The museum hosts a series of temporary exhibitions; for example in 2009 there was an exhibition of Chinese-inspired textiles. There are regular events, including talks for the public, and workshops and drop-in activities for children, plus Key Stages 2 and 3 education programmes.


Banner Peak is the second tallest peak in the Ritter Range of California's Sierra Nevada.  The mountain is 12,942 feet (3,945 m) tall, and there are several glaciers on its slopes.  It lies within the boundaries of the Ansel Adams Wilderness; at the foot of the peak lie Garnet Lake, Lake Ediza, and the famous Thousand Island Lake.  Banner Peak is near the town of Mammoth Lakes; from there, climbers can hike to the foot of the mountain where various routes reach the summit, the easiest of which is a class 2 from the west end of Thousand Island Lake and then the saddle between Banner Peak and the slightly taller Mount Ritter.  Other nearby lakes include Lake Catherine and Shadow Lake.
The peak was named in 1883 by USGS topographer Willard D. Johnson who observed a banner cloud streaming from the summit.


The Banpo Bridge (Korean: 반포대교; Hanja: 盤浦大橋) is a major bridge in downtown Seoul over the Han River, South Korea, connecting the Seocho and Yongsan districts. The bridge is on top of Jamsu Bridge, forming the upper half of a double-deck bridge; it is the first double deck bridge built in South Korea. During periods of high rainfall, the Jamsu Bridge is designed to submerge as the water level of the river rises, as the lower deck lies close to the waterline. The bridge was built as a girder bridge and was completed in 1982.


The design of the Banqueting House is classical in concept. It introduced a refined Italianate Renaissance style that was unparalleled in the free and picturesque Jacobean architecture of England, where Renaissance motifs were still filtered through the engravings of Flemish Mannerist designers. The roof is essentially flat and the roofline is defined by a balustrade. On the street façade, the engaged columns, of the Corinthian and Ionic orders, the former above the latter, stand atop a high, rusticated basement and divide the seven bays of windows.
The building is on three floors: The ground floor, a warren of cellars and store rooms, is low; its small windows indicating by their size the lowly status and usage of the floor, above which is the double-height banqueting hall, which falsely appears from the outside as a first-floor piano nobile with a secondary floor above. The lower windows of the hall are surmounted by alternating triangular and segmental pediments, while the upper windows are unadorned casements. Immediately beneath the entablature, which projects to emphasize the central three bays, the capitals of the pilasters are linked by swags in relief, above which the entablature is supported by dental corbel table. Under the upper frieze, festoons and masks suggest the feasting and revelry associated with the concept of a royal banqueting hall.
Much of the work on the Banqueting House was overseen by Nicholas Stone, a Devonshire mason who had trained in Holland. It has been said that, until this time, English sculpture resembled that described by the Duchess of Malfi: "the figure cut in alabaster kneels at my husband's tomb." Like Inigo Jones, Stone was well aware of Florentine art and introduced to England a more delicate classical form of sculpture inspired by Michelangelo's Medici tombs. This is evident in his swags on the street façade of the Banqueting House, similar to that which adorns the plinth of his Francis Holles memorial.
In 1638, Jones drew the designs for a new and massive palace at Whitehall in which his banqueting house was to be incorporated as one wing enclosing a series of seven courtyards, visible on the monumental main façade as only a small flanking wing. These revealed the ideas behind Jones' concept of Palladianism. However, King Charles I, who commissioned the plans, never amassed the resources to execute them; his lack of funds and the tensions that eventually led to the Civil War intervened and the plans were permanently shelved.
In January 1698, the Tudor Palace was razed by fire that raged for 17 hours. All that remained was the Banqueting House, Whitehall Gate, and Holbein Gate. Christopher Wren and Nicholas Hawksmoor were asked to design a new palace, but nothing came of the scheme. It has been said that the widowed King William III never cared for the area, but, had his wife, Mary II, been alive, with her appreciation of the historical significance of Whitehall, he would have insisted on the rebuilding.


The term Banqueting House was something of a misnomer. The hall within the house was, in fact, used not only for banqueting, but also royal receptions, ceremonies, and the performance of masques. The entertainments given there would have been among the finest in Europe, for, during this period, England was considered the area's leading musical country. On 5 January 1617, Pocahontas and Tomocomo were brought before the king at the Banqueting House, at a performance of Ben Jonson's masque The Vision of Delight. According to John Smith, James I was so unprepossessing, neither Pocahontas nor Tomocomo realized whom they had met until it was explained to them afterward. Such masques were later augmented with French musicians, whom Queen Henrietta Maria, the wife of Charles I, brought to the court. The masques began a slow decline, however, after the death in 1625 of Orlando Gibbons, who ironically died on a trip to meet the newly married Henrietta Maria and her musicians.
Inside the building is a single two-storey, double-cube room. The double-cube, in which the length of the room is twice its equal width and height, is another Palladianism, where all proportions are mathematically related. At the upper level, the room is surrounded by what is sometimes mistakenly referred to as a minstrels' gallery. While musicians may have played from this vantage point, its true purpose was to admit an audience; at the time of the Banqueting House's construction, kings still lived in "splendour and state", or publicly. The less exalted and the general public would be permitted to crowd the gallery in order to watch the king dine. The lower status of those in the gallery was emphasised by the lack of an internal staircase, the gallery only being accessible by an external staircase. The building was, however, later extended to accommodate an internal staircase.
James I, for whom the Banqueting House was created, died in 1625 and was succeeded by his son, Charles I. The accession of Charles I heralded a new era in the cultural history of England. The new king was a great patron of the arts. He added to the Royal Collection and encouraged the great painters of Europe to come to England. In 1623 he visited Spain where he was impressed by Titian, Rubens, and Velázquez. It became his ambition to find a comparable painter for his own court. Rubens while in England as a diplomat was asked to design and paint the Banqueting House ceiling which was sketched in London but completed at his studio in Antwerp due to the scale of the job. It was probably commissioned in 1629–30, and finally installed in 1636, the ceiling having been completely remodelled to frame the various sections. The subject, commissioned by the king, was the glorification of his father, titled The Apotheosis of James I, and was an allegory of his own birth. To the king's chagrin, Rubens took his knighthood and decamped back to Antwerp, leaving Anthony van Dyck, lured not only with a knighthood but also a pension and a house, to remain in England as the court painter. The panels for the ceiling were all painted in Rubens' atelier in Antwerp and sent to London by ship. Inigo Jones later designed another double-cube room at Wilton House, to display Van Dyck's portraits of the aristocratic Pembroke family.
Given the attention and effort which were lavished by Charles I on the Banqueting House, his end was not without irony. On the afternoon of 30 January 1649 he stepped out of a first floor window of Banqueting House onto the scaffold which had been erected outside for the purpose of his own execution. The actual window no longer exists as it was not in the main hall but just outside it in an adjacent part of the building which has now gone and, pictured from the outside, would have been the next window along at the north end, roughly above the current visitors' entrance.


Unlike the architecture of the more southern European countries, English architecture went through no period of evolution to classicism. Through Jones it arrived suddenly and fully formed. Before this, English architecture had still been based on the styles of the Middle Ages, if for the previous century influenced by Netherlandish and French renaissance classicism, which had resulted in an English renaissance style during the late Elizabethan and Jacobean periods. However, as can be seen at prodigy houses like Hatfield House, one of England's first purpose-built "Renaissance" houses, even during this era, English domestic architecture never quite lost its "castle air."
Although English architecture had been influenced, mostly indirectly, by Italian classicism for a century or so, resulting in the use of classical forms and motifs in late Tudor, Elizabethan and Jacobean buildings, on his return from Italy Jones brought with him far more thorough and up to date understanding of the underlying principles of late Renaissance classicism. With his work at the Queen's House in Greenwich, and the Banqueting House, Jones transformed English architecture.
The overthrow of the monarch and establishment of the puritanical Commonwealth caused the style to be seen as Royalist, which delayed its spread; but within a few years of the Restoration almost every English county was to have some buildings in the classical style. The Banqueting House and its features became much copied. A much-favoured motif was the placing of pediments above not only the focal point of a façade but also its windows. The use of alternating segmental and triangular pediments, an arrangement employed by Vasari as early as 1550 at the Medicis' Palazzo Uffizi in Florence, was a particular favourite. Provincial architects began to recreate the motifs of the Banqueting House throughout England, with varying degrees of competence. Examples of the style's popularity can be found throughout England; the then-remote county of Somerset alone contains three 17th-century versions of the Banqueting House: Brympton d'Evercy, Hinton House, and Ashton Court. Following the fall of the monarchy, Jones' career was effectively ended, his style seen as royalist. He died in 1652, never having seen the popularity of the architectural concepts he introduced.
James II was the last monarch to live at Whitehall; William III and Mary II preferred to live elsewhere and eventually reconstructed Hampton Court Palace. Following the fire which destroyed Whitehall Palace, the Banqueting Hall became redundant for the purpose for which it was designed, and it was converted to a chapel to replace the Chapel Royal of Whitehall, which had been destroyed in the fire and was used to host concerts. It remained a chapel before being given to the Royal United Services Institute by Queen Victoria in 1893. Highly controversial plans to partition the large mansion house space in the service of offices for the Institution were quickly dropped in favour of the creation of a museum which displayed personal items of famous commanders and included the skeleton of Napoleon's horse. The museum closed in 1962, and the great south window, closed up by the RUSI, was restored.
Today, the banqueting hall is open for tours and use as a venue space.


In 1998 Banski Dvor officially became a public cultural institution and nowadays is the most important cultural center of the city of Banja Luka and the Serb Republic with of thousand of visitors per year. Every year it holds hundreds of events, notable for their high number and variety: concerts, exhibitions of local and foreign artists, book presentations, roundtables and it cooperates with the realizations of important happenings and festivals of the city.
Until the reconstruction of the Palace of Republika Srpska, in 2008, it served as the seat of the President of Republika Srpska of Bosnia.


