the Treaty of Basel granting virtual independence to the Swiss Confederacy.
About 1500 the abbey church was modified from a single-nave Carolingian construction into a three-nave late Gothic church.  Shortly thereafter, in 1524 and 1526, through the Ilanzer Articles, the League of God's House was able to weaken the temporal power of the bishop, which had the indirect effect of reducing the income of the abbey. Consequently, there was limited construction on the abbey following this.
In the spirit of the Council of Trent the bishop issued a series of reforms governing religious life between 1600 and 1614.  The reforms included new regulations as to who could receive the sacraments and the publication of the breviary.  Other policies, such as the requirement in the Benedictine Rule for common sleeping areas, were also relaxed in this era.
Throughout the history of the Abbey of Saint John there were conflicts between the Bishop of Chur, the Grey League and the House of Habsburg.  The abbey's ruler, the abbess, and the government authority, the vogt, were often chosen by one of these three powers.


Saint John the New Monastery (Romanian: Mănăstirea Sfântul Ioan cel Nou) is a Romanian Orthodox monastery in Suceava, Romania. Built between 1514 and 1522, the monastery church is one of eight buildings that make up the churches of Moldavia UNESCO World Heritage Site, and is also listed as a historic monument by the country's Ministry of Culture and Religious Affairs. Its construction began during the reign of voivode Bogdan III the One-Eyed of Moldavia, after the nearby Mirăuți Church (the metropolitan cathedral of Moldavia at that moment) was devastated in 1513. The construction was completed by Stephen IV of Moldavia (also known as Ștefăniță). The monastery church served as metropolitan cathedral of Moldavia until 1677 and, since 1991, it serves as the cathedral of the Archdiocese of Suceava and Rădăuți. The church is dedicated to Saint George and it has frescoes painted on the outside, typical of the region.
The monastery is dedicated to Saint John the New of Suceava, a Moldavian monk who preached during Turkish occupation and was subsequently martyred in Cetatea Albă, present-day Bilhorod-Dnistrovskyi in Ukraine. Alexander I of Moldavia brought his relics to Suceava in 1402. Besides the monumental church, the monastery complex includes a bell tower built in 1589 during the reign of Peter the Lame of Moldavia, a chapel founded by clergyman Anastasie Crimca in 1626-1629, old cells for monks (built in the 19th century), a house for the abbot (built between 1894-1896) and the surrounding walls.


All day long, St. Lawrence Boulevard, or Main Street, is a frenzy of poor Jews, who gather there to buy groceries, furniture, clothing and meat. Most walls are plastered with fraying election bills, in Yiddish, French and English. The street reeks of garlic and quarrels and bill collectors: orange crates, stuffed full with garbage and decaying fruit, are piled slipshod in most alleys. Swift children gobble pilfered plums; slower cats prowl the fish market. — Mordecai Richler, Son of a Smaller Hero

The Jewish community on the Main sprang up after the heavy immigration of the early to mid-1900s. Jewish settlement occurred first on the lower Main, in a section that now is part of Montreal's Chinatown.
By 1871 a Jewish enclave numbering just over 400 people had formed by the corner of St. Lawrence and Dorchester Street, with the first Jewish educational institution, the Talmud Torah, located at the corner of Saint Urbain Street and De la Gauchetière Street. Middle-class members of the community were already beginning to move up the Main towards Sherbrooke and Prince Arthur Streets, while further west, a small number of well-off Jews lived near McGill University.
The main axes of the Jewish quarter were Saint Laurent Boulevard, Clark Street, Saint Urbain Street, Esplanade Street and Park Avenue, Montreal. By the 1930s dozens of synagogues were in the area. Culinary landmarks on Saint Laurent that bear witness to this historic community include Schwartz's and Moishes Steakhouse.
Yiddish was the common language in the Jewish district on Saint Laurent Boulevard, with many Jewish immigrants working in clothing factories, once the street's main industry. Overall, Montreal was the main destination for the 125,000 Jews who settled in Canada between 1905 and 1920, making the area a centre of Yiddish language and culture (e.g. theater in that language). Despite Canada's poor record of Jewish immigration between 1933 and 1948, Montreal became home to the world's third-largest concentration of Holocaust survivors, most of them Yiddish speakers. Other cultural institutions such as the Jewish Public Library operated in more than one language.


Saint Voukolos Church, which started to be built in 1886 by the Armenians of the Greek Orthodox faith, was opened to worship in 1887. It was the only structure of Armenians that was not damaged by the great fire of Smyrna in 1922. As a result of the population exchange between Greece and Turkey, the church community left İzmir in the following year.
In February 1924, at the request of Mustafa Kemal Atatürk, the church building started to host the İzmir Archaeological Museum. During this period, the frescoes in the church were covered. In 1951, with the relocation of the museum to Kültürpark, the church building started to function as an opera study hall and a warehouse. In 1975, it was registered as a "cultural asset to be protected". It was severely damaged in a fire in 1990. In 2003, it was given to the use of İzmir Metropolitan Municipality. In December 2008, restoration work started at the church. After the restoration work was completed in 2010, the church building began to be used for cultural events; two of the four additions of the church were opened as the İzmir Journalists' Association Press Museum, and Hanife Çetiner and Esin Yılmaz Memorial House. On 17 August 2014, for the first time since 1922, a ritual was held at the church for the Assumption of Mary. The church also hosted various rites in 2015, 2016, and 2018.


The interior has very little decoration; most of it was destroyed in 1793 during the French Revolution, and only traces remain. Between 1547 and 1549, Henry II commissioned the redecoration of the choir to serve as the meeting place of the Order of Saint Michael, which had been created by Louis XI in 1468. Parts of the chapel were set off with a carved wooden enclosure and 48 stalls for the knights of the order, which was headed by the King. Henry invited Italian and French artists and craftsmen, particularly those who had been engaged in the redecoration of the Palace of Fontainebleau, to do the work, directed by the royal architect Philibert Delorme. The woodwork was destroyed in 1793, but traces of the decoration can be seen on the ceiling vaults: the letters H and K, for Henry and Catherine de' Medici.


Sainte-Marie among the Hurons was established in 1639 by French Jesuits, Fathers Jérôme Lalemant and Jean de Brébeuf in the land of the Wendat. The fortified missionary settlement acted as a centre and base of operations for Jesuit missionaries on the outskirts of what is now Midland, Ontario as they worked amongst the Huron. It also provided an example of a functioning European community to the Huron. The mission was built near the Huron settlement of Quieunonascaranas, led by chief Auoindaon.
The mission was initially founded by 18 men. Arriving in November 1639, the priests erected a makeshift shelter out of cypress pillars and a birch bark roof, using clay to build the interior walls. After the arrival of carpenter Charles Boivin, further construction resulted in a chapel, a residence for the Jesuits, a cookhouse, a smithy and other buildings. Sainte-Marie became the Jesuit headquarters in Huronia, from which the Jesuits travelled among the Iroquoian-speaking Huron and Petun, and the Algonquian-speaking Nipissing, Ottawa and Ojibwa peoples, whose languages were distinct but related to each other.


La Trinité, as it is known, was designed by Théodore Ballu as part of the beautification and reorganization of Paris under Baron Haussmann.  Exterior figures of Faith, Hope, and Charity on the church were sculpted by Eugène-Louis Lequesne.  The 93 meter-long church has a bell tower 63 metres high topped by a dome. The choir is ten steps higher than the nave and surrounded by an ambulatory.  Also named after it are the rue de La Trinité and the square de La Trinité.
The church is accessible by the Métro (the nearby station, Trinité, is named after it) and is known internationally for its former organist, the French composer Olivier Messiaen. It was the location of Gioachino Rossini's funeral, on 13 November 1868, Hector Berlioz's funeral, on 11 March 1869, and Georges Bizet's funeral in 1875.
The church's facade served as the inspiration for the design of the Saint-Jean-Baptiste Church in Quebec City and the Cathedral of the Blessed Sacrament in Sacramento, California.


WikiWeb_Saints Peter and Paul Church, Kraków_2

The facade of Saints Peter and Paul Basilica was constructed with dolomite. It resembles that of the Church of Santa Susanna in Rome by Carlo Maderno, but also, it contains similarities with the facade of the main Jesuit church of Il Gesù. In its niches are statues of Jesuit saints: Ignatius of Loyola, Francis Xavier, Aloysius Gonzaga, and Stanisław Kostka made by Dawid Heel. Above the main portal, there's the emblem of the order of Jesuits with saints Sigismund of Burgundy and Ladislaus I of Hungary. The very top of the facade is adorned with the coat of arms of the Vasa dynasty since king Sigismund III Vasa was the founder of the church. The church interior has a broad, single-nave with two aisles consisting of chapels, as well as the transept with a dome at the intersection, and a short rectangular chancel around the altar, with semicircular apse covered with a hemispherical vault.
In front of the Church-grounds there are several plinths with raised sculptures of apostles designed by Kacper Bażanka. They were made with Pińczów limestone, and completed in 1722 by Dawid Heel. Today, in place of the original 18th century statues, which were very much damaged by acid rain, there are contemporary copies made of the same material by Kazimierz Jęczmyk.


