In 1937, George and Leo Whitney purchased the Cliff House, to complement their Playland-at-the-Beach attraction nearby, and extensively remodelled it into an American roadhouse. From 1955 to 1966, a "Sky Tram" operated across the Sutro Baths basin, taking up to 25 visitors at a time from Point Lobos, enhanced by an artificial waterfall, to the outer balcony of the Cliff House.
In 1972, upon the closing of Playland, the Musée Mécanique, a museum of 20th-century penny arcade games, was moved into the basement of the Cliff House. In the early 1970s the land-side exterior of the building was decorated with an expansive mural painting depicting crashing waves, painted by artist-musicians (and future members of San Francisco rock band The Tubes) Michael Cotten and Prairie Prince.
The building was acquired by the National Park Service (NPS) in 1977 and became part of the Golden Gate National Recreation Area. In connection with this acquisition, the NPS contracted with Dan and Mary Hountalas as official concessionaires of the property. The NPS renewed its contract with the Hountalas family in 1998, through the family's company, Peanut Wagon, Inc.


In the vestibule and reception rooms are life-size portraits of Napoleon III and Empress Eugenie.


By the late 1850s, Britain and France were locked in an arms race. A new generation of increasingly accurate and powerful guns had been developed (of the Rifled Muzzle Loader (RML) and Rifled Breech Loader (RBL) types), mounted on fast-moving, manoeuvrable steam-powered ironclad warships such as the French La Gloire and the British HMS Warrior. Such vessels posed a serious threat to the important naval installations on the Thames, including the victualling yards at Deptford, the armaments works of Woolwich Arsenal, the shipbuilding yards at North Woolwich, and the magazines at Purfleet. It was not possible for large warships to reach central London, as the river was not yet deep enough to take ships of more than 400 tons above Deptford. However, as the American Civil War was soon to show, it was quite possible for the warships of the day to run past forts and attack up coastal rivers.
By this time Britain's coastal defences had not been substantially upgraded since the Napoleonic Wars. A number of forts built between the 16th and late 18th centuries stood in the area around Tilbury and Gravesend, west of Cliffe Fort, but like many other existing fortifications in Britain they were by now largely obsolete. The government's response was to appoint a Royal Commission on the Defence of the United Kingdom, which published a far-reaching report in 1860. The Royal Commission recommended that a triangle of forts should be established on the lower Thames, east of Gravesend. This would involve replacing the old Coalhouse Fort on the Essex shore with a new fortification, similarly replacing the existing Shornemead Fort and building a wholly new fort at Cliffe, which would replace an 18th-century battery at Lower Hope Point about 2.1 km (1.3 mi) further downriver. The location of the forts would enable interlocking arcs of fire from their guns.


Construction began in March 1970 by John Laing & Son Ltd, with the contract price agreed at £601,268 – with the additional cost of the site and other fees this brought the total cost of the new building to £800,000. Phil Smith, of Felix J Samuely & Partners was the site engineer; IE Symons & Partners were the Quantity Surveyors, with Engineering Design Consultants having a responsibility for the environmental control, and Ken Murray acting as Clerk of Works. The foundation stone, carved by Simon Verity, was laid on 26 September 1970, and beneath the stone was placed a copper time capsule.
In May 1972, the construction came to a sudden halt due to a national building industry strike and did not resume until September that same year. By November 1972 the brick supports for the internal star beam were removed. Parish Priest Monsignor Thomas Hughes, Fr Peter Harrison & Ken Murray carried out the traditional ‘topping out’ ceremony in the Spring of 1973.
The building was completed in May 1973. That same year, on 29 June, the Feast of Saints Peter and Paul, the new cathedral was consecrated and opened. Present were John Cardinal Heenan (Archbishop of Westminster), and twenty-nine bishops from around the United Kingdom, with Bishop Joseph Rudderham (7th bishop of Clifton); civic officials and councillors of Bristol; the Italian and Belgian consuls; the architects; Sir William 'Kirby' Laing (representing John Laing Construction Ltd); the Anglican bishops of Bristol, of Bath and Wells, and of Salisbury. The pro-cathedral was closed and its sale provided fund for the new parish school, SS Peter and Paul on Aberdeen Road, Clifton.
Inscribed into the outside wall of the turret to the right of the Portal of Saint Paul and contained within an equilateral triangle is the symbol ‘√3’ along with the letters PTP. This engraving makes a reference to the architects [Percy Thomas Partnership] and to the controlling mathematical formula used by Ronald Weeks in the design.


The sanctuary space [see Plan & Section], containing the altar, is hexagonal. The weight-bearing star beam supporting the flèche and spire follows the edge of the sanctuary steps. It is 17 m (55 ft) high and pierced with hexagonal holes. On the Sanctuary, symbolically closest to the Baptistery, is the Ambo (or lectern), used for reading the Scriptures. It is covered in fibreglass panels by William Mitchell (similar panels previously covered the three ceremonial doors). The altar [A on Plan], designed by Ronald Weeks, is made of Portland Stone, raised on legs (visible from the side) and contains relics of Pope Pius X (1835–1914) and Oliver Plunkett (1625–1681).  The lighting ensures that the sanctuary area remains the focus of the cathedral.
The bishop's chair or cathedra [C on Plan] is what gives the church the name "cathedral". Rather than a throne, here, it is a simple chair in a tall ash-wood surround bearing the coat of arms of Joseph Rudderham, seventh bishop of Clifton. Flanking the cathedra are rows of seating, in ash with Robin Day chairs, for the choir (right) and clergy (left). Symbolically, the congregation and clergy sit on the same chairs, indicating that all are equal before God.