The biggest damage to the building and its interiors occurred during the Second World War, when the German command troop was located in it. During this period, the Big ceremonial hall was used as a warehouse for grain, and for a while even as a stable. During the war interiors were ruined, and a large amount of precious furniture and equipment robbed--chandeliers, carpets, art, furniture, kitchenware. After the liberation of Banja Luka, the building was used as headquarters for the 37th Division of NOV, it was partially equipped for the purposes of an army club. After 1945 further adaptations were made gradually and the building kept changing its users: the Communist Party District Committee, Municipal Committee of the Communist Party, District and Municipal Committee of Communist Youth, the Popular Front, the Anti-Fascist Council of Women, District Union Council, the Workers' cultural and artistic society "Pelagic".
During 1952-1953, the County workers' council has allocated 4,500,000 dinars and organized labor action in collectives, to bring back to use Grand hall and other damaged spaces.


In the earthquake the building was very badly damaged, so the interior suffered changes. Restoration was carried out in 1972 according to the original project documentation. The exterior appearance of the building is a complete reconstruction of the original appearance that almost in nothing deviate from the authentic, but the internal spaces significantly altered compared to the original design, in the layout of the rooms as well as in the appearance of the details. Parter, Grand Hall and the Blue salon, halls and stairways suffered the least changes in purpose, schedule, size and decoration, while the biggest changes were made in the premises of the second floor, which is logical when one takes into account that the building was adjusted to the new function - a set of different administrative activities in the field of culture, Arts and Science.


The church was heavily damaged during World War II and rebuilding was started in 1950. The restored façade is of Neo-Gothic design mixed with pseudo-Romanesque materials and elements. It is designed to be grandiose and reminiscent of Spanish architecture. It uses materials such as bricks and mud.
The belfry sits on a hilltop overlooking a green pasture and the province of Abra. It was used as a watchtower for invading enemy forces during World War II because of its strategic location. The Bantay Church and bell tower are monumental witnesses to various atrocities and uprisings.


The sacred temple complex is cloistered and packed in a space of 65 m × 50 m (213 ft × 164 ft) with three enclosures within a large compound wall of size 700 m × 300 m (2,300 ft × 980 ft), made of laterite stones. The entry is from the east facing gopura, which is in a cruciform embellished with Lokesvara images. The temple is a treasure house of sculptures in the architectural styles of the Bayon and also of the Angkor Wat. The complex is on a single level.
External enclosure
The external enclosure with four concentric walls, has four gopuras similar to the Ta Prohm temple, and all are in some degree of preserved status. At the four corners, the gopuras have a fascia of Lokesvara (Buddhist deity, Avalokitesvara) mounted over Garuda images (it is also mentioned that the smiling faces are of King Jayavarman II, similar to those seen in the Beyan temple). The east facing gopura, in particular, has well-preserved garuda images on its corners. Two hundred meters from the west entrance of this enclosure leads to a moat, which is decorated with statues of lions and naga-balustrades mounted on garudas. The moat itself has in its precincts the third enclosure which measures 320 m × 300 m (1,050 ft × 980 ft), also enclosed with laterite walls. The Buddha image at the entrance to the moat, near the second interior gate, is well preserved, considering the fact that most of the other statues have been destroyed or stolen.
Third enclosure
The third enclosure has a gopura which has a cruciform plan. It has pillars which are crossed by vaults. There are three passages in this enclosure, two on either side are independent, with laterite walls. The niches here have small figurines, and large apsara devatas in single poses or in pairs of dancing poses. Large Buddha images, in an internal courtyard of this enclosure, have been defaced by vandals. A paved access from here leads to the main shrine, which comprises two galleried enclosures. At the entrance to these enclosures, from the eastern end, is the "Hall of Dancers", which has four open courtyards and the pillars have fine carvings of apsaras.
Second enclosure
The second enclosure, which is part of the main temple, measures 58 m × 50 m (190 ft × 164 ft). It has a gopura on its eastern side and also subsidiary gopura on the west. Entrance doors are at the northern and southern ends. The gopura is built like a gallery with one exterior wall and double row of pillars which open into a courtyard and which has mostly shored up walls with small openings at the bottom to allow air circulation. The niches here are decorated with images of apsaras, and a Buddha statue in the central hall has been defaced by vandals. Bayon style architectural features built-in are the "balustered false windows with lowered blinds and devatas with headdresses in the form of small flaming discs set in a triangle." The vaults built in sandstone and laterite have collapsed at several locations of the gallery. The inner enclosures contain library building to its north and south and also a central sanctuary.
Inner enclosure
The inner enclosure of the main temple is built on a 36 m × 30 m (118 ft × 98 ft) layout plan. This enclosure has four corner towers abutted by small gopuras. Galleries running along an axis link these towers to the main sanctuary. The towers at the north-east and south-east are linked with the second gallery where a Buddha statue in a sitting posture is seen, in the backdrop of an open sky line. The sanctum which is 2.75 m (9.0 ft) square enclosure has some traces of statues of deities. This entire enclosure, however, is not built in Bayon style and hence conjectured to be of an earlier period. Remnants of wooden ceiling are also seen here. The entrance to the sanctum is flanked by dvarapalas surrounded by apsaras.
Srah Srang
Srah Srang or "The royal bathing pool" or "pool of ablutions" to the east of Banteay Kdei, which was dug to dimensions of 700 metres (2,300 ft)x300 metres (980 ft) during the reign of Rajendraverman in the 10th century, was beautified by Jayavarman VII with well laid out steps of laterite stones with external margin of sandstone, on the banks of the pond facing the Sun. It is set amidst large trees and has turquoise blue waters all the year round. The approaching steps to the water edge are flanked by two stone statues of lions with ornamented Nāga-balustrades. The pond was reserved for use by the king and his wives. A stone base seen at an island in the centre of the pond once housed a wooden temple where the king did meditation. At the lily filled lake, watching sunset reflections in the lake is quite an experience. The water from the lake is now used for rice cultivation by farmers of the area.


Banting lived at the house in London for ten months, beginning in June, 1920. He attempted a private medical practice and when it was unsuccessful, he began working at the University of Western Ontario; his research for a lecture there was what inspired his 25 word idea that provided the key to discovering insulin, and prevented the certain death of those affected by diabetes. Banting returned to the University of Toronto to begin his research on insulin in the spring of 1921.
Banting House is dedicated to the story behind the discovery of insulin, as well as Banting's life and career. Its galleries focus on everything from his time spent in London, to his contributions in both World Wars, to his efforts as an artist. Some notable artifacts include Banting's original art, desk, medicine cabinet, and bed frame, as well as his Military Cross, the KBE, and his official replica of the Nobel Prize.
Banting House was designated a National Historic Site of Canada in 1997.


For decades, the public viewed the house as the "Birthplace of Insulin," and many individuals expressed their desire to have it turned into a shrine or monument to honour the Canadian hero. It was first internationally referred to with the title "Birthplace of Insulin," in 1923, by the Detroit Free Press. After 47 years, the house received official recognition in 1970, in the form of a plaque for the house, awarded by the London Public Library Board. In 1981, the London & District Branch of the Canadian Diabetes Association purchased the house, and began to use it as an office; they hoped to eventually restore the house, and turn it into a museum. Through various grants and fundraising efforts, by 1984, the museum was operational.


Banting House features archival materials, artifacts, and other ephemera associated with Banting as co-discoverer of insulin, doctor, and artist, as well as his involvement in the first and second world wars.
One gallery depicts the kind of office Banting might have had, and contains several of his belongings, including his original medicine cabinet, and a graduated cylinder Banting used during his time at the University of Western Ontario. The apothecary in the next room features a sink that Banting installed for his medical practice. Other galleries in the museum hold original belongings of Banting as well, most notably his desk and his bed frame. The bed frame is kept in Banting's bedroom, and visitors are encouraged to take a moment or a picture with it, as it is not roped off like many other areas of the museum.
Additionally, an official replica of the Nobel Prize medal co-awarded to Banting and Macleod is on display, as well as many of Banting's other medals. Other displays include the military gallery, which includes a representation of the type of operating room Banting would have worked in on the field during the First World War, some information on the projects he headed during the Second World War, and an entire gallery filled with artwork done by Banting.
Adjacent to the museum is Sir Frederick G. Banting Square, a garden with several information plaques, and three main attractions. Two of the attractions, a full-sized sculpture of Banting writing his life-altering idea down, and the Flame of Hope, were unveiled by Her Majesty Queen Elizabeth The Queen Mother. The Flame of Hope, symbolizing the hope for a final cure for diabetes, was kindled by Her Majesty during her visit. The third attraction is the globe sculpture, which was added more recently in 2010. It represents Canada's gift to the world, and embraces Banting House's visitors from abroad, with the names of every country listed on it.


The first church on the site was built of oak beams in 1704 by the great ban Savin Zmucila, and had its own graveyard. His title is the source of the nickname. It was blessed by Metropolitan Misail the same year, and it was dedicated to the Dormition of the Mother of God. As opposed to other churches in the city that belonged to foreign churches and held liturgies in Old Church Slavonic or Greek, services at Banu were in Romanian by Romanian priests from the beginning, partly in sign of protest.
From early on, the church had valuable books and objects, some from Moldavia and others from abroad. These included a 1643 Cazania (book of sermons), a 1681 Molitvelnic (prayer book) and a 1683 Liturghier (liturgy book), all from Iași; as well as a 1699 Gospel Book in Greek and Latin from Bucharest. By 1799, the city's development had made the church too small for its needs, and it was in disrepair.


The abbey was founded in about 1070 by Countess Alberada of Schweinfurt and her husband, Count Hermann of Habsburg-Kastl, and until the secularisation of 1803 was the oldest monastery on the upper Main.
In the late Middle Ages and until 1575 only members of the nobility were accepted as monks.
After the Thirty Years' War the abbey had to be rebuilt. The abbots Eucharius Weiner and Kilian Düring commissioned Johann Leonhard Dientzenhofer and after his death in 1707, his brother Johann Dientzenhofer. Construction began in 1698. The church, built in Baroque style, was consecrated in 1719. The interior is built, not with right angles, but with a series of ellipses. The main altar, the chancel and the statues of saints in the church and on the façade are by Balthasar Esterbauer; the ceiling frescoes are by Melchior Steidl. The choir stalls were made by the court cabinet maker and ebonist of Schönborn, Johann Georg Nesstfell.
In the second half of the 18th century Banz Abbey was known throughout the Holy Roman Empire as a place of Catholic enlightenment and for the scholarship of its monks. This did not save it from secularisation and dissolution in 1803.


Baotong Temple underwent three renovations in the Qing dynasty (1644–1911), respectively in the ruling of Kangxi Emperor (1676), in the reign of Qianlong Emperor (1792) and in the Tongzhi and Guangxu periods (1865–1879). In the heyday of the temple, it had more than 1,500 monks.