WikiWeb_Saints Peter and Paul Church, Kraków_5

The Church of Saint Peter and Paul hosts one of Poland's National Pantheons (Panteon Narodowy) alongside the Wawel Cathedral, St. John's Archcathedral and the Church of St Michael the Archangel and St Stanislaus the Bishop and Martyr, a burial place of the most distinguished Poles representing the fields of the arts, culture and science. The work on the construction of the pantheon began in October 2010 and the official opening of the first part of the complex took place in 2012 on the 400th anniversary of Piotr Skarga's death whose remains were kept in one of the church's crypts.
People interred at the pantheon include:
Piotr Skarga, (1536–1612), Jesuit preacher
Andrzej Trzebicki, (1607–1679), nobleman and priest
Witold Szeliga Bieliński, (1818–1833), nobleman
Sławomir Mrożek, (1930–2013), dramatist and cartoonist
Karol Olszewski, (1846–1915), chemist
Krzysztof Penderecki (1933–2020), composer and conductor
Marian Rejewski, (1905–1980), mathematician and cryptologist
Jerzy Różycki, (1909–1942), mathematician and cryptologist
Zygmunt Wróblewski, (1845–1888), chemist
Henryk Zygalski, (1908–1978), mathematician and cryptologist


St. John's Church, Salford, was built between 1844 and 1848 to designs of Matthew Ellison Hadfield (1812–1885) of Weightman and Hadfield of Sheffield, by Benjamin Hollins of Manchester. Hadfield's design for St. John's, the first cruciform Catholic church to be built in England since the Reformation, was closely modelled on a number of noted medieval churches. The "west" (actually south) front and nave are copied on a reduced scale from Howden Minster in the East Riding of Yorkshire; the choir and sanctuary are closely modelled on those of Selby Abbey in North Yorkshire; the decorations of the groined vault are copied from the church of St Jacques in Liège, Belgium; the tower and spire, the latter the tallest in Lancashire at the time of building, are derived from the church of St Mary Magdalene, Newark-on-Trent, Nottinghamshire.
Two local businessmen, Daniel Lee (d. 1858) and John Leeming (d. 1877), each donated £1,000 towards the cost of the church and furnishings; both benefactors are commemorated in chantries at the liturgical east end of the choir. The Cathedral's "east" window of 1856, by William Wailes of Newcastle, depicts the history of Catholic Christianity in England, from the conversion of Ethelbert by St. Augustine in 597, to the restoration of the Catholic hierarchy in 1850. The total cost of building the Cathedral was £18,000.
The foundation stone was laid in 1844 by Bishop James Sharples, coadjutor to Bishop George Brown, Vicar Apostolic of the Lancashire District. The church was opened on 9 August 1848: Bishop Brown celebrated a Solemn High Mass in the presence of the Bishops of the other Vicariates of England and Wales. St. John's was elevated to cathedral status in 1852 following the erection in September 1850 of the Diocese of Salford, becoming one of the first four Catholic cathedrals in England and Wales since the English Reformation. On 25 July 1851 William Turner was consecrated the first Bishop of Salford in St. John's. In the same ceremony the Rector of St. John's, George Errington was consecrated first Bishop of Plymouth.
Thirty years later in October 1881 a violent storm caused serious damage to the Cathedral's 240-foot (73.2 m) spire. Canon Beesley, then the administrator, succeeded in raising funds for repairs to the spire and generally refurbishing the fabric of the building. He also oversaw the furnishing of the new chapel of the blessed sacrament in the 'south' transept in 1884, to designs of Peter Paul Pugin, third son of A.W.N. Pugin.
By early 1890 the last £1,000 was paid to settle the original debt for the building of the Cathedral, which led to the consecration of the Cathedral in the same year by the second Bishop of Salford, Herbert Vaughan, later to become Cardinal Archbishop of Westminster.
In 1919–20 the turrets on the "west" front were found to be in danger of collapsing into the street below. They were taken down and rebuilt by the Sheffield firm of O'Neill & Son under the direction of Charles M. Hadfield, grandson of the Cathedral's original architect. In 1924 the War Memorial Chapel in the "north" transept was opened, commemorating the fallen in World War I. By 1934 the Cathedral's spire was found to have strayed from the perpendicular and the Civic authorities ordered that some sixty feet be removed. Repairs were not completed until 1938. Restoration and repair of damage sustained in the Second World War was carried out in the immediate post-war years.
Further restoration and re-ordering were carried out in 1971–72 at a cost of £80,000. This included the erection of a new free-standing altar located under the crossing, following the Second Vatican Council. A further re-ordering of the choir (chancel) took place in 1988, including the removal of the original stone High Altar and Reredos, installed in 1853-55 to designs by George Goldie.
A new stained-glass west window was installed in 1994, to commemorate the 150th anniversary of the laying of the Cathedral's foundation stone. Its title is When I am lifted up I shall draw all to myself, and it depicts, in somewhat abstract form, the crucified Christ flanked by the Virgin Mary and the Cathedral's patron, St. John.
Restoration of the external stonework to the spire and 'west' (i.e. south) front took place in the spring of 2007. Further major repairs to the roof and masonry to stop leaks within the church took place in 2018.
In November 2021, it was announced that Salford Cathedral would be closed for the year until 2024 due to a multi-million-pound restoration project. This is set to include reinstalling some of the cathedral's Victorian heritage which was stripped in the 1970s and a new roof being added to the building.


Salford Quays is connected to Manchester city centre by the Eccles Line of the Manchester Metrolink. This connection opened in 1999 and was extended onward to Eccles in 2000. The section of the Eccles Line from Pomona to MediaCityUK serves the Salford Quays area. Trams operate every 6 minutes throughout the day (except MediaCityUK tram stop which is every 12 minutes) and every 12 minutes on Sundays. MediaCityUK Metrolink tram stop opened in summer 2010 to serve the MediaCityUK complex.
The Metrolink Trafford Park Line opened in March 2020.  It includes two stations close to Salford Quays: Wharfside and Imperial War Museum.
Frequent bus services are provided from the Quays by Go North West's Orbits 53 providing links to Oxford Road, Etihad Campus, Salford Shopping Centre and Cheetham Hill and Stagecoach Manchester’s 50 linking MediaCityUK to East Didsbury, Manchester Piccadilly bus station, Salford Central and Salford Crescent railway stations, the University of Salford and Salford Shopping Centre. A number of lower frequency routes are operated by Diamond Bus North West linking
Boothstown, Worsley and Stretford with the area.
Salford Quays and the Trafford Wharf area are accessible from the M602 motorway and major arterial routes from the Trafford Centre, Manchester city centre, Salford and Old Trafford. Many main routes around the Quays are high-quality dual carriageway routes, built after the closure of Salford Docks.


The foundation stone for the town hall was laid by Lord Bexley, Chancellor of the Duchy of Lancaster in April 1825. The square in which the building now stands was named after him. It was designed by Richard Lane in the Neo-classical style and completed in 1827. The building, which was originally constructed as a market hall, became the Salford's town hall in 1835 and, additionally, a courthouse in 1840. The building was expanded three times in the nineteenth century.
In January 1878 it was the place where local hero Mark Addy received several awards for his gallantry in saving people from drowning in the River Irwell. On 1 October 1931 it was the scene of the 'Battle of Bexley Square' where 10,000 protesters of the Salford Branch of the National Unemployed Workers' Movement clashed with police, an event which is commemorated with a plaque on the building. The novelist Walter Greenwood was present at the demonstration and a similar event is portrayed in his novel "Love on the Dole".
The building became the headquarters of the County Borough of Salford and continued to be called Salford Town Hall, notwithstanding that Salford was granted city status in 1926. It ceased to be the local seat of government when the county borough was abolished by the Local Government Act 1972 and Swinton and Pendlebury Town Hall became the meeting place for the enlarged local authority area, known as the City of Salford, in 1974.
Salford Town Hall was used as a court house until the last two court rooms closed in December 2011. It was subsequently sold to private developers, who completed converting the building into apartments in November 2015.


The boundaries of Salisbury Plain have never been truly defined, and there is some difference of opinion as to its exact area. The river valleys surrounding it, and other downs and plains beyond them loosely define its boundaries.  To the north the scarp of the downs overlooks the Vale of Pewsey, and to the northwest the Bristol Avon. The River Wylye runs along the southwest, and the Bourne runs to the east. The Hampshire Avon runs through the eastern half of the plain, and to the south the plain peters out as the river valleys close together before meeting at Salisbury.  From here the Avon continues south to the English Channel at Christchurch. The Hampshire Downs and the Berkshire Downs are chalk downland to the east and north of Salisbury Plain, and the Dorset Downs and Cranborne Chase are to the southwest. In the west and north west the geology is mainly the clays and limestones of the Blackmore Vale, Avon Vale and Vale of Wardour. The Mendip Hills rise to the west of Salisbury Plain, and the Cotswolds to the north west.
Amesbury is considered the largest settlement on the plain (southern fringes), though there are a number of small villages, such as Tilshead, Chitterne and Shrewton in the middle of the plain, as well as various hamlets and army camps. The A303 road runs through the southern area of the plain, while the A345 and the A360 cut across the centre.


Salisbury Plain is famous for its history and archaeology. In the Neolithic period, Stone Age people began to settle on the plain, most likely centred around the causewayed enclosure of Robin Hood's Ball. Large long barrows such as White Barrow and other earthworks were built across the plain. By 2500 BC areas around Durrington Walls and Stonehenge had become a focus for building, and the southern part of the plain continued to be settled into the Bronze Age.
Around 600 BC, Iron Age hillforts came to be constructed around the boundaries of the plain, including Scratchbury Camp and Battlesbury Camp to the southwest, Bratton Camp to the northwest, Casterley Camp to the north, Yarnbury and Vespasian's Camp to the south, and Sidbury Hill to the east.
Roman roads are visible features, probably serving a settlement near Old Sarum. Villas are sparse, however, and Anglo-Saxon place names suggest that the plain was mostly a grain-producing imperial estate.
In the 6th century, Anglo-Saxon incomers built planned settlements in the valleys surrounded by strip lynchets, with the downland left as sheep pasture. To the south is the city of Salisbury, whose 13th and 14th century cathedral is famous for having the tallest spire in the country, and the building was, for many centuries, the tallest building in Britain. The cathedral is evidence of the prosperity the wool and cloth trade brought to the area. In the mid-19th century the wool and cloth industry began to decline, leading to a decline in the population and change in land use from sheep farming to agriculture and military use. Wiltshire became one of the poorest counties in England during this period of decline.
There are a number of chalk carvings on the plain, of which the most famous is the Westbury White Horse. The Kennet and Avon Canal was constructed to the north of the plain, through the Vale of Pewsey.
In September 1896, George Kemp and Guglielmo Marconi experimented with wireless telegraphy on Salisbury Plain, and achieved good results over a distance of 1.25 miles (2.0 km).