It is unknown when the first bridge was constructed across the Avon in Bristol, but the first stone bridge, Bristol Bridge, was built in the 13th century. It had houses with shopfronts built on it to pay for its maintenance. A 17th-century illustration shows that these bridge houses were five storeys high, including the attic rooms, and that they overhung the river much as Tudor houses would overhang the street. In the 1760s a bill to replace the bridge was carried through parliament by the Bristol MP Sir Jarrit Smyth. By the early 18th century, increase in traffic and the encroachment of shops on the roadway made the bridge fatally dangerous for many pedestrians. A new bridge, designed by James Bridges and finished by Thomas Paty was built in 1769 and 1776. Resentment at the tolls exacted to cross the new bridge occasioned the Bristol Bridge Riot of 1793. Other crossings were considered, but were restricted by Admiralty rules that stipulated that any bridge had to be at least 100 feet (30 m) above the water to allow the passage of tall-masted warships to Bristol Harbour. To achieve this, any bridge constructed between Bristol Bridge and Avon Gorge, from Hotwells to Ashton Gate, would require massive embankments and viaducts. The alternative was to build across the narrowest point of the Avon Gorge, well above the height required for shipping.
In 1753 Bristolian merchant William Vick had left a bequest in his will of £1,000 (equivalent to £160,000 in 2021), invested with instructions that when the interest had accumulated to £10,000 (£1,620,000), it should be used for the purpose of building a stone bridge between Clifton Down (which was in Gloucestershire, outside the City of Bristol, until the 1830s) and Leigh Woods in Somerset. Although there was little development in the area before the late 18th century, as Bristol became more prosperous, Clifton became fashionable and more wealthy merchants moved to the area. In 1793 William Bridges published plans for a stone arch with abutments containing factories, which would pay for the upkeep of the bridge. The French Revolutionary Wars broke out soon after the design was published, affecting trade and commerce, so the plans were shelved. In 1811 Sarah Guppy patented a design for a suspension bridge across the gorge but this was never realised and was not submitted to the later competition.
By 1829, Vick's bequest had reached £8,000, but it was estimated that a stone bridge would cost over ten times that. A competition was held to find a design for the bridge with a prize of 100 guineas. Entries were received from 22 designers, including Samuel Brown, James Meadows Rendel, William Tierney Clark and William Hazledine. Several were for stone bridges and had estimated costs of between £30,000 and £93,000. Brunel submitted four entries. The judging committee rejected 17 of the 22 plans submitted, on the grounds of appearance or cost. They then called in Scottish civil engineer Thomas Telford to make a final selection from the five remaining entries. Telford rejected all the remaining designs, arguing that 577 feet (176 m) was the maximum possible span. Telford was then asked to produce a design himself, which he did, proposing a 110-foot-wide (34 m) suspension bridge, supported on tall Gothic towers, costing £52,000.
The Bridge Committee which had been set up to look at the designs sponsored the Clifton Bridge Bill which became an Act when the Bill received the Royal Assent on 29 May 1830. The Act appointed three Trustees to carry through the purposes of the Act, with powers to appoint more up to a total not exceeding thirty five or less than twenty. The three Trustees named in the Act were the Master of the Society of Merchant Venturers, the Senior Sheriff of the City and County of Bristol and Thomas Daniel. The Act allowed a wrought iron suspension bridge to be built instead of stone, and tolls levied to recoup the cost.
The three Trustees named in the Act met on 17 June 1830 and appointed further Trustees, bringing the total up to 23. There were additions to this number in the weeks which followed, so by early July 1830 there were 31 in all, although not everyone had been formally sworn in by that date. Others included Thomas Durbin Brice, Master of the Society of Merchant Venturers, George Daubeny, John Cave, John Scandrett Harford, George Hilhouse, Henry Bush, and Richard Guppy.
The first full meeting of the Trustees was held on 22 June 1830 in the Merchants Hall in Bristol. Alderman Thomas Daniel was in the chair. 86 people had committed £17,350, an average of just over £200 each.
These funds raised during the first few months of 1830 were not sufficient for the construction. Despite this Brunel produced a new proposal costing £10,000 less than Telford's design and gained support for it in the local press. James Meadows Rendel, William Armstrong and William Hill also submitted new, cheaper proposals, complaining that the committee had not set a budget. In 1831 a second competition was held, with new judges including Davies Gilbert and John Seaward examining the engineering qualities of the proposals. Thirteen designs were submitted; Telford's was the only one in which the chains achieved the weight per square inch required by the judges but it was rejected as being too expensive. The winner was declared to be a design by Smith and Hawkes of the Eagle Foundry in Birmingham. Brunel had a personal meeting with Gilbert and persuaded him to change the decision. The committee then declared Brunel the winner and he was awarded a contract as project engineer. The winning design was for a suspension bridge with fashionably Egyptian-influenced towers. In 2010, newly discovered letters and documents revealed that, in producing his design, Brunel hadn't taken advice from his father, Sir Marc Isambard Brunel, who had offered to help. The elder Brunel had recommended including a central support for the bridge, as he did not believe a single-span bridge of such length could be constructed. His son chose to ignore his advice.


A ceremony to mark the start of the construction works was held Monday 20 June 1831. Work started on blasting of St. Vincent's Rock, on the Clifton side of the gorge. Four months later work was halted by the Bristol riots, which took place after the House of Lords rejected the second Reform Bill, which aimed to eliminate some of the rotten boroughs and give parliamentary seats to Britain's fast growing industrial towns such as Bristol. Five to six hundred young men were involved in the riots and Brunel was sworn in as a special constable. The riots severely dented commercial confidence in Bristol; subscriptions to the bridge company ceased, and along with it, further construction of the bridge.
After the passing of the Act for the Great Western Railway reestablished financial confidence, work resumed in 1836, but subsequent investment proved woefully inadequate. Despite the main contractors going bankrupt in 1837, the towers were built in unfinished stone. To enable the transfer of materials, a 1,000-foot-long (300 m) iron bar, which was 1.25 inches (32 mm) in diameter, had been drawn by capstan across the gorge. A contract was placed with Dowlais Ironworks to supply 600 tons of bar iron, which was to be transported to the Copperhouse foundry to be forged into bar chains. By 1843 funds were exhausted and another £30,000 was needed. As the work had exceeded the time limit stated in the Act, all work stopped. Brunel suggested building a deep water pier at Portbury, which would make the bridge an essential road link, but funds for this scheme were not forthcoming. In 1851, the ironwork was sold and used to build the Brunel-designed Royal Albert Bridge on the railway between Plymouth and Saltash. The towers remained and during the 1850s intrepid passengers could cross the gorge in a basket slung from the iron bar.
Brunel died in 1859, without seeing the completion of the bridge. His colleagues in the Institution of Civil Engineers felt that completion of the Bridge would be a fitting memorial, and started to raise new funds. In 1860, Brunel's Hungerford suspension bridge over the Thames in London was demolished to make way for a new railway bridge to Charing Cross railway station. Its chains were purchased for use at Clifton.
A revised design was made by William Henry Barlow and Sir John Hawkshaw, with a wider, higher and sturdier deck than Brunel intended, with triple chains instead of double.
It has been argued that the size and technology of these revisions was so great that the credit for its design should go to Barlow and Hawkshaw. The towers remained in rough stone, rather than being finished in the Egyptian style. Work on the bridge was restarted in 1862. Initially a temporary bridge was created by pulling ropes across the gorge and making a footway of wire ropes with wood planks held together with iron hoops. This was used by the workers to move a "traveller", consisting of a light frame on wheels, to transport each link individually, which would eventually make up the chains supporting the bridge. The chains are anchored in tapering tunnels, 25 metres (82 ft) long, on either side of the bridge and plugs of Staffordshire blue brick infilled to prevent the chains being pulled out of the narrower tunnel mouth. After completion of the chains, vertical suspension rods were hung from the links in the chains and large girders hung from these. The girders on either side then support the deck, which is 3 feet (0.91 m) higher at the Clifton end than at Leigh Woods so that it gives the impression of being horizontal. The strength of the structure was tested by spreading 500 tons of stone over the bridge. This caused it to sag by 7 inches (180 mm), but within the expected tolerances. During this time a tunnel was driven through the rocks on the Leigh Woods side beneath the bridge to carry the Bristol Port Railway to Avonmouth. The construction work was completed in 1864–111 years after a bridge at the site was first planned.