This centrally planned church is a cement rendered brick building with parapet walls that conceal a galvanised corrugated iron roof. It is situated on a sloping site on the corner of Upper Edward Street and Wickham Terrace, overlooking the central business district, with the main entrance on the higher Wickham Terrace side.
The front facade is distinguished by centrally positioned entry stairs and an attached tower, surmounted by a cupola, that is prominently located on the southwest corner, the highest part of the site. With the exception of the four-storeyed tower, the building is two storeys tall and sits on a base that forms a third storey, visible at the rear and sides.
All four facades are composed of variations of the same classically derived elements and motifs and are symmetrical except for the location of the tower. Each facade is divided into three bays, the central bay being larger than the two peripheral bays.
The central bay sits proud on the front and rear elevations and recedes slightly on the east and west elevations. Each central bay is further divided into three parts and has a rose window in the centre of the upper level. All other openings are arched. On the south, east and west facades the central bay is surmounted by a triangular pediment. Corners and compositional divisions in the facade are marked by banded rustication and rusticated pilasters.
The longer east and west elevations have two additional bays recessed between the two main bays. In these recesses are arched entry doors that open onto the lower-ground floor. On this level are the Sunday school rooms, lecture hall, kitchen and meeting rooms.
On the ground level above, the entry vestibule opens onto the double height space of the church; a 70-foot (21 m) wide space which is spanned by timber trusses that are concealed by a flat plaster ceiling. In the corners of the building are two-storeyed rooms that look into this space, as does the gallery located over the vestibule. Internal walls are plastered and contain built-in circular cast iron ventilation grates. Decoration is restrained with the windows containing geometric patterned leadlight.
Cedar pews are arranged in a semicircular pattern facing the pulpit, baptistery, organ and choir gallery that are located at the northern end of the space and feature timber panelling. A screen has been built behind the choir. This screen blocks the original view from the auditorium of the north wall with its rose and arched windows and the spiralling timber stairs.


Baptist City Tabernacle was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.
The place is important in demonstrating the evolution or pattern of Queensland's history.
The Baptist City Tabernacle, as the home of Brisbane's oldest Baptist congregation, is important in demonstrating the evolution of the Baptist Church in Queensland.
The place is important because of its aesthetic significance.
The Baptist City Tabernacle is important in exhibiting a range of aesthetic characteristics valued by the community, in particular:
The Baptist City Tabernacle is significant for its contribution to the Brisbane townscape, Wickham Terrace and Upper Edward Street Streetscapes and as a city landmark.
The composition of the building's architectural elements and the quality and craftsmanship of the timber joinery and leadlight contribute the Baptist City Tabernacle's aesthetic significance.
The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.
The Baptist City Tabernacle has a strong association with the Baptist Church, in Queensland, and has a special association with notable Brisbane architect Richard Gailey, as a major example of his ecclesiastical work.
The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland's history.
The Baptist City Tabernacle has a strong association with the Baptist Church, in Queensland, and has a special association with notable Brisbane architect Richard Gailey, as a major example of his ecclesiastical work.


The Bapu Museum (formerly: Victoria Jubilee Museum) is an archaeological museum, located at M. G. Road of Vijayawada. It was renamed in the memory of the renowned film director, illustrator, cartoonist and author Bapu. The museum is maintained by the Archaeological department and has large collection of sculptures, paintings and artifacts of Buddhist and Hindu relics, with some of them as old as 2nd and 3rd Centuries. The structure of building is an Indo-European style of architectural and is more than a hundred years old structure.


The museum has historical galleries, stone cut writings, coins, swords, body armour, shields,  arms, ornamentation, etc., used by kings. A standing Buddha of white limestone of Alluru (3rd–4th century), Lord Shiva and Goddess Durga as slaying the buffalo demon, Mahishasura (2nd century) can also be found at the museum.


It is speculated that the Bara Gumbad was constructed to provide a gateway to the nearby mosque or a large walled enclosure. Although the structure does not house any tomb, there is a platform in the central courtyard that suggests the structure to be a burial place. The purpose Bara Gumbad is unknown. Bara Gumbad is grouped together with a mosque and "mehman khana" which is a smaller structure with five bays. All the structures are constructed on a 4 metres (13 ft) high platform, with a total area of 1,050 square metres (11,302 sq ft). The platform measures 30 metres (98 ft) (east-west) and 25 metres (82 ft) (north-south).
Three out of five bays in the mosque have domes whereas the remaining two have vaulted roofs (on mosque and "mehman khana"). The central bays feature low domes, while the end-bays feature flat roofs. There are oriel windows to the north and south. Both the oriel windows and the tapering minarets appear to anticipate later architectural styles.
The Bara Gumbad is square type construction which sits on a plinth. The mosque measures 20 metres (66 ft) on each side. At the rear, the corners and sides of the mosque feature tall tapering semi-circular minars. The east, south, and west are decorated, and feature ogee arch openings, which are set into rectangular frames. The architecture combines bracket and lintel beams, blending Islamic and Hindu architectures.
Bara Gumbad is 29 metres (95 ft) high, 20 metres (66 ft) long and 20 metres (66 ft) wide. The walls are 12 metres (39 ft) tall. Like the Shisha Gumbad, the Bara Gumbad is also a single story structure but has an external semblance of spanning in two floors when viewed from outside. Total floor area of Bara Gumbad (excluding the mosque and the guest house) is 361 square metres (3,886 sq ft).
The dome, the mosque and the "mehman khana" are constructed of red, grey and black stone, including grey quartzite and red sandstone. The interior is elaborately ornamented with painted stucco. Colored tiles, incised carvings, and painted plaster on the mosque are decorated with foliage, flowers, geometric patterns, and Quranic inscriptions.


The building follows the traditional pattern of Central Asian caravanserais and is embellished as per Mughal architecture. Originally it enclosed a quadrangular courtyard.
The southern wing extends 67.97 metres (223.0 ft), and fronted on the Buriganga River. In the middle is an entrance set in a three-storeyed projected bay. The gateway has an arched alcove that rises to the second story, above which are the windows of the third storey. The arched main entrance is in the centre of the alcove. The underside of the alcove, spandrels, and surrounding walls are decorated with plastered panels exhibiting a variety of forms, including four-centered, cusped, horseshoe, and flat arches. The main portion of the wing is two-storeyed and bookended by tall projected octagonal towers.
The northern wing was similar, but with a less elaborate gate. The east and west wings were single storey and about 70.10 metres (230.0 ft) long. In the 19th century, Orientalist James Atkinson described the building as "a stupendous pile of grand and beautiful architecture".
The southern entrance leads to a guardroom, then an octagonal domed hall (the ceiling of which is plastered and decorated with net-patters and foliage designs), and finally to the courtyard. On the ground floor of the southern wing, there are five vaulted rooms to either side of the gateway. On the upper floor, living chambers open off of a corridor. Shops and living quarters surrounded the courtyard on all four sides.


During the Mughal period, Dhaka was a port city. Large merchant ship could enter into the Buriganga river. This was the major trading connection between Indonesia and Dhaka. So, it was a major hub for import and export. Bara Katra was mainly used for customs clearance and resting space for merchants and travelers. This type of Caravan Sarai which consists of so many functions and features which makes it the most unique worldwide. This increases the value of  architectural and cultural heritage of Bangladesh.


Barabati Fort is a 989 AD fort built by Marakata Keshari of Somavamshi (Keshari) dynasty in Cuttack, Odisha. The ruins of the fort remain with its moat, gate, and the earthen mound of the nine-storied palace, which evokes the memories of past days. Today it sits next to the modern Barabati Stadium, the venue of various sport events and cultural programs. There is also a temple dedicated to Katak Chandi, the presiding deity of the city, not far away from the fort. Now there are plans to develop the old Gadakhai into a world class tourist destination with boating facilities and a world class park. The renovation work of the Gadakhai is going on in full swing.


The fort is square in plan. It spreads over an area of 102 acres and surrounded on all sides with a stone paved moat of 10 Mtr. width in northern and western sides and 20 Mtr. width in the eastern and southern sides. The entire fort wall except the entrance is missing. Since, 1915, in view of its national importance, the place has been declared as a protected site by Archaeological Survey of India.
At the centre of the fort there was a high mound with a tank in the western side. It spreads over 15/16 acres of area. Now the site is under extensive encroachment. To the east of the mound, there is the Shahi Mosque while in the west of the tank lies the mazar of Hazrat Ali Bukhari. In 1989 excavations were carried out by Archaeological Survey of India to ascertain the cultural horizon of the historic fort and the work is still in progress. Excavation by Archaeological survey of India on December 1st 1989 revealed evidence of a palace, a square structure built up of Khondalite stone. It was built over an area which was carefully prepared by filling up of 5 meter with sand and lime mixture. Trenches dug on the eastern side of the structure revealed 32 pillars built of literate blocks roughly square but varying in size.
In the northeastern corner of the mound remains of a temple have been found. Excavation on the eastern and southern side of the mound revealed the existence of a citadel wall built of laterite blocks.
The ruins of the old Barabati Fort lie on the right bank of the Mahanadi, in the western part of the city. All that remains of the Fort is an arched gateway and the earthen mound of the nine-storeyed palace. Archaeological surveys reveal that the Fort was roughly rectangular in structure having an area of over 102 acres (0.41 km²), and it was surrounded on all sides by a wall of laterite and sandstones. To the west of the mound there is a tank. In the north-eastern corner of the mound are remains of what once was a temple. The temple was made of whitish sandstone over foundations of laterite blocks. About four hundred fragments of mouldings and some mutilated pieces of sculptures have been recovered so far. This temple of the Ganga period containing a stone idol of Lord Jagannath is in ruins. A mosque built by Nawab Murshid Quli Khan, governor of Emperor Aurangzeb in 1719 AD still exists.


Barafundle Bay is a remote, slightly curved, east-facing sandy beach in Pembrokeshire, Wales, near Stackpole Quay. It is part of the Stackpole Estate, managed by The National Trust. The beach was once owned by the Cawdor family of Stackpole Court. On the northern approach to the beach are steps and a wall, which were built by the owners to ease their access to what was then their private beach.