WikiWeb_Salt Lake City and County Building_2

The Salt Lake City and County Building's central clock tower is topped with a statue of Columbia and rises 256 feet (78 m) from the ground. The building's primary axis runs north-south, and large entrances mark each cardinal direction. On the south wing (over the Mayor's office) is a bronze statue of the goddess Justice. Originally, the building had statues depicting Commerce, Liberty, Justice, and Columbia, but the others were removed following a 1934 earthquake. Columbia and the other missing statues were replaced on top of the building when it was renovated in 1989.
The building's surface is elaborately carved from the gray Utah Kyune sandstone it's made of. To the right of the entrance on the south side is the face of Father DeSmet, a Jesuit priest who preached to Native Americans and had contact with the Latter-day Saints before and after they traveled to Utah. To the left is Captain García López de Cárdenas who explored Southern Utah by 1540. Above the granite columns on the east and west sides of the building are carvings of pioneer women. Between the portal and balcony are portraits of Chief Joseph and Chief Wakara and Jim Bridger. Above the west entrance left-to-right are R. N. Baskin, mayor of Salt Lake City circa 1894, Jedediah M. Grant, Salt Lake's first mayor, and Jacob B. Blair, federal judge. The north side features a depiction of the Domínguez–Escalante expedition which entered Utah in 1776 and named many of the state's physical features. Gargoyles, eagles, sea monsters, beehives, Masonic icons, suns, and other symbols dot the building's rich exterior.
Walter Baird and Oswald Lendi carved most of the building's features. Lendi, a French sculptor, whimsically carved his face between the words "City" and "Hall" above the north entrance.
The building has five floors and over one hundred rooms. Onyx lines the hall of each lavishly decorated floor. The third floor houses the mayor's office in the south wing and the city council chambers in the north. The council meeting room features an 1865 life-sized portrait of Brigham Young. Portraits of the city's past mayors up to and including Ross "Rocky" Anderson line the corridor between these offices. The third floor features an exhibit commemorating the 2002 Winter Olympics held in Salt Lake City.
Around the time of the 2002 Salt Lake Olympics, and for a limited time, an electric display depicting the Olympic rings was allowed to be displayed on four sides of the central tower of the City and County building.  The Olympic display has since been removed from the building.


Saltburn Pier is a pier located in Saltburn-by-the-Sea, Redcar and Cleveland and the ceremonial county of North Yorkshire, England. It is the last pier remaining in Yorkshire.


There are eleven listed buildings in Saltwell Park. Saltwell Towers, former home of William Wailes and later to lawyer Joseph Shipley (founder of the nearby Shipley Art Gallery), was the seat of the former Saltwellgate estate and has been described by a BBC report as a "fairytale mansion". The building is a dark red and yellow brick construction with asymmetrical towers, tall chimney stacks and corner turrets. It has been used for a number of purposes, including as a hospital during the First World War and as a museum from 1933 to 1969, but was then abandoned and fell into considerable disrepair. However, after a £3 million, five-year refurbishment programme was completed in 2004, the building was officially reopened as a visitors centre in the presence of Wailes' great-great-grandson. Saltwell Towers today includes a cafe, some pieces of local art, an exhibition on the history of the park and also a stained glass centrepiece commissioned from a local artist. A Gateshead Blue Plaque in commemoration of Wailes was installed in 2005. The mansion was protected in 1973 as a Grade II listed building, along with the two storey, sandstone belvedere walls which surround the west and south of the mansion. These are replete with stairs and corner battlements and the entire walls are conjoined by a walkway which is open to the public.
A stable block is at the north-west of Saltwell Towers, built in 1871 in the same style as the mansion in red brick and with a slate roof. This is a Grade II listed building and is now an educational area for schools and local community groups. Also to the north-west of Saltwell Towers is the Charlton Memorial Drinking Fountain, a stone and granite fountain inscribed in memory of George Charlton, the mayor of Gateshead between 1874 and 1875. This is Grade II listed, as is the 'Salte Well' at the west entrance to the central section of the park. The latter is dated 1872 and is a sandstone construction with a basin in the central alcove. Midway along the Broadwalk in the north section of the park is a Grade II listed bronze statue of Alderman John Lucas, mounted on a sandstone plinth and granite base. Built in 1902, it was paid for by public subscription. The wrought iron gates and accompanying stone piers which greet visitors at the north-eastern entrance to the park are also Grade II listed.
There are three war memorials in the park. There is a Boer War memorial in the central section of the park around 100 metres south of Saltwell Towers. This consists of a bronze angel perched on a granite plinth and dated 1905. A modern Durham Light Infantry memorial was unveiled on 12 July 1981 by the mayor of Newcastle. This takes the form of a sandstone wall with adjoining flanking walls which create a small ornamental garden. There are three plaques and a description commemorating men of the battalion who died in battle between 1900 and 1945. The third war memorial is the bridge adjoining the lawned, central gardens to the belvedere walls of Saltwell Towers. This timber footbridge, 22 feet (6.7 m) long and 12 feet (3.7 m) wide, is named the Primosole Bridge and is a copy of the original Edwardian bridge which once crossed the ha-ha. The name is carved onto a low stone wall which runs alongside and an inscription commemorates the men of the Durham Light Infantry who died whilst crossing the original Primosole Bridge during Operation Fustian in the Second World War.
The principal feature of the northern section of the park is a boating lake. This has been in situ since a tender to install a 4 acres (1.6 ha) lake with an island in the centre was accepted in August 1880. An approach to Joseph Swan to illuminate the lake received no response, but a further approach to John Hancock to design the lake edge was more successful; the lake edge today still follows Hancock's original design. Model boating has been a fixture of the lake since 1886 and the Saltwell Park Model Boat Club is the latest organisation to use the lake for this purpose. The island in the centre of the lake was in 1909 home to a bandstand, and visiting performers were required to travel by boat to the island, but the bandstand was moved to the Saltwell Grove section of the park in 1921. During the summer months, visitors can hire rowing boats and pedalos for use on the lake. The lake has long been inhabited by mallards and tufted ducks and it is also home to several other species of wildfowl, including swans, Canada and barnacle geese, coots and moorhens. Common pochard and grebe also inhabit the lake in winter after migrating from Russia and central Europe. Kingfishers are also reported to have returned to the lake after a lengthy absence.
There have been animals kept in Saltwell Park since June 1877 – initially, these included monkeys, deer and a raccoon. Caged animals are still kept in the north-east of the park in an area called "Pets Corner", where there are a peacock and peahen, pheasants, rabbits and guinea pigs kept in a pair of aviaries built in 1880 and paid for by John Elliot, then chief constable of Gateshead. The aviaries are stone and wrought iron, octagonal constructions which were listed at Grade II by English Heritage in 1973. A bandstand was erected in 1876 and was subsequently replaced in May 1895 by an octagonal, red-brick, cast-iron and wood structure which was first sited in the northern fields. This was then moved to the island in the lake and moved again to Saltwell Grove. It was taken down and rebuilt at Beamish Museum in 1978, where it remains in use and has been designated a Grade II listed building. The present bandstand is in the Saltwell Grove area and is used every Sunday during the summer months by brass bands.
In the western shadow of Saltwell Towers there is a maze, built in 1877 by Wailes for his family's use. The maze was replanted with yew trees as part of the 2005 regeneration project to the original plans laid by Wailes. Also renovated was Saltwell Dene, a picturesque wooded area with a stream, bridges, cascades and a lily pond which inspired local artist Thomas Miles Richardson to paint a watercolour of it in the 19th century. Saltwell Dene was the final part of the 21st century restoration project to be completed, reopening to the public in March 2005. At either end of the Broadwalk there are two wooden shelters whilst the centre of the Broadwalk is marked by the Almond Pavilion. The pavilion was opened in 1881 and was a refreshment pavilion for decades before it fell into disrepair; by the 1980s it was derelict and it was then completely destroyed by fire. It has been fully reconstructed, including a replica of the original clock tower, and is once more a refreshment kiosk with new toilet facilities. It offers panoramic views into the northern fields and across the boating lake. An oriental garden was opened in 2011 to mark the twenty-year anniversary of the twinning arrangement between Gateshead and Komatsu. This includes a gravel pond, waterfalls and stone lanterns. The park is also host to three well-used bowling greens, replete with their own pavilion (the Avenue Green Pavilion) and a rose garden.
Various other attractions have been installed and subsequently removed from the park, including a paddling pool, a museum and, from 1982 to 1993, a retired and modified Vickers Viscount 701 airplane. The aircraft had its wings cut short and was marked "Saltwell Airways".


Sam Houston Race Park hosts many concerts throughout each year. Each year the park hosts the ZiegenBock Music Festival, a smaller version of the Lone Star State Jam held in Austin, TX. A compilation of country music's finest artists and many of the up-and-coming start of Texas country music brings thousands out to Sam Houston Race Park each year for the festival. The strong history of concerts at Sam Houston Race Park includes names such as Gary Allan, the Grammy nominated Eli Young Band, Randy Rogers Band, Willie Nelson, Lynyrd Skynyrd, and international acts such as Hadiqa Kiani along with many more.


The annual Camel & Ostrich Races have become a fan favorite, normally held on a Friday and Saturday evening in early March during the Thoroughbred Meet.  One race with Ostriches and one race with Camels are held between live horse races on each night.  Both Ostriches and Camels carry riders during their races. There is no wagering permitted by law on the Wieners, Camels or Ostriches.


Samad Vurgun was born on March 21, 1906, in Salahly village of Kazakh Uyezd, at present Qazax District of Azerbaijan Republic. Samad's mother died when he was six years old and he was in the charge of his father and Ayshe khanim, his maternal grandmother. After graduating from school, his family moved to Qazax and Samad entered teacher's seminary of Qazax with his elder brother Mekhdikhan Vekilov (1902–1975). In 1922, their father and a year later their grandmother died and concern for the future poet and his brother passed to their cousin Khangizi Vekilova. He taught literature at village schools in Qazax, Ganja and Quba. He studied at Moscow State University for two years (1929–1930) and then continued his education at Azerbaijan Pedagogical Institute.
In 1945 the poet was elected the full member of the Academy of Sciences of Azerbaijan SSR. Furthermore, the republican Society of Cultural Relations with Iran was founded in Baku in that year and S.Vurghun was assigned as the Chairman of this society. The establishment of the spiritual bridge between Azerbaijan and Iran was achieved through the works of the poet.
Samad Vurghun was assigned the Vice President of Academy of Sciences of the Republic in 1953 in regard with the changes in the life of the country and Republic. He introduced important issues to the social sciences by discussing urgent problems and the project of scientific publication.
In October, 1955, the poet fell ill in his visit to Vietnam as a member of the soviet delegation. As a result, he was hospitalized in Beijing, China. He wrote short poems when he was at hospital. He returned to Azerbaijan after a few weeks but his health got worse.
In 1945, he was chosen a full member of the Academy of Sciences of Azerbaijan SSR and deputy of the Supreme Soviet of the Soviet Union of the 2nd and 4th convocations (1946–1956).
Samad Vurgun died on May 27, 1956, and was buried in Baku, in the Alley of Honor.