Clinton Street Theater offers: "a mixture of grindhouse, music films, political documentaries and experimental films". The theater has become known for its weekly screenings of Rocky Horror and Repo! The Genetic Opera, and for its annual Filmed by Bike festival, which began in 2003 and features: "bike-themed independent short movies from around the world." Rocky Horror screenings began in 1978, marking one of the longest-running showings of the film. The theater also hosts the Faux Film Festival, offering cult and independent film showings, and the Portland Queer Documentary Film Festival.
To celebrate the 40th anniversary of the Portland Trail Blazers, in 2009 the theater screened the 1978 rare and out of circulation documentary Fast Break about the team's 1976–77 championship season. In 2010 the Clinton hosted the Three-Minute Picture Show, which featured screenings of three-minute films by first-time filmmakers. The venue has also hosted benefit events, such as "Can't Stop the Serenity" (presented by PDX Browncoats), which included showings of the film Serenity among other features to benefit Equality Now and the Oregon Food Bank. Other hosted events have included the Portland Underground Film Festival, comedy shows, commemorations for holidays such as Martin Luther King Jr. Day, and lectures on film making.
Many celebrities have appeared at the theater to promote films, including Crispin Glover in 2008, and Bill Plympton and Tom Shadyac in 2011. Chuck Palahniuk, Tom Potter and Gus Van Sant have also appeared at the theater.


The inner bailey probably also contained the great hall. A document dated 1324 refers to the rebuilding of a structure, which given the large quantities of material and labour required, would have been on an appropriate scale. The materials included 30 wagon-loads of timber from Bowland with a further 12 loads from Leagram Park and 45 wagon loads of stone slates for the roof. The work took five carpenters over 17 weeks to complete.
The Hundred court was held here, with the steward of the honour acting as judge, originally every three weeks. At some time probably in the 12th century this changed to twice a year, with the three-week court continuing but being limited to claims less than 40 shillings. The demesne manors instead held halmote courts, with those for Chatburn, Worston and Pendleton also being held at the castle.


The Clitunno, in Antiquity the Clitumnus, is a river in Umbria, Italy. The name is of uncertain origin, but it was also borne by the river god. The Clitunno rises at 42°49.5′N 12°46′E from a spring within a dozen metres of the ancient Via Flaminia near the town of Campello sul Clitunno between Spoleto and Trevi.
The spring was well described by Pliny the Younger, and it was visited by Caligula and by the emperor Honorius. It was also celebrated as a great beauty spot by Byron and Giosuè Carducci; in the 19th century it was planted with willows, and zealously monitored for pollution. It is open today as a paying tourist attraction.
The Clitunno then flows, generally north, through the east Umbrian plain, past the Temple of Clitumnus and the towns of Pissignano, Cannaiola and Trevi, to join the Timia, a tributary of the Topino, near Bevagna. Though its current is usually sluggish, it is subject, like many other rivers in the east Umbrian plain, to sudden flooding. It was only tamed completely in the 19th century, and is largely banked by levees.
The Temple of Clitumnus, later a church, lies on its bank.


The Clock Tower (sometimes called the Jubilee Clock Tower) is a free-standing clock tower in the centre of Brighton, part of the English city of Brighton and Hove. Built in 1888 in commemoration of Queen Victoria's Golden Jubilee, the distinctive structure included innovative structural features and became a landmark in the popular and fashionable seaside resort. The city's residents "retain a nostalgic affection" for it, even though opinion is sharply divided as to the tower's architectural merit. English Heritage has listed the clock tower at Grade II for its architectural and historical importance.


In 1516 at aged 64 Leonardo da Vinci left Rome and traveled through Italy, armed with his sketchbooks and 3 of his most famous paintings: Mona Lisa, The Virgin and Child, with St. Anne and St. John the Baptist. They are now conserved in the Musée du Louvre, Paris. His disciples Francesco Melzi and Salaì followed him throughout his travels, as did his servant, Batista of Vilanis.
Benvenuto Cellini wrote that king Francis I gave Leonardo da Vinci a pension of 700 gold ecus, as well as buying his artwork allowing him to live and work in the Clos Lucé. Leonardo da Vinci was appointed ‘The first painter, engineer and architect of the King’.
Leonardo da Vinci was enthusiastic and productive during his years at the Clos Lucé. He worked on numerous projects, organized feasts for the court of Amboise, and even drew the famous “Double Spiral Staircase” of the Château de Chambord. He also spent time on other projects, one of them consisting of designing the perfect city of Romorantin. In this, Leornardo Da Vinci wanted to dig a canal to connect two rivers allowing easier trade. He is still considered as one of the most renowned artists of his time.
On the 10 October 1517, he was visited by the Cardinal Luigi d’Aragona, who was so impressed by his artwork that he described them in his Itinerario, as “rare perfection”. These include his three most famous pieces of work : The Mona Lisa, The Virgin and Child, with St. Anne and St John the Baptist.
Leonardo organized a feast in the Château du Clos Lucé on the 19 June 1518, to thank The French King Francis I for his multiple gifts and generosity.
There were a lot of similarities with the feast that Leonardo organised in Milan on the 13 January 1490 (Festa del paradisio, play of Bernardo Bellincioni): there was a complex machinery to impress the guests, which referred to the movements of the celestial bodies thanks to a blue canvas which symbolized the heavens where ran planets, stars, the Sun, the Moon and the twelve zodiac signs.
Despite the rumors that he would die in the king's arms Leonardo da Vinci passed away in his room at the Clos Lucé on the 2 May 1519. He left his books, drawings, sketches and manuscripts to his beloved apprentice, Francesco Melzi.


Cloudland Canyon was designated a state park in 1939 when the state began acquiring land from private owners. Three of these owners, from the Mathews, McCauley and McKaig families, still reside in the area.  Expansion of the park continues sporadically as new land is purchased for it. The park was originally 1,924 acres (7.8 km²), and has been expanded to its present size of 3,485 acres (14.1 km²).
Until 1939 the only access to the area (and much of Dade County, Georgia) was through Tennessee or Alabama. That year Georgia began work on Highway 136 to connect U.S. 41 to the recently established park. The Civilian Conservation Corps did much of the early work to construct the state park and access roads.


Club Passim is an American folk music club in the Harvard Square area of Cambridge, Massachusetts. It was opened by Joyce Kalina (now Chopra) and Paula Kelley in 1958, when it was known as Club 47 (based on its then address, 47 Mount Auburn Street, also in Cambridge; it moved to its present location on Palmer Street in 1963), and changed its name to simply Passim in 1969.  The Donlins who ran the club during the 1970s pronounced the name PASSim. Bob Donlin said this pronunciation as he welcomed people to the shows with the always-out-of-adjustment mic stand microphone, but those who were unaware often said PassEEM. It adopted the present name in 1994; a combination of the earlier two names. In 1994 the venue also became a non-profit.
At its inception, it was mainly a jazz and blues club, but soon branched out to include ethnic folk, then singer-songwriter folk. Artists who have performed there include Joan Baez, Shawn Colvin, Bob Dylan, Tom Rush, Joni Mitchell, Suzanne Vega, Muddy Waters, Jimmy Buffett, John Mayer, Matt Nathanson, and Brian Webb. At times the Club was a place for blues musicians like Paul Butterfield and Elvin Bishop to play as well.
In the 1960s, the club (when known as Club 47) played a role in the rise of folk-rock music, when it began to book folk-rock bands whose music was unrelated to traditional folk, such as the Lovin' Spoonful. The club's importance to the 1960s Cambridge folk scene is documented extensively in Eric Von Schmidt's Baby, Let Me Follow You Down: The Illustrated Story of the Cambridge Folk Years. Scott Alarik described Club 47 as being "the hangout of choice for the new folkies" during that time.
Today there is a Passim School of Music program, which offers workshops and classes to teens and adults.