There is no road access directly to the beach. The nearest car park, at Stackpole Quay, charges six pounds a day between March and October, but it is free to park after 5:30 p.m. Access to the beach is via the Pembrokeshire Coast Path, either from Stackpole Quay or from Broad Haven South. The walk from Stackpole Quay is 0.5 miles (0.80 km) and 1.3 miles (2.1 km) from Broad Haven South. Both approaches are unsuitable for pushchairs or wheelchairs because of the  uneven terrain and sand.


The island is dissected by the Andaman Trunk Road to Rangat and Mayabunder. There are two ferry crosses: "Bamboo Trikery" Jetty and "Nilambur" Jetty. The Veer Savarkar International Airport in the city of Port Blair is the nearest airport  located approximately 104 km (65 mi) away from the isle.


There are a twelve villages on Baratang, most noted are Adazig, Sunderghar, Nayaghar and Nilambur(HQ).
According to the 2011 census of India, the Island has 5691 inhabitants. The effective literacy rate (i.e. the literacy rate of population excluding children aged 6 and below) is 100%.
This island is inhabited mainly by the local Jarawa tribes.


Major attractions on the island include the limestone caves, the Mud Volcano, Parrot Island, and Baludera Beach.


The Barber Block is a building complex located at the corner of Southeast Grand and Washington Streets in Portland, Oregon, listed on the National Register of Historic Places (NRHP).  It was built in 1890 and listed on the NRHP in 1977. It is also located within the East Portland Grand Avenue Historic District.
Among the building's occupants in the 1920s was a nickelodeon theater.   After the Columbus Day Storm of 1962 caused significant damage to the building's roof, its owners considering demolishing it, but decided against doing so.  The ground floor spaces have been used by various types of businesses over the decades, including a furniture store, a restaurant and a bank, while the second and third floors have always been residential, mostly as apartments but for a time as a single-room occupancy residential hotel.
The building underwent a renovation in the late 1970s  and another in the 2000s.


The Barbican is the name given to the western and northern sides of Sutton Harbour, the original harbour of Plymouth in Devon, England. It was one of the few parts of the city to escape most of the destruction of The Blitz during the Second World War and the preceding era of slum clearance following the Public Health Act 1848. Two or three streets still retain some of the architecture of a historic fishing port. The Barbican has the largest concentration of cobbled streets in Britain and contains 100 listed buildings.


Places of interest include the National Marine Aquarium (technically in Coxside) which is one of the larger aquaria in Britain and has one of the deepest tanks in Europe; the Elizabethan House, an old house built in the early 16th century, now used as a museum; the Mayflower Steps near where the Pilgrims finally set off in the Mayflower for the New World in 1620, which is described in the nearby visitors' centre; and the studio gallery of the late painter and eccentric Robert Lenkiewicz, who lived and worked on the Barbican for many years deriving much of his inspiration and income from the local community.
The Barbican also contains a variety of shops and businesses including the Barbican Theatre, retail art galleries, the Plymouth Gin Distillery, the Dolphin Inn, Plymouth and numerous bars and eating places.


The Barbican boasts some underground culture, from live music to Stone Soup Story Tellers evenings and festivals. The promenade of the Parade, shown above, paved with the traditional granite setts, is now filled by seating in glass-sided enclosures with large square umbrellas and infra-red heaters providing all-weather space.


The Barbican Centre is a performing arts centre in the Barbican Estate of the City of London and the largest of its kind in Europe. The centre hosts classical and contemporary music concerts, theatre performances, film screenings and art exhibitions. It also houses a library, three restaurants, and a conservatory. The Barbican Centre is a member of the Global Cultural Districts Network.
The London Symphony Orchestra and the BBC Symphony Orchestra are based in the centre's Concert Hall. In 2013, it once again became the London-based venue of the Royal Shakespeare Company following the company's departure in 2001.
The Barbican Centre is owned, funded, and managed by the City of London Corporation, the third-largest arts funder in the United Kingdom. It was built as the City's gift to the nation at a cost of £161 million (equivalent to £480 million in 2014) and was officially opened to the public by Queen Elizabeth II on 3 March 1982.  The Barbican Centre is also known for its brutalist architecture.


The Barbican Centre had a long development period, only opening some years after the surrounding Barbican Estate housing complex had been finished.  It is situated in an area which was badly bombed during World War II.
The Barbican Centre, designed by Peter Chamberlin, Geoffry Powell and Christoph Bon of Chamberlin, Powell and Bon in the Brutalist style, has a complex multi-level layout with numerous entrances. Lines painted on the ground help would-be audience members avoid getting lost on the walkways of the Barbican Estate, within which the centre is located, on the way to it. The Barbican Centre's design – a concrete ziggurat – has always been controversial and divides opinion. It was voted "London's ugliest building" in a Grey London poll in September 2003.
In September 2001, arts minister Tessa Blackstone announced that the Barbican Centre complex was to be a Grade II listed building. It has been designated a site of special architectural interest for its scale, its cohesion and the ambition of the project. The centre was designed by architectural practice Chamberlin, Powell and Bon, who were also responsible for the upscale residential area surrounding the centre (the Barbican Estate), as well as the nearby Golden Lane Estate. Project architect John Honer later worked on the British Library at St Pancras – a red brick ziggurat.
In the mid-1990s, a cosmetic improvement scheme by Theo Crosby, of the Pentagram design studio, added statues and decorative features reminiscent of the Arts and Crafts movement. In 2005–2006, the centre underwent a more significant refurbishment, designed by architects Allford Hall Monaghan Morris and Roger Westman, which improved circulation and introduced bold signage in a style in keeping with the centre's original 1970s Brutalist architecture. That improvement scheme added an internal bridge linking the Silk Street foyer area with the lakeside foyer area. The centre's Silk Street entrance, previously dominated by an access for vehicles, was modified to give better pedestrian access. The scheme included removing most of the mid-1990s embellishments.
Outside, the main focal point of the centre is the lake and its neighbouring terrace. The theatre's fly tower has been surrounded by glass and made into a high-level conservatory.  The Barbican Hall's acoustic has also been controversial: some praised it as attractively warm, but others found it too dry for large-scale orchestral performance.
In 1994, Chicago acoustician Larry Kirkegaard oversaw a £500,000 acoustic re-engineering of the hall "producing a perceptible improvement in echo control and sound absorption", music critic Norman Lebrecht wrote in October 2000 – and returned in 2001 to rip out the stage canopy and drop adjustable acoustic reflectors, designed by Caruso St John, from the ceiling, as part of a £7.5 mn refurbishment of the hall. Art music magazine Gramophone still complained about "the relative dryness of the Barbican acoustic" in August 2007.
The theatre was built as the London home of the Royal Shakespeare Company, which was involved in the design, but decided not to renew its contract in 2002 after claiming a lack of performing space, plus the artistic director, Adrian Noble, wanting to develop the company's touring performances. The theatre's response was to extend its existing six-month season of international productions, "Barbican International Theatre Event", to the whole year. On 23 January 2013 Greg Doran, RSC artistic director, announced the company's return to the Barbican Centre in a three-year season of Shakespeare's history plays.
The Guildhall School of Music and Drama, where the Barbican Centre theatrical performances are occasionally staged, and the City of London's Barbican Library, neither part of the centre, are also on the site. The Museum of London is nearby at Aldersgate, and is also within the Barbican Estate.


Barbican tube station
Farringdon station
Liverpool Street railway station
Moorgate tube station
St Paul's tube station


The tower is located equidistant between Bolton Bridge on the A59 road to the south, and the village of Burnsall to the north (4 miles (6.4 km) each way). A lodge of sorts had been located in the Forest of Barden since early Plantagenet times, but it was rebuilt in stone c.1485–1490 by Henry Clifford, who was also known as the Lord Shepherd. Clifford chose the area around Barden as his main residence over his castle at Skipton. Barden Tower was one of six forest lodges which were in the possession of the Clifford family between the 14th and 17th centuries. Besides Barden, the Cliffords had lodges at Drebley, Gamsworth, Howgill and Laund. The sixth lodge at a site known as Ungaine, has not yet been identified. The tower became the focal point for the hamlets and farmhouses in the area; because there was no nuclear village to gather to, the tower became a de facto village centre.
The tower, along with the chapel next to it and Skipton Castle, were renovated and rebuilt by Lady Anne Clifford in the 1650s. The tower had been "de-roofed" during the Civil War; the roof was believed to have been made of thatch (a request from the 15th century states a claim for "soddes for the towre toppe [sic]"). It was in the 16th and 17th centuries that the outbuildings of a farmhouse and chapel were built next to the tower. The priesthouse has been tentatively dated to 1513, and was reputedly built by Henry Clifford for his private chaplain when the Clifford household were in residence at the tower. After Lady Anne's death in 1676, the estates and Barden Tower were taken over by the Earls of Cork and fell into disrepair in the 18th century. The tower has been in a ruinous state for over 200 years.
During the Jacobite rising of 1745, a band of militia were garrisoned at the tower to defend the area against the Scots army, should they so be needed. 150 men with pikes, staffs, halberts and drums were recorded as being present at the tower. Whilst the Jacobite Army did go through Yorkshire, there is no record of Barden Tower being involved in any skirmishes.
The second roof was made out of lead, and it was de-roofed again c. 1800, but the buildings were still the focal point for those who lived around it, which had become easier since the opening of Barden Bridge in 1659. There was a school and a chapel at the site, which were both used well into the 20th century (the chapel was last used in the 1960s for Anglican worship). Baptisms and burials were not permitted to take place at the chapel next to the tower, but marriages were conducted there.
In 1881, a 3,500-tonne (3,900-ton) steam ship was named Barden Tower on the River Tyne in Northumberland. She sank in the English Channel in 1893.
All three historical buildings on the site were grade I listed in 1954. The Priesthouse part of the buildings was converted in 2016 into a restaurant and wedding venue. The whole area around the tower, the land underneath the buildings and the tower, are listed together collectively as an ancient monument. It is a popular location for tourists and visitors, and is well signposted from the walks in the area, particularly those along the River Wharfe.


WikiWeb_Bardsdale United Methodist Church_0

Bardsdale United Methodist Church is a historic church located at 1498 Bardsdale Avenue in the unincorporated community of Bardsdale, California, in Ventura County. It is south of the Santa Clara River approximately 3 miles (5 km) from Fillmore.
Built in 1898, as Bardsdale Methodist Episcopal Church, this carpenter Gothic structure with a 60 ft (18 m) bell tower and high-peaked arches has long been a center of community life in Bardsdale. The town's namesake, Thomas R. Bard, donated the land for construction of the church and parsonage. He also donated funds to help purchase two large stained glass windows installed in the north and west walls.