The building combines elements of Sikh, Hindu, and Islamic architecture. Portions of the building are believed to have been plundered from the adjacent Lahore Fort.
The building has gilded fluted domes and cupolas, and an ornate balustrade around the upper portion of the building. The front of the doorway has images of Ganesh, Devi and Brahma that are cut from red sandstone. The dome is decorated with Naga (serpent) hood designs - the product of Hindu craftsmen that worked on the project. The wooden panels on the ceiling are decorated with stained glass work, while the walls are richly decorated with floral designs. The ceilings are decorated with glass mosaic work.


The Sameura Dam supplies water to Takamatsu, Kagawa Prefecture and Tokushima Prefecture. In 2005, because of little rainfall and a series of dry spells from April to June, the Shikoku Region was hit by a very serious drought and Lake Sameura dried up twice. Luckily, they could get over this crisis thanks to the heavy rain brought Typhoon Nabi.


The Modern collection ranges from the mid-19th century to the first half of the 20th century. The mediums in this collection are paintings, sculpture, prints, and drawings. The collection contains nearly 1,000 works from Europe and the Americas. Many works represent the major movements in American art, such as Impressionism, Post-Impressionism, and early Modernism, among others. The European works represent France, Italy, Germany and Spain. There is also a growing collection of Latin American art from Mexico, Chile, Uruguay, Guatemala, Brazil, and Puerto Rico.


The church retains its 14th-century Mudéjar layout with Gothic tracery creating elaborate star-shaped geometric lines. The aisles have four chapels: two of Mudéjar design, including the baptistry. The other two were built in the 18th century with gothic tracery ceilings.
The main altar has a Retablo with sculptures of the evangelists Mark and Luke, and two saints. Some panels depict the Fathers of the Roman Church (Augustine, Ambrose, Hieronymus, and Gregory the Great).
The central panel has a statue of St Andrew replacing the original painted icon, and it is topped by an 18th-century canvas of the Immaculate Conception.


A church of the same name is documented in Benevento since the 9th century, putatively holding the relics of the apostle. This prior church at the site was razed by an earthquake in 1688, and the present church was moved here and designed by either Filippo Raguzzini or Nicolò Coscia, and was reconsecrated by Pope Benedict XIII in 1729.


San Bernardino Pass (Italian: Passo del San Bernardino,  German: Bernhardinpass, 2,066 metres (6,778 ft)) is a high mountain pass in the Swiss Alps connecting the Hinterrhein and the Mesolcina (Misox) valleys between Thusis (canton of Graubünden) and Bellinzona (canton of Ticino). Located in the far eastern side of the Western Alps it is not to be confused with the Great St Bernard Pass and the Little St Bernard Pass. The top of the pass represents both the Italo-German language frontier and the watershed (drainage divide) between the Po basin and the Rhine basin. Marscholsee is within the pass at an elevation of 2,053 m (6,736 ft).
The route first became important as a mule track in the fifteenth century when the route between Thusis and Splügen was known as the Via Mala. A road for wheeled vehicles was opened in 1770; this road was significantly improved between 1821 and 1823, financed in part by the Kingdom of Sardinia, keen to improve a trade route connecting Genoa and Piedmont to the Graubünden that was not directly controlled by Austria.
Traffic flow was much facilitated when in 1967, the San Bernardino road tunnel was completed: since then vehicle traffic on the pass has been reduced, benefiting those taking the time to avoid the tunnel. The pass road is only open from May to November.


The central vault is frescoed with a Fall of the Rebel Angels (1677–1679) by Giacinto Brandi. The altarpiece, depicting the Saints Ambrose and Charles Borromeo with the Virgin and Jesus, was painted around 1685–1690 by Carlo Maratta. The stucco decoration was by Giacomo and Cosimo Fancelli. The statue of the saints were by Francesco Cavallini. Frescos of Justice and Peace were painted by Girolamo Troppa. There are also paintings by the baroque painter Giovanni Battista Beinaschi.
In the ambulatory behind the sanctuary is a niche where a reliquary containing the heart of St Charles is kept. It was donated to the church in 1614 by Cardinal Federico Borromeo, a cousin of the saint.
The 16th-century oratory of St. Ambrose is beyond the left transept.
The first chapel on the right is dedicated to the Crucifixion and has a fresco of Vigilance by Paolo Albertoni.
The second chapel, on the right is dedicated to Mary, Aid of Christians (Maria Auxilium Christianorum), has an image of the Virgin donated by St Vincent Pallotti in the 19th century.
The third chapel on the right is dedicated to the Holy Family. On its left side is a depiction of The Redemptor and Sts Ambrose and Charles as well as the sepulchral monument of Federico Borromeo.
On the exterior, to the sides of the apse and facing the ancient Mausoleum of Augustus, are two giant statues of the titular saints, among the largest in Rome.
Other artists active in the church include Pasquale de' Rossi, Luigi Garzi, Francesco Rosa, Giovanni Battista Buonocore, and Fabbrizio Chiari.


WikiWeb_San Carlo al Lazzaretto, Milan_1

The Lazzaretto of Milan was a quadrangle with 400 yard long sides, designed by Lazzaro Palazzi in the late 15th century. It was located outside the city walls and Porta Orientale. In the center an altar had been placed in the open ground. After the Lazzaretto was used for housing the ill during the plague epidemic of 1576, the archbishop Carlo Borromeo commissioned a new church from Pellegrino Tibaldi. Construction from 1558 to 1592, erected this centralized church with open circumferential arches which allowed the ill to see services from all corners of the surrounding porticos. After the French occupation of the Duchy, the lazzaretto was used as barracks. During the Cisalpine Republic, the architect Giuseppe Piermarini was commissioned to transform the church into a secular Temple of the Nation (Tempio della Patria). Piermarini Demolished the cupola, and walled the sides, but reconstruction soon ceased. During the 19th century, the central fields of the Lazzaretto were used for agriculture, and the surrounding cloister was used by peasants. In the late 19th century, the Lazaretto buildings were nearly entirely demolished, and the church was reconsecrated by 1884, with a new dome and an added facade portico.
The church is the backdrop for a scene at the end of the Manzoni novel I Promessi Sposi.
Because of the vibrations produced by the underground train under viale Tunisia which have damaged the dome the church has been subject to studies to reinforce its structure. After a failed fund raising for restoration among the public the church has been completely restored by Rocca Foundation in memory of Roberto Rocca. The goal was to use the church both for religious activities and as a concert hall. For this goal the rooms added at the end of 1800 for the sacristy and the priest house on the northern side have been transformed to host concert players. The altar has been moved towards the wall to have more space for concerts.
Work begun in September 2015 was completed in June 2017. The architectural design was by Studio 02 Arch, the static consolidation has been followed by Studio Associato Brambilla Ferrari and restoration was undertaken by Naos Restauri.
A new organ has been installed with 1800 pipes, designed by Martino Lurani Cernuschi with a romantic-symphonic approach. The church was inaugurated by Milan archbishop Mario Delpini on 3 November 2017 at 8.30 pm.
The church is open every day from 9 to 12 am, masses are organized Wednesday and Friday at 10 am.
The municipality has completed in 2016 a project to reserve to pedestrians Largo Bellintani around the church. The project is from arch. Loredana Brambilla of Milan Municipality.


The shrine was for many centuries the national church of the Sardinians  and the Corsicans resident in Rome. Starting with the 16th century, the Corsicans immigrated in the city settled in the Tiber Island and in that part of Trastevere lying between the Port of Ripa Grande and the church. In the interior are buried several commanders of the Guardia corsa, a militia analogue to the Swiss guard, which was active in Rome between the 15th and the 17th century.
The feast day of St Chrysogonus, 24 November, is also the dedication day of the church. Pilgrims and other faithful who attend Mass on this day receive a plenary indulgence.


WikiWeb_San Diego Natural History Museum_3

From 1922 until his death in 1946, Clinton G. Abbott was the museum's director. During Abbott's period as director, the museum was able to build and move into long-term quarters. Other notable naturalists and curators of this period include Guy Fleming, Laurence M. Huey, and Laurence M. Klauber.
In 1925, a nearby fire raised concerns about the safety of the existing museum buildings. Community leaders recognized the need for a permanent museum of adequate size that would be both fire-proof and earthquake-proof. Ellen Browning Scripps was a major benefactor of the proposed building project.
In 1932, San Diego's leading architect, William Templeton Johnson, was commissioned by the Society of Natural History to design its new museum building on Balboa Park's East Prado. Johnson had earned his reputation with his design of the Fine Arts Gallery (now the San Diego Museum of Art) and the downtown San Diego Trust & Savings Bank, among other buildings. The museum building combined Spanish and Moorish touches. Yellow and blue tiles mark a row of arches under a balustrade; surprisingly, given the Spanish influences, the building did not have a tiled roof.
The construction of the permanent headquarters was made possible through a grant of $125,000 from Ellen Browning Scripps, and by public subscription. However, the full amount needed for the building could not be raised in the Depression years. Only the first unit of the building, at the south end of the lot, and one wing extending toward the north, could be built. The north and east exterior facades were left plain as temporary walls slated for future expansion, and remained so for 60 years. The $175,000 Natural History Museum building was formally dedicated on January 14, 1933.


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Library collections include a complete natural history reference library, the rare book collection, the Klauber Herpetology Library, and the map collection. In addition, the Library's art collection includes treasures such as the botanical watercolors of A. R. Valentien and wildlife paintings by George Miksch Sutton and Allan Brooks. The Library's archives include a large collection of historical photographs and many important field notes collections, such as those of herpetologist Laurence Klauber (available online at the Internet Archive), mammalogists Frank Stephens and Laurence M. Huey (available at the Internet Archive), and naturalist Charles Russell Orcutt.  The library director curates the Museum's permanent exhibition Extraordinary Ideas from Ordinary People: A History of Citizen Science, which draws from the rich resources of the library's varied collections.