The Club de la Unión is a non-profit Peruvian civil association which was founded on October 10, 1868. Its founders include such notable historical figures such as admiral Miguel Grau, colonel Alfonso Ugarte, and colonel Francisco Bolognesi, many of which would later go on to serve in the Peruvian military during the War of the Pacific.


The Clyde Arc (known locally as the Squinty Bridge) is a road bridge spanning the River Clyde in Glasgow, Scotland, connecting Finnieston near the Clyde Auditorium and SEC with Pacific Quay and Glasgow Science Centre in Govan. Prominent features of the bridge are its innovative curved design, and that it crosses the river at an angle. The Arc is the first city centre traffic crossing over the river built since the Kingston Bridge was opened to traffic in 1970.
The bridge was named the "Clyde Arc" upon its official opening on 18 September 2006. It had been previously known as the "Finnieston Bridge", or the "Squinty Bridge".


WikiWeb_Co-cathedral of Christ the King, Belgrade_4

The interior of the Co-cathedral of Christ the King has three naves covered with a barrel vault. Along them, above the band in white Carrara marble, are wooden Stations of the Cross and stained-glass windows with scenes from the life of Jesus and Mary. At the bottom of two side aisles is the transept, which ends with two semicircular apses protruding slightly. In it are altars dedicated to St. Joseph (right altar) and Our Lady of Lourdes (left altar), also used for the custody of the Blessed Sacrament. The presbytery has fully restored to its present post-conciliar 1960s, led by the architect Augustus Ranoki. Along the central axis, are the main altar and the marble bishop's throne. The apse is decorated with a modern mosaic depicting "Christ the King."


Before the Coal Exchange was built in Mount Stuart Square, the area was a residential square with a central garden. It was taken over by commerce as the city grew in prosperity. Built to provide a dedicated location for merchants and traders to sell coal, it followed construction of buildings of a similar function in London, Liverpool and Manchester. Prior to its construction, coal merchants used to chalk up the changing prices of coal on slates outside their offices or struck deals in the local public houses. It was built and opened in stages, the central trading hall and east block completed first. The trading hall was a large central space around which suites of offices were located.  The London and Provincial Banking Company occupied the majority of the north side.
As Cardiff became the biggest coal port in the world, the building was constructed between 1884 and 1888 by Edwin Seward as a base from which to conduct trade negotiations regarding the coal mines of the South Wales Valleys – most of which was shipped to Cardiff for distribution.
The building played an important role in the industrial Cardiff of the 19th century.  Paired Corinthian columns, an oak balcony, and rich wood panelling adorn the trading hall, which was reconstructed by Edwin Seward in 1911.
Following its opening, coal owners, ship owners and their agents met daily on the floor of the trading hall where agreements were made by word of mouth and telephone. During the peak trading hour of midday to one o'clock, the floor might have as many as 200 men gesticulating and shouting. It was estimated that up to 10,000 people would pass in and out of the building each day. At one time the price of the world's coal was determined here. It was at the Coal Exchange that the first ever £1,000,000 deal was agreed in 1904. The building interior was lavishly refurbished in 1912 by Edwin Seward, and reopened as the ‘New Exchange Building’. In 1915, an extension was added to the southern section, connected to the trading hall.


In 1988 the building was re-acquired and subsequently completely refurbished in 2001 to turn it into a major venue. The venue hosted acts such as the Arctic Monkeys, Manic Street Preachers, Ocean Colour Scene, Stereophonics, Van Morrison and Biffy Clyro.
The Coal Exchange closed on 7 August 2013 as a result of building safety issues. With the subsequent liquidation of the company which owned it in 2014, ownership of the Coal Exchange passed to the Crown Estate. It then became the subject of efforts to preserve the historic fabric of the building by the not-for-profit organisation Save the Coal Exchange Limited. In February 2015, Welsh Government Economy Minister Edwina Hart commissioned a feasibility study into future re-use of the building. In May 2015 it was confirmed that the exchange would be used for filming of the remake of The Crow.  In 2016, filmmaker Nick Broomfield visited the building as part of his documentary Going Going Gone, which investigated the deterioration and heritage of the Coal Exchange.


In 2016 it was announced that the building was to be fully refurbished as a hotel by private company Signature Living, with a museum detailing the history of the building and of the Cardiff Docks. The proposal received some opposition, including from the Victorian Society and MP Stephen Doughty. Cardiff council granted planning permission in July 2016.  In June 2017, the BBC broadcast a documentary entitled Saving The Coal Exchange, which looked at the development of the building into a hotel. As part of the phased restoration programme, rooms were opened as works were completed. The first 30 rooms of the hotel opened in May 2017. This was followed by a further 30 rooms in both June and September 2017, bringing the total to 50.


Coal Exchange is served by Cardiff Bay railway station and Cardiff Bus service 7, 8, 35, and Baycar.


Coal Harbour is used to designate the relatively new official neighbourhood of the City of Vancouver bounded by roughly Burrard Street and Pender near the Financial District to West Georgia Street near the West End in the south to Stanley Park in the north. The neighbourhood consists of numerous high-rise residential apartment and condominium towers with luxury townhome podiums.


The northwestern section near Stanley Park features picturesque parkland, private marinas, several rowing and boating clubs, high-end shops and restaurants, and a community centre designed by architect Gregory Henriquez.  To the east is Deadman's Island, the site of the naval station and museum HMCS Discovery, where the harbour itself opens up to the Burrard Inlet. Towards the Financial District in the southeast, the neighbourhood is dominated by high-rise office buildings, hotels and numerous apartment towers. Immediately south lies Vancouver's Luxury Zone along Alberni Street.
Coal Harbour is home to Vancouver Harbour Water Aerodrome, located a few blocks from Canada Place and the Vancouver Convention Centre. Within the harbour is a floating gas station for marine vessels. The 2010 Winter Olympics cauldron is installed at Jack Poole Plaza.
The six floating homes in Coal Harbour, along with the twelve across town in False Creek are the only legal floating homes within the city of Vancouver.


Coalhouse Fort is an artillery fort in the eastern English county of Essex. It was built in the 1860s to guard the lower Thames from seaborne attack. It stands at Coalhouse Point on the north bank of the river, at a location near East Tilbury which was vulnerable to raiders and invaders. It was the last in a series of fortifications dating back to the 15th century and was the direct successor to a smaller mid-19th century fort built on the same site. Constructed during a period of tension with France, its location on marshy ground caused problems from the start and led to a lengthy construction process. The fort was equipped with a variety of large-calibre artillery guns and the most modern defensive facilities of the time, including shell-proof casemates protected by granite facing and cast-iron shields. Its lengthy construction and the rapid pace of artillery development at the time meant that it was practically obsolete for its original purpose within a few years of its completion.
The fort's armament was revised several times during its 70 years of military use, as its role evolved in the river's defensive system. It was initially a front-line fortification, supported by Shornemead Fort and Cliffe Fort located to the south and east respectively on the Kent shore. Over time, as batteries and forts further downriver became the front line of the Thames defences, Coalhouse Fort was stripped of its main weapons and it was altered to support smaller quick-firing guns intended to be used against fast-moving surface and aerial targets. Its last military use was as a training facility for a few years after the Second World War.
Decommissioned in 1949, the fort was used as a storehouse for a shoe factory before it was purchased by the local council. The surrounding land was developed into a public park, but the fort itself fell into dereliction despite its historical and architectural significance. From 1985 it was leased to a voluntary preservation group, the Coalhouse Fort Project, which had been working to restore the fort and use it for heritage and educational purposes. Funding for its restoration was provided in part by the Heritage Lottery Fund and the Warner Bros. film studio, which used the fort as a location for the opening scenes of the 2005 film Batman Begins.  The group closed in 2020.