When the church opened, in April 1898, the Los Angeles Times reported on its dedication:
"The Bardsdale Methodist Episcopal Church was dedicated last Sunday by Dr. G.W. White of Los Angeles. The building cost $2550, will seat 350 persons, and has a fine basement fitted for social gatherings. There was $550 remaining due on the building, which was subscribed Sunday morning."
On April 23, 1968, the Methodist Church was merged with the Evangelical United Brethren Church to form the United Methodist Church. The name was then changed to Bardsdale United Methodist Church.
A portion of the ceiling fell on a parishioner during a service in 1982, leading to an extensive renovation. The renovation and restoration work included materials purchased from a church in Los Angeles that had closed in 1982. The materials salvaged from that church included stained-glass windows, an oak chancel, chandeliers, pews, marble facing around the interior doors, a hand-carved pulpit, lectern and communion rail.
The church also features a Schoenstein pipe organ that was purchased in 1986, with $60,000 donated by parishioners.  In a tradition dating back to the mid-1960s, the Bardsdale Chancel Choir performs a free holiday vesper program during the Christmas season.
The Ventura County Cultural Heritage Board designated the clapboard church County Landmark #50 in 1979, calling it "the only example of carpenter Gothic in the Fillmore-Bardsdale area." The Gothic church was added to the National Register of Historic Places in 1986.


The island was inhabited in Neolithic times, and traces of hut circles remain. During the 5th century, the island became a refuge for persecuted Christians, and a small monastery existed. Around 516, Saint Einion, king of Llyn, invited the Breton Saint Cadfan to move to the island from his first residence in Tywyn. Under Cadfan's guidance, St Mary's Abbey was built. For centuries, the island was important as "the holy place of burial for all the bravest and best in the land".
Bards called it “a direct path to heaven” and “the gates of Paradise”, and in medieval times three pilgrimages to Bardsey were considered to be of equivalent benefit to the soul as one to Rome.
In 1188, the abbey was still a local institution but, by 1212, it belonged to the Canons Regular. Many people still walk the journey to Aberdaron and Uwchmynydd each year in the footsteps of the saints, although today only ruins of the old abbey's 13th century bell tower remain. A Celtic cross amidst the ruins commemorates the 20,000 saints reputed to be buried on the island.
Saint Einion is sometimes claimed to have joined the community on the island, although his relics are claimed by Llanengan on the mainland. Saint Deiniol, the Bishop of Bangor, was buried on the island in 584. Saint Dyfrig was also buried on Bardsey Island, although in 1120 his remains were transferred to Llandaff centuries later.
The Dissolution of the Lesser Monasteries Act of 1536, on the orders of Henry VIII, resulted in St Mary's Abbey being dissolved and its buildings demolished in 1537. The choir stalls, two screens and the bells were transferred to Llanengan, where the parish church was then being built.
In the 16th century, Bardsey was owned by Sir John Wynn (an ancestor of the Newborough barons), who was standard bearer to Edward VI at Kett's Rebellion in Norfolk in 1549.
For many years Bardsey Island formed part of the Newborough Estate, and between 1870 and 1875 the island's farms were rebuilt; a small limestone quarry was opened, and a lime kiln constructed. Carreg and Plas Bach are separate buildings, but the remaining eight were built as semi-detached houses, each pair with outbuildings set around a shared yard. The buildings are Grade II listed and, in 2008, Cadw approved a grant of £15,000 to cover the first phase of repairs. Only one of the original croglofft cottages, Carreg Bach, survives. Given the choice of a harbour or a new church, in 1875 the islanders asked the estate to provide a place of worship; a Methodist chapel was built.
The island had a population of 90 by 1841. It had increased to 132 in 1881; by 1961 it had fallen to seventeen. The island's small school, opened in a former chapel in 1919 and closed in 1953. In 2019 there was a long-term population of eleven, of whom four lived on the island during the winter.
The Bardsey Island Trust (Welsh: Ymddiriedolaeth Ynys Enlli) bought the island in 1977, after an appeal set up by the Bardsey Bird and Field Observatory and supported by the Church in Wales and many Welsh academics and public figures. The trust is financed through membership subscriptions, grants and donations, and is dedicated to protecting the wildlife, buildings and archaeological sites of the island; promoting its artistic and cultural life; and encouraging people to visit as a place of natural beauty and pilgrimage.
When, in 2000, the trust advertised for a tenant for the 440 acres (180 ha) sheep farm on the island, they had 1,100 applications. The tenancy was held by the Royal Society for the Protection of Birds; and the land is managed to maintain the natural habitat. Oats, turnips and swedes were grown; goats, ducks, geese and chickens kept; and there is a mixed flock of sheep and Welsh Black cattle. The RSPB pulled out of the agreement when the tenancy ended.


The island was declared a National Nature Reserve in 1986, and is part of Glannau Aberdaron ac Ynys Enlli Special Protection Area. It is now a favourite bird-watching location, on the migration routes of thousands of birds. Bardsey Bird and Field Observatory, founded in 1953, The West Midlands Bird club created a bird observatory, and also saw the opportunity to studying the ecology of a small island.
The island was designated a Site of Special Scientific Interest for its maritime communities; internationally rare lichens; bryophyte, vascular plant and bird species; and intertidal communities. Nationally important flowering plants include sharp rush, rock sea lavender, small adder's tongue and western clover, and the rare purple loosestrife is found in places. Two nationally rare heathland lichens are found on the slopes of Mynydd Enlli: the ciliate strap lichen and golden hair lichen; and there are over 350 lichen species in total. The leafcutter bee, named after its habit of cutting neat, rounded circles in rose leaves, used to seal the entrance to its nest, is native.
Thousands of birds pass through each year on their way to their breeding or wintering grounds. Chiffchaffs, goldcrests and wheatears are usually the first to pass through, followed by sedge warblers and willow warblers, whitethroats and spotted flycatchers.
About thirty species of bird regularly nest on the island, including ravens, little owls, oystercatchers and the rare chough. Hundreds of seabirds, including razorbills, guillemots, fulmars and kittiwakes, spend the summer nesting on the island's eastern cliffs, the numbers reflecting the fact that there are no land predators such as rats or foxes to worry about. On a dark moonless night an eerie cackling can be heard across the island as 30,000 pairs of Manx shearwaters,  come ashore to lay and incubate their eggs in abandoned rabbit warrens or newly dug burrows.
The island is one of the best places in Gwynedd to see grey seals. In mid-summer over two hundred can be seen, sunbathing on the rocks or bobbing in the sea, and about 60 pups are born each autumn. Their sharp teeth and strong jaws are perfect for breaking the shells of lobsters and crabs which dwell in the waters. It is also possible to spot bottlenose and Risso's dolphins, and porpoises. The currents around the island are responsible for flushing in food-rich waters, and the Whale and Dolphin Conservation Society has been carrying out surveys since 1999 to find out which areas are particularly important for feeding and nursing calves.
The seas around the island are rich in marine life. There are forests of strap seaweed; in the rock pools are sea anemones, crabs and small fish; and in deeper waters, the rocks are covered by sponges and sea squirts. The yellow star anemone, found offshore, is more common to the Mediterranean.


Passenger ferry services to Bardsey Island are operated from Porth Meudwy and Pwllheli by Bardsey Boat Trips and Enlli Charters. At times, the wind and the fierce sea currents make sailing between the island and the mainland impossible. Sometimes boats are unable to reach or leave Bardsey Island for many days; seventeen visitors were stranded for two weeks in 2000 when gales prevented a boat from going to rescue them.


Jervois recommended a small work in Botany Bay as protection from small squadrons of hostile cruisers making lightning raids on Sydney and holding it to ransom for its gold reserves. Scratchley was responsible for turning Jervois's strategic vision into a detailed design and specification of the works. This he did with the aid of civil engineer Gustavus Morell. The specifications were also developed with the aid of the Colonial Architect James Barnet who was responsible for its construction. Construction of Bare Island fort was completed in 1885 at a cost of A£34,000; work inside the fort began in 1889.
Bare Island Fort reflects the development of coastal fortifications design by the British Army, from locations around the world over more than a century. This was combined with a newly generated understanding of ballistics and materials science that was a product of the late nineteenth century Industrial Revolution. Bare Island, in comparison to earlier coastal defences constructed in Australia, such as Fort Denison or the Middle Head Batteries, shows the impact of new materials such as concrete, as well as the ever-increasing power of guns.
The design and construction was complex. The basis of the design was a symmetrical crescent, with the heaviest gun in the centre, which faced the likely line of attack. The various stages in the design of Bare Island took from mid 1877 to early 1880 when the final design was specified and contracted out. Even then, Scratchley still did not consider the design complete and regularly made alterations and suggestions, some verbally and some in writing.
Plans for a fort were drawn up by the Colonial Architect's department, and government tender for construction was awarded to a building company led by John McLeod, who also built the Georges Head and Middle Head fortifications. McLeod won the tender in 1881 and commenced work on 7 April. His work was supervised by Public Works Department Clerk of Works Henry Purkis who was responsible for many other projects which called him away from Bare Island for extended periods. Following Scratchley's death in 1885 overall supervision of the project was delegated to Major Penrose.
Construction was completed in 1886, but by 1887 problems began to emerge as a result of poor construction. Between 1888 and 1889 barracks were constructed using the same contractor. The job did not go to tender. Lieutenant Colonel De Wolski raised questions as to the appropriateness of the barracks design and location, as well as the fact that tenders had not been called for its construction. A Board of Inquiry was established to investigate his concerns, but work continued. De Wolski complained and the work and contract were suspended. The fort was armed with two RML 9 inch 12 ton guns, two RML 80 pounder guns, a RML 10 inch 18 ton gun in an armoured casemate, and two five–barreled 0.45-inch (1.1 cm) Nordenfelt guns.
At the same time, a Royal Commission of Inquiry was established into the contract and construction of Bare Island. This inquiry found that the Colonial Architect Barnet was responsible for the mismanagement of works at Bare Island. This finding and the controversy surrounding it led to Barnet's premature retirement from public life. McLeod was never awarded another government tender and Barnet resigned from his position around that time too. The bridge to the island was added in 1887. Until then, access relied on a flying fox (zip line), or a barge. It was by barge that the five major guns on the island – including a 12 tonne cannon – were brought across. During its operating years, the barracks were manned by about 70 soldiers. Bare Island was transferred to the Commonwealth in 1901. The garrison was reduced in 1902 and by 1908 it does not appear that any substantial military activity was occurring there.