The church structure dates to some time in the mid to late 13th century. Dominican fathers are documented to have preached originally from the small Oratory of the Crucifix (Oratorio del Crocifisso). The latter contains frescoes dating to the 13th century.
The church contains work from the 14th and 15th century, including frescoes by Giovanni Cristiani and Antonio Vite. There is no documentation to substantiate the rumors by later art historians including Giorgio Vasari that either the two Dominican order brothers Sisto and Ristoro, architects of Santa Maria Novella in Florence, or that Giovanni Pisano, were at work here.
Traces of late 13th century frescoes are found in the convent and church, some attributed possibly to Coppo di Marcovaldo and his son Salerno.
The tomb of the jurist Filippo Lazzari (first on right), and of the Blessed Lorenzo da Ripafratta, are attributed to Bernardo and Antonio Rossellino. The church also has the tomb of the bishop Andrea Franchi, who led the White Procession during the plague outbreak of 1399. In 1497, the florentine painter Benozzo Gozzoli died here. The painter Fra Paolino, a Dominican follower of Savonarola painted for this church an Adoration of the Magi and a Holy Conversation. The latter work is now in the church of San Paolo of Pistoia.
The cloister has frescoes depicting the Life of San Domenico by Sebastiano Vini.  The church also has frescoes depicting the Life of the Magdalen, painted by Ulisse Ciocchi, Michele Cinganelli, and Giovanni Martinelli: all pupils of Bernardino Poccetti. The painter Giovanni Cristiani painted a now detached last judgement for the convent refectory.
The convent was suppressed in 1783; Dominicans returned only in 1928. The church was damaged during the allied bombing of World War II.


The layout is that of a Latin cross. The masterpiece inside the church is the main altar's sculptural group depicting the Liberated Slaves by Giovanni Baratta, depicting an angel with one liberated and one still chained slave.
The church has two chapels on each side. The first altar on right is dedicated to the Blessed Giovan Battista della Concezione dei Trinitari. The second on the right is dedicated to the canonized founders of the order Giovanni di Matha and Felice, the priest Giovanni Cibri di Carrara. It has sculpted reliefs of the Saints in adoration of Holy Trinity. The chapel at the crossing, dedicated to Jesus the Nazarene, houses a wooden statue resembles that found in a Trinitarian church of Madrid, rescued in 1681 from Morocco. The marble statuary on the main altar was sculpted by Giovanni Baratta, depicts an angel appearing to John of Matha, displaying at his feet a freed Christian slave and a chained moorish slave.
Another chapel is dedicated Madonna del Buon Rimedio (Our Lady of Good Remedy), Marian devotion held by Trinitarians and Matha in particular reverence. Over the doors of the crossing, four oval bas-reliefs depict the cardinal virtues, on the main altar are statues of Faith and Hope. The English aristocrat Peter Yarvis of Sandwich endowed a chapel in 1720; in memory of his namesake, the altar has a marble relief depicting St Peter receives the Keys from Christ. The last chapel has a canvas of San Michele dei Santi. The pilaster niches houses statues of canonized Kings (first four in marble; latter two, stucco): Ferdinand III of Castile, Henry II, Holy Roman Emperor of Germany; Louis IX of France; Edward the Confessor of England; Leopold III, Margrave of Austria; and Casimir of Poland.
Suppressed by Napoleon in 1808, the parish remained without clerics till 1848. In August 1853, the trinitarians re-acquired the parish and convent. It later became an elementary school. During the Second World War, the Venezia Nuova district was heavily bombed, and the church  suffered destruction of the bell-tower and some chapels, but underwent reconstruction.


A guide in 1835 noted that the best pictures had been moved to the Pinacoteca Comunale, and that the structural foundations of the church were in poor state.
The frieze of the main nave was stuccoed by Girolamo Sellari of Carpi, restored in part by Luigi Pedrali and Girolamo Domenichini. Tommaso Sellari, the father of Girolamo, completed some of the half-figures in the arches.
The organ was new and completed by the brothers Quintino and Cesare Rasori of Bologna.
At the fourth altar on the right was a copy by Giovanni Pagliarini of a Massacre of the Innocents by Garofalo.
The main altar of polychrome marble, had an image of the Virgin in precious stones and bronze, donated by Cardinal Bonifazio Bevilacqua. The altar was designed by Antonio Tosi. In the choir, Mona's three large canvases were still present. One altar in the nave had a Deposition from the Cross by Flemish artist. The last chapel has a Capture of Jesus in Gesthemane (1524) by Garofalo, flanked by portraits of prophets with two donors of the Massa family.
 In this era, it was recalled that this temple held the remains of the ill-fated lovers Ugo d'Este and Parisina Malatesta.


Members of the Franciscan order were present since 1228, but the church as we see it dates from the 14th century.  The church, built out of gravel, has an aisle-less with a trussed roof. It was completed in the early 15th century with the inclusion of three apsidal chapels. The façade, which has two arches either side of the doorway, adopted a coat of white limestone, which remained incomplete, and was completed only in the 20th century. The care taken with the interior design is in parallel with the construction of the complex, which took from the 14th century to the 17th century.
Among the tomb monuments in the interior is the monument to Bishop Giovanni Guidiccioni and a lapidary monument to the Condottiero Castruccio Castracani. To the right of the main altar is the monument to Ugolino Visconti, Governor of Pisa, judge of Gallura in Corsica. He is encountered by his friend Dante Alighieri in Purgatory, awaiting entry to heaven.
The church also contains the tombs of Francesco Geminiani and Luigi Boccherini.
Among the paintings is a Noli me Tangere by Domenico Passignano and a Nativity by Federico Zuccari.
The panel of Bishop Saint and Saint Francis of Assisi by Francesco di Andrea Anguilla was part of a triptych  commissioned for the convent; it is now in the collection of the Birmingham Museum of Art.


WikiWeb_San Francesco Saverio, Palermo_2

The facade is notable for a number of detached columns. Flanking the portal are two spiraling Solomonic columns. Atop is a bas relief depicting the St Francis Xavier. The first chapel on the right is dedicated to the Crucifix. The second, the larger chapel, is dedicated to St Ignatius Loyola. The third chapel on the right is dedicated to the Maltese saint of San Calcedonio. On the left, the chapels are dedicated respectively to the Holy Family, St Francis Xavier, and Santa Rosalia.


The building's vast open space is more than 500,000 square feet (46,000 m²) and occupies two full city blocks. It is 390 ft (120 m) between Van Ness Avenue and Polk Street, and 273 ft (83 m) between Grove and McAllister Streets. Its dome, which owes much to Mansart's Baroque domes of the Val-de-Grâce (church) and Les Invalides in Paris, rises 307.5 ft (93.7 m) above the Civic Center Historic District. It is  19 ft (5.8 m) higher than the United States Capitol, and has a diameter of 112 ft (34 m), resting upon 4 x 50 ton (44.5 metric ton) and 4 x 20 ton (17.8 metric ton) girders, each 9 ft (2.7 m) deep and 60 ft (18 m) long.
The building as a whole contains 7,900 tons (7,035 metric tons) of structural steel from the American Bridge Company of Ambridge, Pennsylvania near Pittsburgh. It is faced with Madera County granite on the exterior, and Indiana sandstone within, together with finish marbles from Alabama, Colorado, Vermont, and Italy. Much of the statuary is by Henri Crenier.
The upper levels of the Rotunda are public and handicapped accessible. Opposite the grand staircase, on the second floor, is the office of the Mayor. Bronze busts of former Mayor George Moscone and his successor, Dianne Feinstein, stand nearby as tacit reminders of the Moscone assassination, which took place just a few yards from that spot in the smaller rotunda of the mayor's office entrance. A bust of former county supervisor Harvey Milk, who was assassinated in the building was unveiled on May 22, 2008. While hard to discern these days, the inscription that dominates the grand Rotunda and the entrance to the mayor's small rotunda, right below Father Time, reads:
SAN • FRANCISCO

O • GLORIOVS • CITY • OF • OVR

HEARTS • THAT • HAST • BEEN

TRIED • AND • NOT • FOVND

WANTING • GO • THOV • WITH

LIKE • SPIRIT • TO • MAKE

THE • FVTVRE • THINE

1912 JAMES ROLPH JR. MAYOR 1931
The words were written by the previous Mayor Edward Robeson Taylor, and dedicated by Mayor James Rolph.
While plaques at the Mall entrance memorialize President George Washington's farewell address and President Abraham Lincoln's Gettysburg Address, the primary themes of the statuary are to the past mayors, with the dates of their terms in office. The medallions in the vaults of the Rotunda are of Equality, Liberty, Strength, Learning and, as memorialized in the South Light Court display, Progress.


The San Francisco Ferry Building is a terminal for ferries that travel across the San Francisco Bay, a food hall and an office building. It is located on The Embarcadero in San Francisco, California and is served by Golden Gate Ferry and San Francisco Bay Ferry routes.
On top of the building is a 245-foot-tall (75 m) clock tower with four clock dials, each 22 feet (6.7 m) in diameter, which can be seen from Market Street, a main thoroughfare of the city.
Designed in 1892 by American architect A. Page Brown in the Beaux-Arts style, the ferry building was completed in 1898.  At its opening, it was the largest project undertaken in the city up to that time. Brown designed the clock tower after the 12th-century Giralda bell tower in Seville, Spain, and the entire length of the building on both frontages is based on an arched arcade.
With decreased use since the 1950s, after bridges were constructed to carry transbay traffic and most streetcar routes were converted to buses, the building was adapted to office use and its public spaces broken up. In 2002, a restoration and renovation were undertaken to redevelop the entire complex. The 660-foot-long (200 m) Great Nave was restored, together with its height and materials. A marketplace was created on the ground floor, the former baggage handling area. The second and third floors were adapted for office and Port Commission use. During daylight, on every full and half-hour, the clock bell chimes portions of the Westminster Quarters. The ferry terminal is a designated San Francisco landmark and is listed on the National Register of Historic Places.