The area has Mesolithic, Neolithic, Bronze Age, Iron Age, Romano-British and Medieval history that spans a period of 7000 years or more.
The oldest known ancient monuments nearby are the scheduled Day House Lane stone circle and the Bronze Age burial mounds along the lane, one of which is also scheduled. Further Middle Bronze Age cremations, a possible pond barrow, and two large ring ditches have been found on the opposite side of the small Day Brook valley. A large, regionally significant Mesolithic flint scatter, with some topologically late artifacts, is also present c.150m south west of Coate Stone Circle. Six stone circles were recorded in the 18th/19th and early 20th centuries, all in the Coate area, and possibly linked, at least in part, by avenues of large sarsen stones. The remains of one of the stone circles probably still lies at the bottom of Coate Water.
Other relevant archaeology listed on the Wiltshire and Swindon Historic Environment Records includes the Coate Mound, excavated with very little record in the earlier 20th century, which is spatially associated with the Mesolithic artifact scatter. Other ancient finds and sites occur in the area south to Badbury Wick, and across the Day Brook valley, in later periods. This includes obscure Neolithic activity, Middle Bronze Age farming, a Mid-late Bronze Age enclosed settlement at Badbury Wick, unenclosed Middle Iron Age buildings, a small Roman settlement, and a deserted medieval village.


The Coffin Stone, also known as the Coffin and the Table Stone, is a large sarsen stone at the foot of Blue Bell Hill near Aylesford in the south-eastern English county of Kent. Now lying horizontally, the stone probably once stood upright nearby. Various archaeologists have argued that the stone was part of a now-destroyed chambered long barrow constructed in the fourth millennium BCE, during Britain's Early Neolithic period.
If a chambered long barrow did indeed previously exist on the site, it would have been built by pastoralist communities shortly after the introduction of agriculture to Britain from continental Europe. Long-barrow building was an architectural tradition widespread across Neolithic Europe. It consisted of various localized regional variants; one of these was in the vicinity of the River Medway, examples of which are now known as the Medway Megaliths. The Coffin Stone lies on the eastern side of the river, not far from the chambered long barrows of Little Kit's Coty House, Kit's Coty House, and the (now destroyed) Smythe's Megalith. Three other examples, the Coldrum Long Barrow, Addington Long Barrow, and Chestnuts Long Barrow, remain on the western side of the river.
The Coffin Stone is a rectangular slab lying flat that measures 4.42 metres (14 ft 6 in) in length, 2.59 metres (8 ft 6 in) in breadth, and about 0.61 metres (2 ft) in width. Two smaller stones lie nearby and another large slab is now located atop it. In the 1830s it was reported that local farmers found human bones near the stone. An archaeological excavation of the site led by Paul Garwood took place in 2008–09; it found that the megalith was placed in its present location only in the 15th or 16th centuries. The archaeologists found no evidence of a chambered long barrow at the location, and suggested that the Coffin Stone might once have stood upright in the vicinity.


It was known to the Romans before 118 BC, when Gnaeus Domitius Ahenobarbus started construction of the Via Domitia road, which terminated at the pass. Pompey used it on his campaign to Spain in 77 BC and claimed to have opened up a more favorable route. It was later used by Julius Caesar in travelling to Gaul and then became the main route for travel between Roman Italy and southern Gaul or Spain.
The Col de Montgenèvre is considered a possible route for Hannibal's famous passage through the Alps on his journey from the Rhône river valley to Italy.
Through this pass, Charles VIII of France led his army in September 1494 on his way to capture the Kingdom of Naples, which would spark 65 years of intermittent warfare up and down the Italian Peninsula, later known as the Italian Wars.
The strategic importance of the pass, the lowest over this part of the Alps, caused several forts to be built, such as Briançon and Fort Janus.


Col de la Bonette (el. 2,715 metres (8,907 ft)) is a high mountain pass in the French Alps, near the border with Italy. It is situated within the Mercantour National Park on the border of the departments of Alpes-Maritimes and Alpes-de-Haute-Provence. The road over the col is the seventh highest paved road in the Alps.


The Gateway of India, the art deco style Regal Theatre, the cafes (Café Mondegar, Cafe Royal and Leopold Cafe), and the Taj Mahal Palace & Tower, Royal Bombay Yacht Club, Bademiya Restaurant and Bagdadi restaurant, as well as a number of modern pubs, restaurants and clubs all add to the atmosphere. The southern tip is occupied by a military cantonment, including the large Navy Nagar layout built on reclaimed land known as Holiday Camp. The older parts of the cantonment retains its large, wooded spaces and is the only bit of green left in this otherwise congested area. In the midst of Navy Nagar lies the Tata Institute of Fundamental Research (TIFR), one of India's leading scientific institutions. Colaba is renowned for high-end boutiques and imitation consumer goods, and is popular with tourists. Notable residents include Ratan Tata, Anil Ambani, and Ravi Shastri. Colaba Causeway, or just "Causeway" as it is known in Mumbai, offers everything from bracelets to perfumes to clothes to watches, clocks, DVDs and CDs. It has an old English charm and a very modern feel as well. Colaba is also the art center of Mumbai, with all the major galleries and museums located in and around this area.  Even today, in 2020, the government has managed to preserve most of its colonial-era architectures.
Colaba is home to the Cooperage Football Ground.


The Coldrum Long Barrow, also known as the Coldrum Stones and the Adscombe Stones, is a chambered long barrow located near the village of Trottiscliffe in the south-eastern English county of Kent. Probably constructed in the fourth millennium BCE, during Britain's Early Neolithic period, today it survives only in a state of ruin.
Archaeologists have established that the monument was built by pastoralist communities shortly after the introduction of agriculture to Britain from continental Europe. Part of an architectural tradition of long barrow building that was widespread across Neolithic Europe, the Coldrum Stones belong to a localised regional variant of barrows produced in the vicinity of the River Medway, now known as the Medway Megaliths. Of these, it is in the best surviving condition. It lies near to both Addington Long Barrow and Chestnuts Long Barrow on the western side of the river. Two further surviving long barrows, Kit's Coty House and Little Kit's Coty House, as well as possible survivals such as the Coffin Stone and White Horse Stone, are located on the Medway's eastern side.
Built out of earth and around fifty local sarsen-stone megaliths, the long barrow consisted of a sub-rectangular earthen tumulus enclosed by kerb-stones. Within the eastern end of the tumulus was a stone chamber, into which human remains were deposited on at least two separate occasions during the Early Neolithic. Osteoarchaeological analysis of these remains has shown them to be those of at least seventeen individuals, a mixture of men, women, and children. At least one of the bodies had been dismembered before burial, potentially reflecting a funerary tradition of excarnation and secondary burial. As with other barrows, Coldrum has been interpreted as a tomb to house the remains of the dead, perhaps as part of a belief system involving ancestor veneration, although archaeologists have suggested that it may also have had further religious, ritual, and cultural connotations and uses.
After the Early Neolithic, the long barrow fell into a state of ruined dilapidation, perhaps experiencing deliberate destruction in the Late Medieval period, either by Christian iconoclasts or treasure hunters. In local folklore, the site became associated with the burial of a prince and the countless stones motif. The ruin attracted the interest of antiquarians in the 19th century, while archaeological excavation took place in the early 20th. In 1926, ownership was transferred to heritage charity The National Trust. Open without charge to visitors all year around, the stones are the site of a rag tree, a May Day morris dance, and various modern Pagan rituals.