Bare Island is a low sandstone island about 30 metres (98 feet) from the shore of the southern end of La Perouse Headland, near the entrance to Botany Bay. The island has been completely altered from its natural profile. The fortification complex comprises the battery, barracks buildings, parade and courtyard, access bridge and laboratory room/guards quarters. The fabric of the complex is best described in relation to the 6 phases of occupation identified by Gojak:
Phase I, 1880 – 1890 Original fortification works by McLeod
Includes all major concrete work and earthworks, the bridge, original space functions and finishes. Characteristic materials are mass concrete with sandstone aggregate, cement render, cream fired brick, checker pattern salt-glazed tiles under asphalt, some reinforcing, armour plate, use of vaulting to span tunnels and much of the timber detailing.
see endorsed conservation plan, 1997
Phase II, 1890 – 1912 Second phase fortification works by de Wolski and others, primarily before 1895
Includes mainly the Barracks and the installation of a hydro-pneumatic gun and stores. Characteristic materials include concrete with finer bluestone aggregate, reinforcing beams to span voids, some conduit, red tuckpoint brickwork with dressed sandstone quoins and lintels, some paint finishes.
Phase III, 1912 – 1963 War Veterans Home, primarily around 1912, then a second phase of activity in 1939
Includes minor modifications in all areas of the Fort. Characteristic materials include paint finishes, timber flooring inside store rooms, some conduits and cabling, alterations to original use of spaces and installation or removal of internal walls. Changes also made to Barracks with opening up of new access passages, and circulation routes.
Phase IV, 1941 – 1945 World War II military usage
No definite evidence of this period beyond possible painted signage.
Phase V, 1963 – c. 1975 Randwick Historical Society Museum; includes the period when Museum was in operation, both before and after NPWS ownership
Characteristic evidence includes reinstatement and reproduction of original features by removal of later material, mainly War Veterans period, or addition of material to a presumed original form, also some repairs, paint finishes, resurfacing of floors, especially in Caretakers area in the lower floor of the Barracks building.
Phase VI, 1975 – present NPWS administration
All changes made since Randwick Historical Society vacated island. Mainly constitutes large scale repair and conservation work to retaining walls, Barracks verandah, roof of casemate, drainage system, removal of more recent additions and provision of safety works.


As at 14 December 2000, the archaeological potential to reveal information not available from other sources about the construction and use of the Fort is high, as is the potential to derive information that cannot be found on other sites. Intactness is high. The structure retains enough of the original fabric to enable its form, functions and interrelationships to be easily established. The integrity of the complex is high. Most facets of the structure and its functions survive.


1985 to 1987 – Bridge repair
1993 – Structural repairs
1997 – Major conservation works including waterproofing


The Barelang Bridge (Jawi:جمبتن باريلڠ ; Chinese: 巴里浪大橋; Indonesian: Jembatan Barelang) is a chain of 6 bridges of various types that connect the islands of Batam, Rempang, and Galang, Riau Islands built in 1997. Barelang also refers to the islands themselves, which are all administratively part of the municipality of Batam.
The smaller islands of Tonton, Nipah, and Setotok (considered parts of the Batam island group) connect Batam and Rempang, while a further small island - Galang Baru - is connected at the southern end of the chain. The entire Barelang region covers 715 km².
Some locals call the bridge Jembatan Habibie after Jusuf Habibie, who oversaw the project in construction, aiming to transform the Rempang and Galang islands into industrial sites (resembling present-day Batam). The concept design for the 6 bridges were proposed by Bruce Ramsay of VSL.
Habibie had requested that the designs should be based on a variation of different structural bridge types, in order to introduce & develop new bridge design & building technologies for the Indonesian market.
Over time the bridge sites have grown more into a tourist attraction rather than just a transportation route.
The full stretch of all 6 bridges total to 2 kilometers. Travelling from the first bridge to the last is about 50 km and takes about 50 minutes. Construction of the bridges started in 1992 and took names from fifteenth to eighteenth-century rulers of the Riau Sultanate.


Barequeçaba (sometimes spelled Baraqueçaba) is a beach located 7 km south from the centre of the Brazilian city of São Sebastião, São Paulo, following the BR-101 highway (known as Rio-Santos) which is the main road going along the Brazilian coast from Rio de Janeiro to Santos.
The name of the beach comes from the Tupi language and means "Place of sleep of the priest" (abaré ("priest"), kera ("to sleep") and saba ("place").
Barequeçaba combines both a permanent population, and a floating tourist population that increase during the summer. The permanent population, with a large percentage of retired and elderly people ensures a range of services available on the beach during all the year, like restaurants, stores and small marinas with boats to Ilhabela.
The depth of the water at Barequeçaba drops very slowly and the waves are most of the time very weak, which makes the beach very popular among bathers and families with little children. For this reason, the fire brigade (responsible in Brazil for life guarding) has consistently assigned one staff member to guard the beach, even though other beaches have more than 10 life guards assigned.


Bargala was a Byzantine fortified town constructed between the 4th and 6th century, a period spanning Late Antiquity and Early Byzantium. Today it is an archaeological site and a visitor attraction in the Karbinci Municipality, North Macedonia. It is located 20 km northeast of the modern city of Štip on the lower slopes of the Plačkovica mountain. Archaeological excavations have uncovered a basilica, trade quarters, a water tank, a bath, and a fortification system with an impressive main gate and infrastructure.
Gold coins of Emperor Phokas (602-610) are discovered at the locality, as well as 6th and 7th century Slavic pottery.


Bargerveen is a Special Protection Area for bird-life, and is home to large numbers of wintering bean geese. It is also an Important Bird Area: "trigger" species are the spotted crake and the red-backed shrike.
It is also a Special Area of Conservation.


The documented presence of a bishop in Bari goes back to Gervasius, who attended the Council of Sardica in 347, and his successor Concordius, who was present at the Synod of Rome of 465, although names of their predecessors are preserved by tradition, beginning with Saint Maurus in the 1st century. The bishop was elevated to an archbishop in the 6th century, and the presence of a cathedral in Bari is ascertainable from the same period. Under the present nave are traces of an ancient church building with an apse, from the period before the first millennium, which had three aisles and square pilasters, and foundations on an axis slightly out of alignment with that of the present cathedral. One of the mosaic pavements bears an inscription with the name of Bishop Andrea (758 - 761) and it seems highly likely that these are the remains of the first cathedral, which was destroyed in the 9th or 10th century.
In the first half of the 11th century the then archbishop (1025–1035) ordered the construction of a new episcopal church, which was finished under his successors Nicola I (1035–1061) and Andrea II (1061–1068). This church was then destroyed by William the Wicked (William I of Sicily) along with the rest of the city (only the Basilica of St. Nicholas was spared), which took place in 1156. At the end of the 12th century Archbishop Rainaldo began the reconstruction of the cathedral, reusing materials from the preceding church and other destroyed buildings. Consecrated on 4 October 1292, the new cathedral was built in the style of the Basilica of St. Nicholas, which had served as the episcopal seat in the interim.
During the 18th century the façade, the nave and aisles, the Trulla (the ancient baptistry of the 12th century, today the sacristy) and the crypt were refurbished in Baroque style under Archbishop Muzio Gaeta according to designs by Domenico Antonio Vaccaro. The building later underwent a series of refurbishments, demolitions and extensions. The original Romanesque appearance of the interior was restored in the 1950s. The last two restorations were those of, firstly, the late 20th century, which has restored the clarity of the Romanesque structures, and secondly, the 21st century, which has refurbished the interior.


Barletta Cathedral (Italian: Duomo di Barletta, Concattedrale di Santa Maria Maggiore) is a Roman Catholic cathedral in Barletta, Apulia, southern Italy. Formerly the seat of the archbishops of Barletta and Nazareth, it is currently a co-cathedral in the Archdiocese of Trani-Barletta-Bisceglie. It was built in two different styles, Romanesque and Gothic, from the 12th century to the 14th century.


The church is oriented from east to west, with the Gothic ambulatory oriented eastwards, towards the Castle and the Palazzo Santacroce. The bell tower is located on the northern side, and gives access to the castle through an archway under which are remains of the ancient church's pavement.
The church has a rich medieval decoration including capitals with animals, monsters and other fantastic figures. The main façade had originally three portals: the central one, destroyed in unknown circumstances, was replaced by a Renaissance one. Some bas-reliefs from the original portal are inside the cathedral, portraying scenes of the Last Supper and the entrance of Christ into Jerusalem.


Barlingbo Church (Swedish: Barlingbo kyrka) is a medieval church in Barlingbo on the Swedish island of Gotland. It dates from the 13th century and has been altered little since. It contains furnishings from several centuries, including an unusual medieval baptismal font, decorated with figures and runes. The church belongs to the Church of Sweden and lies in the Diocese of Visby.


The presently visible church was finished c. 1280. It was however preceded by another church, whose foundations have been discovered under the floor of the present one. The oldest parts of Barlingbo Church are the choir and apse. These have been dated to 1225. Following this, the nave was built, and lastly the tower. The church in its entirety dates from the 13th century.
The church has three portals, two of which are in Gothic style and one, the oldest, which is still in the Romanesque tradition. The largest of the Gothic portals seems to have been inserted after the walls were built, as it is obviously too large for the façade and the walls have been made thicker around it in order to accommodate it. This portal dates from c. 1300. In the western, tower façade there is a rose window. There are also Gothic windows with still extant stained glass from c. 1280 in the apse and the south façade, one of only a few instances of preserved medieval stained glass in Sweden in situ.
Inside, Barlingbo Church is divided by vaults in three sections, length-wise. It is a single-nave church. Its consciously conceived plan has been interpreted as being influenced by Cistercian architecture. The walls are decorated by murals from different times. Oldest of these are a number of purely decorative, grey triangles and crosses, dating perhaps from the earliest construction period. A set of more monumental but likewise purely decorative paintings in the nave and around the east window of the apse date from c. 1280. Later, from the 14th century, are murals in the apse depicting six apostles, unique in their appearance on Gotland.
Among the furnishings, the medieval altar (which has probably once housed a relic) has a Baroque top, dated 1683 and with the monogram of King Charles XI of Sweden. The triumphal cross featuring the crucified Jesus is from c. 1240 and is attributed to the anonymous Tingstädemästaren. In the choir, some tombstones from the 13th and 14th centuries are visible, and the pulpit, itself dating from 1673, has been placed on a medieval side altar. The pews and the organ cover are from the 19th century. One of the church bells is from c. 1440 and carries inscriptions evoking Christ, Mary and Saint Dionysius; the latter is believed to have been the patron saint of the church in Catholic times.
An unusual item in the church is the baptismal font, dating from the second part of the 12th century and richly decorated with carved figures. It displays figures from the Bible and the symbols of the evangelists. Some of the figures are also marked with runes. The font, carved from a single block of limestone, is not comparable to any other baptismal font on Gotland. Swedish art historian Johnny Roosval (1879–1965) considered it to be one of the finest pieces of art from medieval Sweden.
 Influences from medieval English art from the time have also have been traced in the font.
The church belongs to the Church of Sweden and lies within the Diocese of Visby.