WikiWeb_San Francisco Museum of Modern Art_5

Plans to expand the museum at its old site, on upper floors of the Veterans' Memorial Building in San Francisco's Civic Center, were thwarted in the late 1980s. In the summer of 1988, architects Mario Botta, Thomas Beeby and Frank Gehry were announced as finalists in a competition to design the San Francisco Museum of Modern Art's new structure in Downtown. Semifinalists had included Charles Moore and Tadao Ando. The three finalists were to present site-specific design proposals later that year, but the museum canceled its architectural competition after only a month and went with the 45-year-old architect Botta.
The new museum, planned in association with architects Hellmuth, Obata and Kassabaum, was built on a 59,000-square-foot (5,500 m²) parking lot on Third Street between Mission and Howard streets. The south-of-Market site, an area near the Moscone Convention Center mainly consisting of parking lots, was targeted through an agreement between the museum, the redevelopment agency and the development firm of Olympia & York. Land was provided by the agency and developer, but the rest of the museum was privately funded. Construction of the new museum began in early 1992, with an opening in 1995, the institution's 60th anniversary.
At the time of the new building's opening, SFMOMA touted itself as the largest new American art museum of the decade and, with its 50,000 square feet (4,600 m²) of exhibition space, the second-largest single structure in the United States devoted to modern art. (New York's Museum of Modern Art, with 100,000 square feet (9,300 m²) of gallery space, was then the largest single structure, while the nearly 80,000 combined square feet of Museum of Contemporary Art, Los Angeles put it in second place).
The Botta building consists of galleries rising around a central, skylighted atrium, above an iconic staircase. Its external structure features a central 130-foot (40 m) tall cylinder, and a stepped-back stone facade. Botta's interior design is marked by alternating bands of polished and flame-finished black granite on the floor, ground-level walls, and column bases; and bands of natural and black-stained wood on the reception desks and coat-check desk.


WikiWeb_San Francisco de Asís Mission Church_2

The mission at Ranchos de Taos was established in the early 18th century.  Initial construction began circa 1772 and completed in 1815 by The Franciscan Fathers; its patron is Saint Francis of Assisi. It was the center of the fortified plaza, which provided for protection against Comanche attacks.  The church has undergone several restorations or subsequent works in 1850, 1916 and 1933. Including a thorough restoration in 1967. In 1967 a new roof was placed over the structure and all the ceiling beams (vigas) and most of the corbels were replaced with copies of the original.  The doors were also replaced with copies of the original design. The original sanctuary woodwork was left intact. The community and parishioners gather annually to earthen plaster the church.


WikiWeb_San Francisco de Asís Mission Church_3

The church has inspired some of the greatest number of depictions of any building in the United States. It was the subject of several paintings by Georgia O'Keeffe, and photographs by Ansel Adams, Paul Strand and Ned Scott. Georgia O'Keeffe described it as "one of the most beautiful buildings left in the United States by the early Spaniards."
The Taos Chamber of Commerce states that the building is "one of the most photographed and painted churches in the world".
The church was designated a National Historic Landmark in 1970. It is also designated as a World Heritage church.


The interior has Renaissance and Baroque decorations. The vaults have frescoes executed in 1495 by Francia and Lorenzo Costa's workshops. There are numerous chapels: the main ones include the Poggi Chapel, with artworks by Pellegrino Tibaldi, and the Bentivoglio Chapel.


WikiWeb_San Giovanni in Monte, Bologna_2

The portico has a large sculpture of an eagle (the symbol of John the Evangelist, patron saint of the church) by Niccolò dell'Arca (ca. 1481).
The altar is Pre-Romanesque and Romanesque, with the octagonal columns and the cross dating back to the 11th century and earlier. The Christ on the cross is a 16th-century wooden sculpture.
The interior had work by Cima da Conegliano, the Madonna of the Rosary by Domenichino, the Madonna with St. Michael and three other Saints by Pietro Perugino, and The Ecstasy of St. Cecilia by Raphael (the original was commissioned for the San Giovanni in 1513). These pictures were removed during Napoleonic times and can now be found in the Pinacoteca Nazionale di Bologna.
In the "Cappella Maggiore" or Major Chapel are a painting by father Petronius Fancelli and son Pietro Fancelli, a crucifix by Jacopino da Bologna from 1361, a painting by Cesare Aretusi and Giovanni Battista Fiorini, and a choir with 53 seats, carved by Paolo Sacca, an artist from Cremona, between 1518 and 1523. Until 1752, it housed a Predella polyptych by Ercole de' Roberti, parts of which are now in Dresden and parts in Liverpool. The sacristy has as altar piece a Saint Patrick by Vincenzo Spisanelli and paintings by Felice Torelli, Ercole Graziani the Younger, Ubaldo Gandolfi and Prospero Fontana.
In the chapels around the church are further paintings by mainly Bolognese artists like Lorenzo Costa, Ercole Procaccini the Elder, Giacomo Francia, Bartolomeo Cesi, Benedetto Gennari, Orazio Samacchini, Alessandro Tiarini, Francesco del Cossa, Giovanni Battista Bolognini, Luca Longhi and Pietro Faccini, further works by Spisanelli, 15th-century frescoes by Giovanni da Modena, and a 15th-century Pietà. Chapel XVI contains a Saint Francis of Assisi by Guercino from 1645.
Other works of art include the 15th-century stained glass windows designed by Lorenzo Costa and Francesco del Cossa, an altar-piece from the 14th century, and frescoes by the brothers Giulio and Giacomo Raibolini, which were only rediscovered in 1894.


San Giuliano or San Giuliano Martire is a Renaissance-style Roman Catholic church in Rimini, Italy.
The church was built during 1553–1575 adjacent to a Benedictine order abbey. The present structure was built at the site of a 9th-century church dedicated to Santi Apostoli Pietro e Paolo. The Benedictines were suppressed in 1797 by Napoleonic forces.
The church held works by Giuseppe Pedretti and Francesco Mancini. The main altarpiece is a master work by Paolo Veronese depicting the Martyrdom of San Giuliano (1588). The church also houses the polyptych (1409) by Bittino da Faenza (1357–1427) depicting episodes of this saint's life. Relics of the saint were kept in the church.


San Gregorio State Beach is a beach near San Gregorio, California, United States, south of Half Moon Bay. Part of the California State Park System, the beach lies just west of the intersection of California State Route 1 and State Route 84.


The front plaza facing East Santa Clara Street was designed as a public square. It regularly attracts political demonstrations. In 2007 and 2008, it was the site of protests and a hunger strike by Lý Tống regarding city council's initial refusal to name the city's main Vietnamese business district Little Saigon. Local versions of national rallies have been held at City Hall, including an immigration reform protest in 2006; Occupy San José in 2011; Not My Presidents Day, the Tax March, the March for Science, and the Women's March in 2017; March for Our Lives and Families Belong Together in 2018; and the George Floyd protest in 2020. The previous city hall also attracted political demonstrations, including marches following the police shooting deaths of John Henry Smith in 1971 and Bich Cau Thi Tran in 2003. The plaza also hosts vigils, such as one for victims of the 2021 VTA rail yard shooting.
Civic Plaza attracts relatively little foot traffic apart from organized events, owing in part to heat reflecting off City Hall and a lack of shade. However, temporary art installations occasionally attract crowds from the busier parts of downtown. A light art installation titled "Sonic Runway" was located in the front plaza from November 3, 2017, to March 9, 2018, as part of the Playa to the Paseo partnership between the city and the Burning Man project.
An automated lighting system was installed in the rotunda in June 2017, enabling the tower and rotunda to be colorfully lit to mark special occasions.


The venue was created through a joint venture between the City of San Jose, Public Works Administration and local property owners Mr. and Mrs. T. S. Montgomery, who donated the property. The building was designed by Binder & Curtis, in the Spanish Colonial/California Mission Revival style.
The venue's naming rights were given to City National Bank in December 2013, with its original name being restored in May 2019.
The west wing was a convention hall called "Parkside Hall". It opened on September 22, 1977, as the "San Jose Convention Center". It served as the city's main convention center until a new facility of the same name opened across the street in 1989. The building was demolished in 2009.
A $25 million renovation of the venue (approved in 2007) was begun in 2009. A state-of-the-art sound and video system was installed, the building's floor was refurbished, an exterior lighting system was activated, and the loading dock was upgraded.  Key improvements planned included a top-line interior lighting system, seating upgrades to replace the decades-old plastic molded chairs, more restrooms, and a new concessions program.


After Mexico's independence in 1821, a large body of Spanish troops continued to occupy San Juan de Ulúa as late as 1825. It was the last site in the former colony of New Spain to be held by the Spanish and was surrendered to Mexican General Miguel Barragán in November 1825. The justification for the order of expulsion issued by President Vicente Guerrero was their failed attempt at re-conquering Mexico. Since then, San Juan de Ulúa served as a military and political symbol of Mexican resistance to foreign invasions and occupations, thanks to several of which took place during the nineteenth century. In 1838 the French bombarded the fortress in the Battle of Veracruz during the Pastry War, a conflict resulting from a French citizen in Mexico seeking reparations for his allegedly damaged pastry shop; during the Mexican–American War, a conflict which resulted from disputes over the nascent Republic of Texas, the United States laid siege to the fortress, and in 1863 the French briefly occupied the city when installing Maximilian I as Emperor of Mexico. For much of the nineteenth century, the fort served as a prison, especially for political prisoners judged to be opposition to the government. Many prominent Mexican politicians spent time here while they were not in power.
The last foreign incursion came in 1914, on the eve of the First World War, when an American expedition captured and occupied Veracruz as a response to the Tampico Affair against the background of the Mexican Revolution; which threatened the regional oil industry in which Americans were heavily invested. After a short but bloody firefight the Americans captured the city, including San Juan de Ulúa. After seven months of U.S. occupation, the Americans departed and handed back the city to the Mexicans. The national legislature awarded the port and city of Veracruz the title of Heroic for the fourth time following this incident. A portion of San Juan de Ulúa also served several times as the presidential palace, housing presidents such as Benito Juárez and Venustiano Carranza. The citadel was also used as a prison, especially during the early 20th-century regime of President Porfirio Díaz. It was alleged by some sources that in order to prevent prisoners from escaping, sharks were placed into the waters surrounding the island, so that they would kill anyone attempting to escape.