Across Western Europe, the Early Neolithic marked the first period in which humans built monumental structures in the landscape. These structures included chambered long barrows, rectangular or oval earthen tumuli which had a chamber built into one end. Some of these chambers were constructed out of timber, while others were built using large stones, now known as "megaliths". These long barrows often served as tombs, housing the physical remains of the dead within their chamber. Individuals were rarely buried alone in the Early Neolithic, instead being interred in collective burials with other members of their community. These chambered tombs were built all along the Western European seaboard during the Early Neolithic, from southeastern Spain up to southern Sweden, taking in most of the British Isles; the architectural tradition was introduced to Britain from continental Europe in the first half of the fourth millennium BCE. Although there are stone buildings—like Göbekli Tepe in modern Turkey—which predate them, the chambered long barrows constitute humanity's first widespread tradition of construction using stone.
Although now all in a ruinous state and not retaining their original appearance, at the time of construction the Medway Megaliths would have been some of the largest and most visually imposing Early Neolithic funerary monuments in Britain. Grouped along the River Medway as it cuts through the North Downs, they constitute the most southeasterly group of megalithic monuments in the British Isles, and the only megalithic group in eastern England. The archaeologists Brian Philp and Mike Dutto deemed the Medway Megaliths to be "some of the most interesting and well known" archaeological sites in Kent, while the archaeologist Paul Ashbee described them as "the most grandiose and impressive structures of their kind in southern England".
The Medway Megaliths can be divided into two separate clusters: one to the west of the River Medway and the other on Blue Bell Hill to the east, with the distance between the two clusters measuring at between 8 kilometres (5.0 mi) and 10 kilometres (6.2 mi). The western group includes Coldrum Long Barrow, Addington Long Barrow, and the Chestnuts Long Barrow. The eastern group consists of Smythe's Megalith, Kit's Coty House, and Little Kit's Coty House, while various stones on the eastern side of the river, most notably the Coffin Stone and White Horse Stone, may also have been parts of such structures. It is not known if they were all built at the same time, or whether they were constructed in succession, while similarly it is not known if they each served the same function or whether there was a hierarchy in their usage.
The Medway long barrows all conformed to the same general design plan, and are all aligned on an east to west axis. Each had a stone chamber at the eastern end of the mound, and they each probably had a stone facade flanking the entrance. They had internal heights of up to 3.0 metres (10 feet), making them taller than most other chambered long barrows in Britain. The chambers were constructed from sarsen, a dense, hard, and durable stone that occurs naturally throughout Kent, having formed out of sand from the Eocene epoch. Early Neolithic builders would have selected blocks from the local area, and then transported them to the site of the monument to be erected.
These common architectural features among the Medway Megaliths indicate a strong regional cohesion with no direct parallels elsewhere in the British Isles. Nevertheless, as with other regional groupings of Early Neolithic long barrows—such as the Cotswold-Severn group in south-western Britain—there are also various idiosyncrasies in the different monuments, such as Coldrum's rectilinear shape, the Chestnut Long Barrow's facade, and the long, thin mounds at Addington and Kit's Coty. These variations might have been caused by the tombs being altered and adapted over the course of their use; in this scenario, the monuments would be composite structures.
The people who built these monuments were probably influenced by pre-existing tomb-shrines that they were already aware of. Whether those people had grown up locally, or moved into the Medway area from elsewhere is not known. Based on a stylistic analysis of their architectural designs, the archaeologist Stuart Piggott thought that the plan behind the Medway Megaliths had originated in the area around the Low Countries, while fellow archaeologist Glyn Daniel instead believed that the same evidence showed an influence from Scandinavia. John H. Evans instead suggested an origin in Germany, and Ronald F. Jessup thought that their origins could be seen in the Cotswold-Severn megalithic group. Ashbee noted that their close clustering in the same area was reminiscent of the megalithic tomb-shrine traditions of continental Northern Europe, and emphasised that the Medway Megaliths were a regional manifestation of a tradition widespread across Early Neolithic Europe. He nevertheless stressed that a precise place of origin was "impossible to indicate" with the available evidence.


In a 1946 paper, the folklorist John H. Evans recorded the existence of a local folk belief that a battle was fought at the site of the Coldrum Stones, and that a "Black Prince" was buried within its chamber. He suggested that the tales of battles taking place at this site and at other Medway Megaliths had not developed independently among the local population but had "percolated down from the theories of antiquaries" who believed that the fifth-century Battle of Aylesford, which was recorded in the ninth-century Anglo-Saxon Chronicle, took place in the area.
Evans also recorded a local folk belief applied to all the Medway Megaliths and which had been widespread "up to the last generation"; this was that it was impossible for anyone to successfully count the number of stones in the monuments. This "countless stones" motif is not unique to the Medway region, and can be found at various other megalithic monuments in Britain. The earliest textual evidence for it is found in an early 16th-century document, where it applies to the stone circle of Stonehenge in Wiltshire, although in an early 17th-century document it was applied to The Hurlers, a set of three stone circles in Cornwall. Later records reveal that it had gained widespread distribution in England, as well as a single occurrence each in Wales and Ireland. The folklorist S. P. Menefee suggested that it could be attributed to an animistic understanding that these megaliths had lives of their own.
Several modern Pagan religions are practiced at the Medway Megaliths, with Pagan activity having taken place at the Coldrum Stones from at least the late 1980s. These Pagans commonly associated the sites both with a concept of ancestry and of their being a source of "earth energy". The scholar of religion Ethan Doyle White argued that these sites in particular were interpreted as having connections to the ancestors both because they were created by Neolithic peoples whom modern Pagans view as their "own spiritual ancestors" and because the sites were once chambered tombs, and thus held the remains of the dead, who themselves may have been perceived as ancestors. On this latter point, Pagan perspectives on these sites are shaped by older archaeological interpretations. The Pagans also cited the Megaliths as spots marking sources of "earth energy", often aligned on ley lines, an idea probably derived ultimately from the publications of Earth Mysteries proponents like John Michell.
Pagans sometimes visit the site alone or in pairs, there to meditate, pray, or perform rituals, and some have reported experiencing visions there. A modern Druidic group known as Roharn's Grove hold regular rites at the site, particularly during the eight festivals that make up the Pagan Wheel of the Year. The Coldrums have also witnessed Pagan rites of passage; circa 2000, a handfasting—or Wiccan marriage ceremony—was held there. One member of the Odinic Rite, a Heathen organisation, gave their "oath of profession" to the group at the Coldrum Stones because they felt a particularly positive energy exists there. Politically motivated rituals have also been held at the site. In the late 1990s, the South London branch of the Paganlink organisation held a ritual at the Coldrum Stones in an unsuccessful attempt to prevent the construction of the Channel Tunnel Rail Link through the Medway Valley landscape. Another politically motivated Pagan rite was carried out there in the early 2010s by The Warrior's Call, a group seeking to prevent fracking in the United Kingdom by invoking "the traditional spirits of Albion" against it.
In the early 21st century, a tradition developed in which the Hartley Morris Men, a morris dancing side, meet at the site at dawn every May Day in order to "sing up the sun". This consists of dances performed within the stones on top of the barrow, followed by a song performed at the base of the monument. The trees overhanging the Coldrum Stones on its northern side have become rag trees, with hundreds of ribbons in various colours having been tied to their branches. This is a folk custom that some Pagans engage in, although it is also carried out by many other individuals; one Pagan has been recorded as saying that she tied a ribbon to the tree with her young son, both to make a wish for an improved future and as an offering to the "spirit of place". As of early 2014, runic carvings written in the Elder Futhark alphabet were also evident on the trunks of these trees, spelling the names of the Norse gods Thor and Odin; these had probably been carved by Heathens, members of a religious movement that worships these deities.