Close to the church lies the old parsonage. It was built in 1902 in a style mixing Gothic Revival with Renaissance Revival architecture. This turn-of-the-century interpretation of Medieval architecture is unique on Gotland.


Barmouth Bridge (Welsh: Pont Abermaw), or Barmouth Viaduct is a Grade II* listed single-track wooden railway viaduct across the estuary of the Afon Mawddach near Barmouth, Wales. It is 820 metres (900 yd) long and carries the Cambrian Line. It is the longest timber viaduct in Wales and one of the oldest in regular use in Britain.
Barmouth Bridge was designed by and constructed for the Aberystwith and Welsh Coast Railway on its line between Aberystwyth and Pwllheli. Work was authorised in 1861 and commenced in 1864. On 10 October 1867, the completed bridge was officially opened. Following the discovery of severe corrosion on underwater sections of ironwork, an intensive restoration programme was performed between December 1899 and late 1902. By 1980, the viaduct was under attack by marine woodworm, which led to concerns that it would have to be closed and demolished. Because of its value to tourism, it was repaired between 1985 and 1986, a closure of six months; a weight restriction and ban on locomotive-hauled trains were also introduced. These restrictions have been relaxed since 2005.
The viaduct, between Morfa Mawddach and Barmouth stations in Gwynedd, is used by rail, cyclists, motorcyclists and pedestrians and is part of the National Cycle Route 8. Tolls were collected for foot and cycle traffic up to 2013 but this has been voluntary since 2017. To allow the passage of tall ships, the bridge incorporated a drawbridge, which was replaced between 1899 and 1902 by a swing bridge, which is no longer operational due to a lack of use. There is no provision for road traffic.


Barmouth Bridge crosses the estuary of the Afon Mawddach between Barmouth to the north and Morfa Mawddach near Arthog on the south. It lies within both a Site of Special Scientific Interest and the Snowdonia National Park. The Cambrian Coast Line was operated by Arriva Trains Wales until 2018, and is now operated by Transport for Wales Rail, which provides connecting services north to Pwllheli and east to Machynlleth, Shrewsbury and Birmingham International.
The timber section of the bridge is 699 metres (764 yd) long, and is made up of 113 wooden trestles, each about 5.5 metres (6.0 yd) span, supported by cast iron piers. It is one of the longest timber viaducts standing in Britain, and has been a Grade II* listed structure since its designation on 22 March 1988.
Most of the bridge is built on top of a gravel bed, covered by shifting sand. The northern end of the viaduct, where the swing bridge is located, is next to Figle Fawr, a rock at the base of the Rhinogydd mountains. Water passing through the channel flows at up to 9 knots (17 km/h; 10 mph). The first two spans at this end are built on the rock on cast iron cylindrical piers. The steel swing bridge section, which replaced the original drawbridge, was last opened (for testing) in April 1987. The installation of continuous rail across the movable section now prevents its movement, and the passage of tall ships in and out of the estuary. All mechanisms associated with the swing bridge, however, are left in situ, in accordance with the Grade II* listing of the structure.
The nearest road across the Afon Mawddach is the toll bridge at Penmaenpool about 5 miles (8 km) upstream, which can carry vehicles up to 2.5 tonnes (5,500 lb). Heavier vehicles must use the first public road bridge, at Dolgellau, about 10 miles (16 km) from Barmouth.
Pedestrians, motorcyclists and cyclists and can cross the estuary via the footbridge on the bridge's eastern side. Since 1996, the footbridge has been part of National Cycle Route 8 linking Cardiff and Holyhead. The footbridge is owned by Network Rail, and Gwynedd Council contributes 10 per cent of its annual maintenance cost in exchange for a licence to use it.


A bridge across the Mawddach Estuary at Barmouth was proposed by the Aberystwith and Welsh Coast Railway, which constructed a line between Aberystwyth and Pwllheli. Authorisation for the railway was received in 1861–1862 and the detailed design of the bridge was started.
Barmouth Bridge was designed by the civil engineers Benjamin Piercy and Henry Conybeare in 1864. Conybeare decided on the use of a timber viaduct because it was about four times cheaper to import wood from the Baltic by sea than to construct an iron bridge. The decision was influenced by the incorrect belief that the estuary was free from marine borers, which attack and weaken the timber over time. During this era, timber pile viaducts were commonplace on British coastal railways, although the bridge at Barmouth would be longer than most.
Construction began in 1864; the contractor was Thomas Savin, and the ironwork was produced by John Cochrane & Sons. Early on, progress was hindered by strong tidal currents which caused multiple failed attempts to sink the bridge's piers from barges. Between March and June 1866, staging was built from the northern abutment for the bridge, and the piers were dropped into the water, bedded into the rock, and filled with concrete.
Wooden trestles were built on screw piles 10 inches (250 mm)-14 inches (360 mm) wide with screw discs 36 inches (910 mm) in diameter in groups of three piles per pier. Timber trellis girders, 40 feet (12 m) long and 4 feet (1.2 m) deep, supported the deck, with driven piles as fenders. The water around the trestles had a maximum depth of 54 feet (16 m) at spring tides but the river bed was raised by tipping stones to protect the piles.
The viaduct had a 47 feet (14 m) wooden drawbridge near its northern end allowing tall ships to pass upstream. The drawbridge span, which was carried on top of wrought iron piles, opened by tilting and rolling back over the track on four 4 feet (1.2 m) wheels, spaced 50 feet (15 m) apart, and nine steel rollers. When opened, there was a 36 feet (11 m) gap between the fenders. The drawbridge was never regularly used as the opening of the railway effectively eliminated the need for traditional boat traffic.
From 3 June 1867, the viaduct was opened for horse-drawn carriages to cross, and on 10 October, the bridge was officially opened, and steam-hauled services started using the track.


In 1906–8, the timber portion of the bridge was completely renewed.
In 1946, the bridge was nearly destroyed after a live naval mine was washed ashore close to it during stormy weather. According to reports, the mine had swept past one of the pillars, but did not detonate and the bridge escaped unscathed.
Following the Beeching cuts of the 1960s, passenger train services through Barmouth declined after the closure of the Ruabon to Barmouth line via Llangollen and Dolgellau in 1965, causing all traffic to take the longer and slower route from Shrewsbury via Machynlleth and Dovey Junction. The old trackbed from Morfa Mawddach railway station to Dolgellau now forms the Mawddach Trail, a walking and cycle trail.
By 1980, the bridge's 500 timber trestle piles were under attack from marine woodworm at river bed level and the resulting damage was serious enough to threaten its closure. British Rail divers discovered that woodworm had eaten into 69 of the supporting pillars and estimated that it would cost around £2.5 million to repair. On 13 October 1980, the viaduct was temporarily closed to rail traffic, following which locomotive-hauled trains were banned, which resulted in the loss of traffic from Tywyn, including explosives traffic to and from the factory at Penrhyndeudraeth which was re-routed via Maentwrog Road railway station and the Conwy Valley Line. Gwynedd County Council opposed permanently closing the bridge as 40 per cent of all tourism in the area was rail-related. The government applied for a £2.5 million grant from the European Economic Community (EEC) to finance repairs, and £4.6 million was spent on signalling improvements upon the line. In the 1985–1986, the bridge was closed to traffic again for a seven-month period during the repair works, which entailed replacing 48 of the piles with greenheart hardwood. Others were encased and strengthened with grout and glass-reinforced concrete shrouds. Within the trestles, wailing timbers and diagonals were replaced with Douglas fir timber. Rail services resumed when the viaduct reopened in April 1986.
On 13 April 1986, a British Rail Class 37 diesel locomotive number 37427 was named Bont Y Bermo (Welsh for Barmouth Bridge) to celebrate the reintroduction of locomotive-hauled trains following repairs. Locomotive-hauled trains were forbidden shortly afterwards after weight restrictions were imposed upon all bridge traffic.


A stone castle was built on the site of an earlier defended position from around 1095 to 1125 by Guy de Balliol.  Between 1125 and 1185 his nephew Bernard de Balliol and his son Bernard II extended the building.
In 1216 the castle was besieged by Alexander II, King of Scotland.  It was still held by the Balliol family although its ownership was disputed by the Bishops of Durham. When John Balliol was deposed as King of Scotland in 1296 the castle was passed to the Bishop of Durham.  Around 1300 Edward I granted it to the Earl of Warwick. In the 15th century the castle passed by marriage from Anne Beauchamp, 16th Countess of Warwick to her husband, Richard Neville, 16th Earl of Warwick. In 1477 during the Wars of the Roses, Richard, Duke of Gloucester (later Richard III) took possession of the castle by right of his wife, Anne Neville. It became one of his favourite residences.
During the rebellion of the Earls of Northumberland and Westmorland, in the reign of Elizabeth, the castle, which was then the property of the crown, was garrisoned by Sir George Bowes, of Streatlam. During the Civil War, the castle was besieged by Cromwell, to whom, after a severe cannonading, the garrison surrendered. After frequent grants and reversions, the castle, lands, and appurtenances, were purchased by Sir Henry Vane, an ancestor of the Duke of Cleveland, himself a Viscount Bernard.
Sir Henry Vane the Elder, Member of Parliament and important member of Charles I household, at first his Governor, later his Treasurer, purchased Raby Castle, Barnard Castle and Estate for £18,000. He chose to make Raby his principal home and de-roofed and removed stone from Barnard Castle to repair and maintain Raby.
The castle is in the custody of English Heritage and is open to the public. Of particular interest are the ruins of the 12th-century cylindrical tower and the 14th-century Great hall and Great chamber. It is a Scheduled Ancient Monument, and was designated as a Grade I listed building in 1950. The remains of the medieval chapel of St Margaret in the outer ward are listed as Grade II.