According to former National Economic and Development Authority deputy director Ruperto Alonzo, the project was initially a white elephant that was "a possession that is useless and expensive to maintain or difficult to dispose of", because its average daily traffic was too low to justify the cost of its construction. As a result, its construction has been associated with what has been called the Marcoses' "edifice complex".
In the years after the Marcos administration, economic activity in Samar and Leyte finally caught up with the bridge's intended function under the guidance of several administrations from Corazon Aquino to the present administration, and has become an iconic tourist attraction.
The bridge was slightly damaged by Typhoon Haiyan, locally known as Super Typhoon Yolanda, in November 2013 but was quickly repaired and reopened within the month.
Samar Governor Sharee Ann Tan proposed a project to install LED lights in the bridge, with timed lighting effects for select occasions as an effort to boost tourism between Leyte and Samar islands. The ₱80 million project dubbed as the San Juanico Bridge Lighting Project was approved by the Tourism Infrastructure and Enterprise Zone Authority in January 2018. The implementation of the lighting project has experienced delays. The groundbreaking for the project took place on 26 July 2019, with completion projected for December 2019 or January 2020. The completion of the project however has been delayed.


The facade (1897) was designed by Federico Berchet and Domenico Rupolo. The vault is frescoed with Saint Martin in Glory by Jacopo Guarana, with the quadratura painted by Domenico Bruni. The walls portray saints and evangelists by Matteo Zais. A funeral monument (1633) to Doge Francesco Erizzo was completed by Matteo Carneri. A chapel has a fresco cycle of the Glory of the Eucharist flanked by Sacrifice of Isaac and Sacrifice of Mechizedek on the walls by Fabio Canal. The 15th-century altar by Tullio Lombardo was brought here from the church of Santo Sepolcro. The sacristy is frescoed with a Last Supper (1549) and Resurrection by Girolamo da Santacroce. The church has a Risen Christ altarpiece by Santacroce. The sacristy ceiling is frescoed by Antonio Zanchi and Domenico Bruni.
The organ was constructed by Pietro Nachini and restored by Gaetano Callido. The first altar on the right has a St Cecilia and St Lorenzo Giustiniani by Giovanni Segala.
The church contains the funereal monument of Doge Francesco Erizzo designed by Mattia Carnero in 1633. The next altar towards the presbytery contains the canvas of Holy Family with St Mark and Bishop Foca by Giovanni Laudis. The third altar has a Madonna in Sorrow by Palma il Giovane, next to Three angels with symbols of the passion and a  Deposition by the same painter.
The pulpit was carved by Sebastiano Messenali (1752), and the small altar by Tullio Lombardo. There are also a  St John the Evangelist writes the Apocalyptic Gospels by Matteo Ponzone.


In February to September 1519, Correggio was commissioned by the Abbess Giovanna Piacenza to decorate the domed ceiling of her private room, now called the Camera di San Paolo or Camera della Badessa. He painted between the ribs to simulate a pergola, pierced by ovals (small windows) with smiling puttoes and hunting representations. Below the oculi are lunettes with monochromic scenes painted to simulate marble. The fireplace is frescoed with a depiction of the goddess Diana.
Apart from its mastery of style and "delightful vivacity", the Correggio frescoes have spurred a debate as to the underlying significance of the iconography, in part debating the significance of pagan and hunting scenes for a nunnery. The convent was known for the laxity of its rules, and had been embroiled, along with the abbess in various local land disputes. Critics including Roberto Longhi and Erwin Panofsky have dedicated monographs to the subject.
The private room of the abbess was frescoed (1514) by  Alessandro Araldi with grotteschi. The monastery contains a chapel of Santa Caterina d'Alessandria frescoed with scenes of her life also by Araldi. The rooms are open to the public as a museum.


San Pedro is located in northern Chile, in the Ollagüe commune, El Loa Province, Antofagasta Region; the border to Bolivia is 35 kilometres (22 mi) away. The whole region is remote and thinly populated; towns in the area include Ascotán, Cupo, Inacaliri and Paniri; and the San Pedro railway station lies southwest of the volcano. Tracks left by sulfur miners lead up to San Pedro's summit, and roads run around the volcano; Chile Route 21 passes around the northern, northwestern and western flanks of the volcano.
San Pedro is part of the 600 kilometres (370 mi) long Central Volcanic Zone, one of the two belts of volcanoes in Chile, which contains a total of about 44 active volcanoes plus silicic caldera and ignimbrite systems and monogenetic volcanoes. Many of these volcanoes are of Pliocene-Pleistocene age and approach heights of about 7,000 metres (23,000 ft) above sea level at Llullaillaco and Ojos del Salado; such sizes of the volcanoes occur because the edifices rise from a relatively high basement. Volcanism in this region is relatively poorly studied and there is not much present-day activity; with the exception of Láscar, most present-day manifestations are limited to fumarolic activity.
San Pedro is one of the highest volcanoes in the world and is visible as far as 85 kilometres (53 mi) away in Calama. Its height has been variously given as 6,145 metres (20,161 ft), 6,142 metres (20,151 ft) or 6,163 metres (20,220 ft). It is a composite volcano, which forms a twin volcano with San Pablo 6 kilometres (3.7 mi) farther east.  Between the two lies the so-called "Central Crater" at an elevation of 5,250 metres (17,220 ft). San Pedro itself is formed from the easterly "Old Cone" whose most prominent expression is the eastern summit, and the westerly "Young Cone" which is only about 100 metres (330 ft) lower. The "Young Cone" has two craters, the eastern of which is the younger one. Lava flows emerge from a breach in this crater and have filled an older 1.2 kilometres (0.75 mi) wide older crater. Hydrothermally altered rocks and sulfur deposits are found on San Pedro's summit and were mined into the 1930s.
A number of lava flows of volumes between 0.1–1.7 cubic kilometres (0.024–0.408 cu mi) make up part of the edifice. The upper part of the Younger Cone is covered with such lava flows, which have steep fronts and are up to 100 metres (330 ft) thick. Downslope the lava flows are found mainly over the northwestern flank where they radiate away from San Pedro's crater.
Scars at elevations of 5,500 metres (18,000 ft) on the edifice have been the origin of mudflows; the largest is known as Estación flow and covers much of the southern and western foot of San Pedro to distances of 30 kilometres (19 mi); the debris apron reaches the Loa River and San Pedro River. These mudflows occurred between 110,000 – 36,000 years ago and they filled the river bed of the Loa, while the impact on the San Pedro River was much more minor. Hot avalanche deposits or pyroclastic flows are also found on the volcano; the largest of which covers large parts of the edifice and has a total volume of approximately 1.5 cubic kilometres (0.36 cu mi). These deposits contain prismatic jointed blocks and poorly sorted pumice, with their thickness ranging from a thick layer to scattered rocks. Their formation was probably due to the steep incline of San Pedro's slopes which tended to destabilize lava bodies high on the edifice, similar to regular landslides. At least one Plinian fall deposit is known from San Pedro; the size of the deposit indicates that it was as large as the AD 79 eruption of Vesuvius in Italy. This Plinian eruption was accompanied by the formation of an ignimbrite that covers much of the southern, southwestern and western slopes of San Pedro and reaches thicknesses of 3 metres (9.8 ft). It has a volume of 2–15 cubic kilometres (0.48–3.60 cu mi) and is called the El Encanto ignimbrite.
There is evidence of a large sector collapse on San Pedro, which removed the northwestern flank of the volcano and formed a large debris avalanche deposit. This avalanche deposit covers a surface area of 120 square kilometres (46 sq mi) and its front is 35–40 metres (115–131 ft) high in the Pampa de la Avestruz. The debris flow formed by the sector collapse does not have many of the typical hummock-like hills of volcanic sector collapse deposits and instead features grooves and radial ridges. Such flank collapse occurred notably on Mount St. Helens during its eruption in 1980. A 250 metres (820 ft) high scarp west of the eastern summit was left by the collapse of San Pedro; otherwise much of the evidence was buried by later volcanic activity. As with the mudflows, the steep slopes of San Pedro probably facilitated the onset of the sector collapse, which descended over an elevation difference of about 2,845 metres (9,334 ft).
A parasitic vent named La Poruña lies on the western foot of San Pedro, its formation was probably influenced by a normal fault that runs in that area. It is a 900 metres (3,000 ft) wide and 140 metres (460 ft) high scoria cone on top of a field of lava flows which extend as far as 10 kilometres (6.2 mi) west of San Pedro and 8 kilometres (5.0 mi) from the cone. The cone's western side slumped and lava flows emanate from that area, reaching a considerable distance from the cone. These flows are subdivided into a small proximal unit and two distant ones, and feature structures such as ogives and levees. In addition, a lava dome at an elevation of 5,000 metres (16,000 ft) lies on the southwestern flank of San Pedro and also seems to be a parasitic vent. Andesite lava flows emanate from this area as well. They are the largest found on San Pedro, with volumes of 3 cubic kilometres (0.72 cu mi) and a surface area of 19 square kilometres (7.3 sq mi); they reach a distance of c. 13 kilometres (8.1 mi) from the vent.
San Pedro has been glaciated in the past. Evidence of such glaciation is found especially on the southern side of the Old Cone and it includes moraines at elevations of over 4,400 metres (14,400 ft) as well as other glacially modified surfaces such as rock pavements and striated boulders. The chronology of glaciations in the Central Andes is poorly known but stratigraphic relations indicate that San Pedro was glaciated during the late Pleistocene. Some cirques on the southern flank contain evidence of past rock glaciers, but there are no glaciers presently on the mountain.
The San Pedro River flows at the foot of San Pedro volcano, and joins the Loa River southwest of the volcano; Pleistocene lava flows from San Pedro created a lava dam on the San Pedro River, forming a lake which no longer exists. As reported in 1926, the slopes of San Pedro were used to cultivate llareta, a plant that was grown as a fuel source.