The earliest antiquarian accounts of Coldrum Long Barrow were never published. There are claims that at the start of the 19th century, the Reverend Mark Noble, Rector of Barming, prepared a plan of the site for Gentleman's Magazine, although no copies have been produced to verify this. Between 1842 and 1844, the Reverend Beale Poste authored Druidical Remains at Coldrum, in which he described the monument. This remained unpublished at the time. Associating the site with the druids of Britain's Iron Age, Poste's suggestion was that the name "Coldrum" derived from the linguistically Celtic "Gael-Dun", and that Belgic chiefs were interred there. He further reported that in both 1804 and 1825, skulls had been found at the site. In 1844, an antiquarian named Thomas Wright published a note on the Coldrum Stones and other Medway Megaliths in The Archaeological Journal. Wright had been alerted to their existence by a local vicar, the Reverend Lambert B. Larking, and proceeded to visit them with him. Describing the Coldrums, Wright mentioned "a smaller circle of stones" to the others in the area, with "a subterranean cromlech in the middle". He further added that "it is a tradition of the peasantry that a continuous line of stones ran from Coldrum direct to the well-known monument called Kit's Cotty [sic] House", attributing this belief to various megaliths scattered throughout the landscape.
In 1857, the antiquarian J. M. Kemble excavated at the site with the help of the Reverend Larking, providing a report of their findings to the Central Committee of the British Archaeological Association. Describing the monument as a stone circle, they asserted that they discovered Anglo-Saxon pottery at the site, and noted that as well as being called the Coldrum Stones, the monument also had the name of the Adscombe Stones, which Kemble believed originated with the Old English word for funeral pile, ad. In August 1863, members of the Archaeological Institute—which was holding its week-long meeting in Rochester—visited the site, guided by the antiquary Charles Roach Smith. That year, the monument was described in a copy of Gentleman's Magazine by Yorkshire antiquary Charles Moore Jessop, who believed it to be a "Celtic" stone circle.
In 1869, the antiquarian A. L. Lewis first visited the site, and was informed by locals that several years previously a skull had been uncovered from inside or near to the chamber, but that they believed it to be that of a gypsy. A later account elaborated on this, stating that two individuals who excavated in the centre of the chamber without permission discovered a human skeleton, the skull of which was re-buried in the churchyard at Meopham. In an 1878 note published in The Journal of the Anthropological Institute of Great Britain and Ireland, Lewis noted that while many tourists visited Kit's Coty House, "very few goes to or ever hears of a yet more curious collection of stones at Colderham or Coldrum Lodge". He believed that the monument consisted of both a "chamber" and an "oval" of stones, suggesting that they were "two distinct erections". In 1880, the archaeologist Flinders Petrie included the existence of the stones at "Coldreham" in his list of Kentish earthworks; although noting that a previous commentator had described the stones as being in the shape of an oval, he instead described them as forming "a rectilinear enclosure" around the chamber. He then included a small, basic plan of the monument.
In August 1889, two amateur archaeologists, George Payne and A. A. Arnold, came across the monument, which they noted was known among locals as the "Coldrum Stones" and "Druid Temple"; according to Payne, "the huge stones were so overgrown with brambles and brushwood that they could not be discerned". He returned the next year, noting that the brushwood had since been cut away to reveal the megaliths. In his 1893 book Collectanea Cantiana, Payne noted that although it had first been described in print in 1844, "since that time no one seems to have taken the trouble to properly record them or make a plan", an unusual claim given that a copy of Petrie's published plan existed in his library. For this reason, after gaining permission from the landowner, he convinced Major A. O. Green, Instructor in Survey at Brompton, to conduct a survey of the monument in August 1892. He also wrote to the archaeologist Augustus Pitt-Rivers, encouraging him to schedule the Coldrum Stones as a legally protected site under the Ancient Monuments Protection Act 1882. Payne described the Coldrum Stones as "the finest monument of its class in the county, and one worthy of every care and attention." Comparing it to other monuments of its type in Britain, he stated that it was undoubtedly "of sepulchral origin, belonging to a period anterior to the Roman domination of Britain." Payne also noted a folk tradition that there were stone avenues connecting Coldrum to the Addington Long Barrow, but added that he was unable to discover any physical evidence of this feature.
In 1904, George Clinch published a note on the Medway Megaliths in the Royal Anthropological Institute's journal, Man, in which he referred to the Coldrum Stones as "at once the most remarkable and the least known of the whole series." Suggesting that its design indicates that it was built during "a late date in the neolithic age", he compared the workmanship in producing the megaliths to that at Stonehenge, although noted that they differed in that the Coldrum Stones clearly represented "a sepulchral pile". Ultimately, he ended his note by urging for the site to be protected under the Ancient Monuments Protection Act 1900. In that same issue, Lewis included an added note in which he rejected the idea that the monument had once been covered by an earthen tumulus because he could see "no evidence that anything of that kind ever existed", and instead he interpreted the site as a stone circle, comparing it to the examples at Avebury, Arbor Low, and Stanton Drew, suggesting that the central chamber was a shrine.


For hundreds of years, Dakota people have considered the spring and area around it to be a place of spiritual importance. The confluence of the Mississippi and Minnesota rivers was a neutral and sacred place where the Ojibwe, Dakota, Sauk and Fox (Mesquakie), and Potowatamie tribes moved freely.


Coldwater Spring emanates from Platteville limestone bedrock near the river gorge that was formed over 10,000 years ago by glacier melt at the end of the most recent ice age. Water flows at 144,000 gallons per day at 47 °F (8 °C), remaining ice free in the winter with ducks present. Waters exit the spring into a reservoir before tumbling into a wetlands waterfall and eventually reaching the Mississippi River. Water from Coldwater Spring is not considered drinkable.


Coledale is a narrow U-shaped valley running approximately north-east towards the Derwent Valley floodplain and the village of Braithwaite at the northeastern end. The valley river Coledale Beck feeds into Newlands Beck and is fed by small streams from the valley sides and head, including Birkthwaite Beck, and Pudding Force.
At the head of the valley a large rock formation is found named Force Crag, which forms a waterfall 'Low Force' as Pudding Beck passes over it.
The valley is ringed by peaks popular with tourists (Grisedale Pike, Hopegill Head, Coledale Hause, Crag Hill (formerly Eel Crag), Sail, Sail Pass, and Outerside) forming a horseshoe ridge walk known as Coledale horseshoe or 'Coledale round'.