Older forms of the name include Barnbughall, Barbogle, Parnbogalle, and Pronbugele. This comes from the British brinn bugel, meaning 'shepherd's hill', or bar an bugel, 'shepherd's hill top', or alternatively pren bugel, 'shepherd's tree'. All these names likely refer to the high ground which rises immediately behind the shore, which overlook the grazings around the mouth of the Cockle Burn.


Adjacent to the lighthouse is the Barnegat Lighthouse Interpretive Center, run by the state of New Jersey and staffed by Members of the non-profit group that purchased the new light. The center shows the history of Barnegat Lighthouse from shipwreck to first-class seacoast light. Exhibits focus on the history of the lighthouse, lighthouse technology, the duties of Barnegat Lighthouse's keepers, and efforts to protect Barnegat Lighthouse.
Several blocks away is the Barnegat Light Museum, operated by the Barnegat Light Historical Society. It houses the light's original first-order Fresnel lens, as well as related exhibits including images of Sinbad, the WWII Coast Guard dog who was enlisted in the service, retired to Barnegat, and is buried at the base of the old Coast Guard station flagpole.


The 11 chambers of the Barnenez cairn are of the type known as Dolmen à couloir in French archaeological terminology. The term translates roughly as "passage grave". They are built of large slabs of slate and granite. Originally, all the chambers were entirely enclosed by the mound. The fact that several of them are partially exposed now is the result of modern quarrying.
Each of the 11 chambers is reached from the southeast via a long narrow passage (7–12 m long). They are arranged parallel to each other. Shapes and construction techniques differ slightly.
In nine cases, narrow passages lead to corbelled chambers. Normally, the corbel vault rests on orthostats, in one chamber it actually sits on the ground, forming a true tholos. The passages have slab-built or dry stone walls and are covered with slabs. One of the chambers has a dry-stone vaulted ante-chamber.


One cubic metre of the Barnenez cairn contains 1,500 kg of stone. It is estimated that the quarrying, fashioning, transport and construction of such an amount represents about four work days for a single worker (assuming a 10-hour day). The original monument, Cairn 1, had a volume of about 2,000 cubic metres; it is built of 1,000 tons of granite and 3,000 tons of dolerite. It would thus have required 15,000 to 20,000 working days; in other words, it would have taken 200 workers three months to erect Cairn 1 alone. In its final form, the Barnenez mound is nearly three times as big as the first phase.


Engraved symbols occur in several of the chambers and passages. They depict bows, axes, wave symbols or snakes and a repeated U-shaped sign. One of the carved slabs is in secondary use; it was originally part of a different structure, an interesting parallel to the situation in several other such monuments, including Gavrinis.
The symbols on the engraved blocks resemble those found in other megalithic monuments in Brittany; in broader terms they belong to the cultural phenomenon described as megalithic art. One of the recurring symbols is sometimes interpreted as an anthropomorphic depiction (the so-called "Dolmen Goddess").


Barnes Railway Bridge is a Grade II listed railway bridge in the London Borough of Richmond upon Thames and the London Borough of Hounslow. It crosses the River Thames in London in a northwest to southeast direction at Barnes. It carries the South Western Railway's Hounslow Loop Line, and lies between Barnes Bridge and Chiswick stations. It can also be crossed on foot, and is one of only three bridges in London to combine pedestrian and rail use; the others being Hungerford Bridge and Golden Jubilee Bridges and Fulham Railway Bridge.
The original bridge at this location was constructed during the late 1849 in accordance with a design produced by the civil engineer Joseph Locke; this structure, which consisted of two pairs of cast iron arch spans, bore a considerable resemblance to the original Richmond Railway Bridge, which was also designed by Locke. On 22 August 1849, the Barnes Bridge was opened to rail traffic. While Locke's incarnation of Barnes Bridge provided relatively trouble-free service, it has not seen use since the 1890s. During the latter decade of the nineteenth century, there was a scare regarding the suitability of cast iron bridges following the collapse of one such structure. As such, it was decided that a successor to the original Barnes Bridge should be constructed.
During the 1890s, a wider replacement bridge, which was designed by Edward Andrews, was constructed by Head Wrightson on behalf of the London & South Western Railway. This structure, which was built directly alongside its predecessor, comprises three spans of wrought iron bow string girders, which carries a pair of railway tracks across the river. A pedestrian walkway was also added to the bridge at this time. The original Locke span remains standing along the up-stream side of its replacement, but is not used by any traffic. During 1983, Barnes Bridge was given protection as a Grade II listed structure. In the 2010s, the Barnes Bridge has been temporarily closed to pedestrians during the annual Oxford and Cambridge Boat Race to avoid excessive crowding on the structure.


The Neolithic Barnhouse Settlement is sited by the shore of Loch of Harray, Orkney Mainland, Scotland, not far from the Standing Stones of Stenness, about 5 miles north-east of Stromness.
It was discovered in 1984 by Colin Richards. Excavations were conducted between 1986 and 1991, over time revealing the base courses of at least 15 houses. The houses have similarities to those of the early phase of the better-known settlement at Skara Brae in that they have central hearths, beds built against the walls and stone dressers, and internal drains, but differ in that the houses seem to have been free-standing. The settlement dates back to circa 3000 BC.
Pottery of the grooved ware type was found, as at the Stones of Stenness and Skara Brae. Flint and stone tools were found, as well as a piece of pitchstone thought to have come from the Isle of Arran.
The largest of the original buildings was House 2. It was double-sized, featuring a higher building standard than the other houses and unlike the others (rebuilt up to five times) seems to have remained in use throughout the inhabited period of the settlement. The houses were clustered around a central open area which was divided into areas for making pottery and the working of flint, bones and hides. Evidence suggests that Barnhouse was abandoned around 2600 BC.
After Barnhouse ceased to be occupied, another structure was added, partially on top of the earlier building plans. This building (known as Structure 8) had a room about 7 m (23 ft) square with walls 3 m (10 ft) thick and an entrance facing towards the north west so that the midsummer sunset shines along the passageway, with similarities to some chambered cairns. The structure was surrounded by a clay platform. The entrance through this was aligned with Maeshowe. The structure is assumed to have served as a ceremonial site rather than as a dwelling. It is thought to be closely linked with the nearby Stones of Stenness. Some of the hearth slabs from the structure may have been moved to the Stones.
This site is accessible to the public via a footpath from the Standing Stones of Stenness.


The Barnim Plateau is a plateau which is occupied by the northeastern parts of Berlin and the surrounding federal state of Brandenburg in Germany.


The limits of the plateau are easily definable. The southern boundary is marked by the Berlin Valley, through which the River Spree flows. To the west, the boundary between Barnim and the Glien Plateau is marked by a north-south glacial valley. To the north and north east is the boundary with the Eberswald Valley, and in the east, Lubusz Land.


Until the growth of Berlin in the 19th century, Barnim was only sparsely populated; in the eastern portion this continues to be the case. Excluding Berlin, only Bernau and Strausberg are the only settlements with more than 10,000 inhabitants. Werneuchen, Altlandsberg and Biesenthal are among the smaller towns in the area. Several once-independent towns such as Oranienburg and Wriezen, which were once independent towns, were incorporated into Berlin as a result of urban sprawl in the late 19th and early 20th centuries.


There is evidence of settlement in Barnim at the time of the Allerød oscillation. Hunter-gatherers mainly followed the courses of rivers, confirmed by archaeological discoveries north of Berlin. Around 6000 years ago the first permanent agricultural settlements were established. Discoveries of sickles and troughs from the Bronze Age have been discovered in the west of Barnim.
The Germanic Semnones tribe settled in Barnim, and after their migration the Slavic stem of the Sprevane tribe followed in the 6th and 7th centuries and settled near Biesenthal and Wandlitz.


Building of the church began in 1627, in the second year of Prince Miron Barnovschi-Movilă's reign. In the foundation act, he listed himself and his mother, the nun Elisafta, as ktitors. As he left the country in 1629, to return only briefly, completion of the work fell to his executors, Iancu Costin and Matei Gavrilaș. At some point prior to June 1633, Barnovschi asked them to sell his properties in Poland and use the money to finish the church, which he had already placed under control of the Church of the Holy Sepulchre. Prior to departing for Constantinople, where he was beheaded, he also asked that he be buried in Moldavia. Vasile Lupu carried out this wish, but no record was kept of where the burial took place. Paul of Aleppo claimed that Miron was interred in his own church. During archaeological digs in 1998, an arched brick crypt was identified under the floor in the middle of the nave. It is believed that the bones belong to Barnovschi.
When the original roof burned, it was rebuilt by Lupu. It is believed that the church was covered in tiles, but following an 1836 fire that affected large parts of the city, a new roof of tin plates was installed. The church functioned as a monastery for a time, and was the official guesthouse for Orthodox patriarchs visiting Moldavia. Its cells hosted a school taught in Greek. In 1983, during systematization, the annexed buildings were demolished, and apartment blocks were built on the land, up to the church door. Aside from the church, only the bell tower and an adjacent basement remained. Renovation work on the interior and exterior began in 1994.
Barnovschi donated an epitaphios to the church, presumably stitched by his mother. In the middle, the Burial of Jesus is depicted, and there is an inscription in Greek. The prince also asked Metropolitan Varlaam Moțoc to order several icons from Moscow. Although these were painted and paid, they never arrived in Iași, in spite of numerous requests, including to Tsar Michael I. In 1653, Paul of Aleppo saw a painting of Barnovschi astride a while horse. At the time, it was said that at the moment of the latter's execution, a deep crack appeared on the portrait. Paul also reported that the church was made entirely of limestone and had a closed foyer with a dome above; during the 18th century, an open foyer was added in front of this. While researching the church prior to 1885, Melchisedec Ștefănescu saw no inscription, instead finding only a portrait of Miron and his mother in the foyer, holding an image of the church; and a portrait of the prince in the nave. These are the last remnants of the original painting.