Volcanoes in this region of Chile often form lineaments perpendicular to the volcanic arc, with northwest-southeast and north-south lineaments common. One such lineament is the c. 65 kilometres (40 mi) long San Pedro-Linzor lineament, which includes San Pedro, Paniri, Cerro Chao, Cerro del León and Toconce. Other volcanoes with such trends are Carasilla-Polapi-Cerro Cebollar-Cerro Ascotan-Palpana and the Aucanquilcha complex; the youngest edifice is the westernmost one.
The basement of the region is formed by various metamorphic and sedimentary rocks intruded by plutons ranging in their age from the Paleozoic to the Tertiary; one of these is the 65 million years old Cerro Colorado pluton. However, in the area of San Pedro this basement is entirely buried beneath volcanites of Miocene age, including ignimbrites, remnants of composite volcanoes and volcanic debris. At least three individual ignimbrites have been found; one of the ignimbrites, the San Pedro Ignimbrite, may have originated from a vent now covered by San Pedro volcano although the neighbouring Caracanal volcano is also a candidate source. The older composite volcano centres include Cerro Carcanal and Cerro Huiche south-southeast of San Pedro and Cerro del Diablo due north. This surface slopes down to the Loa River in the west.


Old Cone lavas range from andesite to olivine-containing basaltic andesite. Young Cone lavas include both andesite and hornblende-containing dacite. Volcanic rocks erupted during both stages of San Pedro belong to the potassium-rich calc-alkaline suite.
San Pedro volcanic rocks are usually glassy with only tiny phenocrysts. Plagioclase and pyroxene are the dominant minerals, with amphibole and olivine being secondary components. The magma feeding the volcano probably formed from the mixing of magmas of distinct temperatures, as indicated by various clues indicating significant thermal disequilibrium between various components. Ultimately they originate in the Altiplano-Puna Magma Body, but undergo storage in shallower crustal magma chambers. The eruption of La Poruña appears to have been accompanied by a change in the magma system of the general volcano, a more recent hypothesis regards this cone as a separate volcanic system from San Pedro.


WikiWeb_San Pedro y San Pablo College, Mexico City_1

San Pedro y San Pablo College was the second college founded by Jesuits in the Viceroyalty of New Spain. The Jesuit missionaries were sent to the new colony in the 16th century for Jesuit Reductions version of Indian Reductions, and to found new missions and schools. The missionary group that founded the college was led by Father Pedro Sanchez. and the official founding occurred in 1574 with the name of Colegio Máximo de San Pedro y San Pablo (Great College of Saints Peter and Paul). It was called "Máximo" because it was built to oversee the training of priests in Mexico City, Tepotzotlan, Puebla, Guadalajara, Zacatecas, Guatemala and Mérida.
Construction of the facility began in 1576, funded by Don Alonso de Villaseca and others. The college's church, on the corner of El Carmen and San Ildefonso, was built by Jesuit architect Diego Lopez de Arbaizo between 1576 and 1603. The church annex was completed in 1603 by Diego Lopez de Albaize, and the rest of the college complex was finished in 1645.
The purpose of the college was to provide university-level education to young Criollo men, at least partially descended from white European colonial settlers.  It was divided into the Lesser Schools, which taught humanities and Greek/Latin grammar, and the Superior Schools, which focused on theology, the arts and philosophy. The institution educated young men for both religious and secular vocations. It reached its peak during the first half of the 18th century when it had about 800 students enrolled; two of its more notable alumni are Francisco Javier Alegre and Francisco Javier Clavijero,
After the expulsion of the Jesuits from colonial Mexico in 1767, the college closed. The school building was given to civil authorities, who first used it as a barracks and later to house the Nacional Monte de Piedad "credit union" charity foundation. The church was transferred to Augustinians, who removed most of the church's decoration. The altarpieces, paintings, and other decorative objects were redistributed to other churches, especially to the Metropolitan Tabernacle of the Mexico City Cathedral, where many of these pieces still remain. During this time, the complex began to seriously deteriorate.


WikiWeb_San Pietro di Castello (church)_2

The church exhibits a muted facade compared to other Palladian designs in Venice. It features a prominent set of four engaged columns with Composite capitals supporting the main pediment and entablature. This is then flanked by a double broken pediment.
The church has a large dome which indicates the church's ecclesiastical importance, sharing an affinity with San Giorgio Maggiore and Il Redentore both churches designed by Palladio. The dome is supported on a drum which has rectangular windows cut into it to let light into the building.
The church's campanile is one of the most precarious in Venice.


In 1621, Bernardino Castillo, a generous patron and a devotee of the 3rd-century Roman martyr Saint Sebastian, donated the land upon which the church stands. The original structure, made of wood, burned in 1651 during a Chinese Filipino uprising. Succeeding structures, which were built of brick, were destroyed by fire and earthquakes in 1859, 1863, and 1880.
In the 1880s, Esteban Martínez, the parish priest of the ruined church, approached Spanish Architect Genaro Palacios to build a church that will withstand the earthquakes. Palacios planned to build a fire and earthquake-resistant structure made entirely of steel. He completed a design that fused Earthquake Baroque with the Neo-Gothic style. His final design was said to have been inspired by the famed Gothic Burgos Cathedral in Burgos, Spain.


The  Chiesa di San Sebastiano (English: Church of Saint Sebastian) is a 16th-century Roman Catholic church located in the Dorsoduro sestiere of the Italian city of Venice. The church houses a cycle of paintings by the artist Paolo Veronese,  as well as paintings by Tintoretto and Titian. The church is also a member of the Chorus Association of Venetian churches. It stands on the Campo di San Sebastiano by the Rio di San Basilio, close to the Giudecca Canal. It is one of the five votive churches in Venice, each one built after the passing of a plague through the city. Following construction, the church was dedicated to a saint associated with the disease; in this case St. Sebastian.


The church has a Neoclassic style, with an oval cup dome, specially designed with the intent of making the church seem larger than it actually is. It also goes slightly underground, where there lies some religious depictions and paintings. Around the interior of San Simeone Piccolo there are several altar rooms, notorious for minor operas. On these altars some other artworks by Antonio Marinetti, Francesco Polazzo, and others. Today, some parts of the building are forbidden from public visitation.


The interior has chapels frescoed by Antonio and Vincenzo Campi, there is an altarpiece and a in the choir of massacre of the innocents by Camillo Procaccini and another painting by Jacopo Palma il Giovane in the choir. The cupola at the center of the transept was frescoed by Bernardino Zacchetti.
At the end of the Nave, in the choir of the apse is a copy of the Raphael's Sistine Madonna attributed to Pietro Antonio Avanzini. To the great loss of Piacenza, the Benedictines pawned off the original in 1754 to Augustus III, King of Poland for the lordly sum of twelve thousand zecchini. The painting is now one of the masterpieces on display at the Gemäldegalerie in Dresden;
To the left of the transept is the altar and tomb dedicated to Margaret of Parma, designed by Simone Moschino. On the facing side is the monumental chapel of St Barbara (1926), patron saint of artillery men. The nave ceiling is painted with a pattern of a cassettoni or geometric squares on a barrel ceiling.


The church was erected in the 11th-century, likely on the site of a prior chapel or aedicule. It once had an adjacent palace and monastery, and served as a hostel for pilgrims en route to Rome. The church has undergone a number of reconstructions along the centuries, most notably after much damage from bombing during World War II.

A 19th-century description of the church bemoaned the state of the church:
Later transformations embellished even more brutally, the primitive style of this temple. The vaults were designed to conceal the old skeletal roofs of the aisles: many altars ripped through the majestic nakedness of the walls and insolent masons covered them with mortar giving in to those who can care not a whit how many paintings, inscriptions and other precious memories existed in that place.
The simple facade was reconstructed after the war. The lower of two belltowers dates to the 13th century. The taller belltower, with 19th-century clock, was originally a defensive tower in the city walls. The latest reconstruction removed much of the post-Romanesque additions, including an adjacent nave. The basilica layout has a series of rounded arches, perched on medieval Corinthian columns, flanking the linear central nave, that leads to a series of staircases rising to the altar and apse. The apse once abutted the medieval walls of Viterbo.
The interior contains both a font and an altar derived from Roman spolia. The sole internal altarpiece is a Madonna, Child, and Saints (1457) by Neri di Bicci.


Besides the permanent exhibition, housed for the most part in the old building complex, the Museum hosts temporary exhibitions accommodated in the newly erected facilities. Starting in June 2016, the museum features the Peace Treaties in Art exhibition in step with the city's European capitality of culture. However, the museum deals with a variety of topics comprised within its scope as a museum of society and citizenship bridging past and future by addressing the challenges of the present.
Not long after the museum's re-opening, in autumn 2011, a temporary exhibition took place on Federico Fellini that put on display more than 400 items, including photographs, drawings, magazines, cartoons, interviews and film sequences, some of them unknown to date, revealing to the public this formidable director's universe.
Fast forward, from January to October 2015, the museum played host to the exhibition Pasolini Roma, featuring Pier Paolo Pasolini's literary and cinematographic work along with biographic details of the prolific and controversial Italian poet, film director and intellectual. The exhibition in San Telmo was one of the stops followed in this itinerant exhibition across Europe, also showing in Barcelona, Berlin, Paris and Rome. The exhibition was combined with related film screenings, a debate with film-makers, as well as a Pasolini soiree.
After the conclusion of Pasolini's exhibit, another one was inaugurated in January 2016, "Gaur konstelazioak", this time focusing on the influential Basque artistic group Gaur established in the mid-60s as an artistic reaction to Franco's dictatorship and in defense of the oppressed Basque identity. The exhibition displayed works of renowned artists that participated the group, such as Jorge Oteiza, Jose Luis Zumeta, or Eduardo Chillida, as well as José Antonio Sistiaga, or Nestor Basterretxea, to mention a few.
Fifty years have lapsed since that dissident artistic group clustered around the Galeria Barandiaran, so the occasion was seized to pay homage by means of this exhibition to the driving force behind the project Gaur, the local entrepreneur and philanthropist Dionisio Barandiaran. The exhibition was presented jointly with Kairos, a contemporary art section establishing a dialogue and bridging the gap with Gaur and other artists of today.


The canyon runs from its southern inflow mouth in Beaumont in Riverside County, in a northwest alignment, to its northern outflow mouth west of Redlands and east of Loma Linda in San Bernardino County.
San Timoteo Creek formed the canyon, and flows northwest through it to its confluence with the Santa Ana River, being a tributary of it. The creek drains the Banning Valley west of the San Gorgonio Pass water divide, and the watersheds of the San Bernardino and San Jacinto Mountains that feed into it.