WikiWeb_Collegiate Church of Saint-André, Grenoble_3

The first mention of an organ was in 1439. The present instrument was built between 1701 and 1704 on a platform of 1686. The instrument was installed (12 stops, one keyboard) and designed by the Lyon manufacturer François du Fayet. In 1748 Samson Scherrer increased the number of stops to 24. The current composition of the organ dates from 1946. Many great artists have played the instrument including Marcel Dupré and Gaston Litaize. For more than thirty years the organist and composer was Félicien Wolff.


As part of de-militarisation, the barracks underwent considerable redevelopment – including the conversion and linking of two sides of Clarke Square with glass faced structures. This work was awarded the country's premier award for architectural conservation, the Silver Medal for Conservation, by Royal Institute of the Architects of Ireland (RIAI).
Home to the Decorative Arts and History section of the National Museum, the museum also has galleries dedicated to exhibits on military history. However, the main focus of the galleries is on arts, craft and wares, including exhibits on: Irish coins and currency, silverware, furniture, folklife and costumes, ceramics, glassware, etc.


WikiWeb_Collins Waterfront Architectural District_0

The Collins Waterfront Architectural District is a historic district in Miami Beach, Florida, that includes 110 contributing buildings and structures built in the late 1940s, 1950s and 1960s, centering on Collins Avenue. The predominant styles include moderne, Art Deco and Mediterranean Revival architecture, as well as the local Miami Modern style. The chief contributing resources are large resort hotels. The district is bounded by the Atlantic Ocean on the east, and by 24th Street, Indian Creek Drive, Pine Tree Drive and the Collins Canal. The district is part of Mid-Beach.
The district was placed on the National Register of Historic Places on November 15, 2011. Separately listed on the NRHP already were contributing properties Cadillac Hotel, designed by Roy France, and Ocean Spray Hotel.  The district includes an automotive bridge and a pedestrian bridge.
A hotel included in the district is Casa Faena.


The Colombischlössle Archeological Museum is a museum in Freiburg im Breisgau in southwest Germany which features the prehistoric  inheritance of the High and Upper Rhine. It was founded as the Museum of Prehistory and Early History in 1983. The focus of the museum is on the human development of the High and upper Rhine from the Paleolithic Age to the Early Middle Ages.


Following the end of the war the airfield was dismantled, racecourse was reconverted back to a horse racing track. This was greatly affected after gambling and betting was banned in the country in 1956. This resulted in horse racing stopping completely in Colombo thereafter along with Nuwara Eliya Racecourse (which re-opened in 1981).
The Colombo Racecourse, the Colombo Turf Club and its grounds were taken over by the government and its large land extent was segmented and distributed to government entities. Southern parts went to the University of Colombo, the northern portion to the Department of National Archives while others to the Royal College Sports Complex, Bloomfield Cricket and Athletic Club and sporting bodies.
The Grandstand and the Colombo Turf Club building were neglected and used for different purposes. The Sri Lanka Army used it as a temporary garrison from time to time as well as the Sri Lanka Air Force used what was left racecourse grounds for landing transport helicopters.


The Cementerio Colón measures 620 by 800 meters (122.5 acres). Designed by the Galician architect Calixto Arellano de Loira y Cardoso, a graduate of Madrid's Royal Academy of Arts of San Fernando, who became the Colón's first resident when he died and before his work was completed. It was built between 1871 and 1886, on former farmland. Laid out in a grid similar to El Vedado by numbered and lettered streets it becomes an urban microcosm of the city. The cemetery contains works by some of the most distinguished Cuban artists of the 19th and 20th centuries, such as Miguel Melero, José Vilalta de Saavedra, Rene Portocarrero, Rita longa, Eugenio Batista, Max Sorges Recio, Juan José Sicre, and others.
The design follows the custom of laying out the plan with five crosses formed by perpendicularly intersecting streets. The two main avenues give rise to the central cross, each of the four resulting spaces, called barracks, is subdivided in turn by two other streets that intersect at right angles. Five squares are formed at the intersections, the main one of which is the Central Chapel, with an octagonal floor plan and surrounded by portals, a Loire project completed with modifications by Francisco Marcotegui.
The cemetery is laid out roughly on a north–south axis, parallel to the last stretch of the Almendares River, and against the street grid of Vedado. It is on the north axis, thus its main streets are on the four cardinal points of the compass. Symbolized by a Greek cross, it represents the four directions of the earth and the spread of the gospel to all directions as well as the four platonic elements. We find Greek crosses against a yellow background along the perimeter fence enclosing the cemetery, as well as part of the design diagram of the cemetery, which employs several Greek crosses at different scales thus forming an architectural tapestry. The main avenues, Avenida Cristobal Colón, Obispo Espada, and Obispo Fray Jacinto, at six hundred by eight hundred meters, is the first cross at the scale of the city (red cross-areal photo).


The Department of Business, Tourism, Culture and Rural Development currently has its Provincial Historic Sites of Newfoundland and Labrador offices located in the Colonial Building. Since late-2005, there are also three other non-profit organizations operating from the Colonial Building, including the Museum Association of Newfoundland and Labrador (MANL), the Association of Newfoundland and Labrador Archives (ANLA), and The Newfoundland Historical Society.


Colonial Parkway is a 23-mile (37 km) scenic parkway linking the three points of Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown. It is part of the National Park Service's Colonial National Historical Park. Virginia's official state classification for the parkway is State Route 90003. With portions built between 1930 and 1957, it links the three communities via a roadway shielded from views of commercial development. The roadway is toll-free, is free of semi trucks, and has speed limits of around 35 to 45 mph (55 to 70 km/h). As a National Scenic Byway and All-American Road (one of only 31 in the U.S.), it is also popular with tourists due to the James River and York River ends of the parkway.


The nine original buildings, a series of Greek revival townhouses  built by Seth Geer, a contractor from Albany, New York (whose name is also given as "Greer") were located at 418–426 Lafayette Place on the site of the Vauxhall Gardens Amusement Park. The property on which these buildings were constructed had been bought by Astor in 1804 for $45,000, and when the lease for the Vauxhall Gardens was up, Astor built a wide street through the property from Great Jones Street to Art Street, which is now Astor Place, and named it Lafayette Place after the Marquis de Lafayette, a hero of the American Revolution. The original name of the buildings was Lagrange or La Grange Terrace, named after Lafayette's country estate, one of many places named in his honor in New York City and elsewhere in the United States, after his triumphant return tour in 1824–25.
The buildings each contained 26 rooms and were 27 feet (8.2 m) wide, with 15-foot (4.6 m) deep front yards, uncommon at the time. Their facades were made entirely of Westchester marble and linked with a colonnade of Corinthian columns providing the homes with their current name. The marble for the buildings was found at Sing Sing, where the convicts worked to cut it for use in construction.
The precise year of the buildings' construction, as well as the architect responsible are subject to some debate. The architects generally credited with Colonnade Row's design is Alexander Jackson Davis, Ithiel Town, and James Dakin, who were believed to have designed the homes for the Astor and Vanderbilt families. Town and Dakin are believed to have begun work on the project, which they called LaGrange Terrace, during the winter of 1831–32, during which they worked on a number of design projects. Davis is not believed to have played a role in the final construction of the building, which was completed in 1833 according to the Landmarks Commission, and there are some who believe that he did not work on the design at all.
Apart from John Jacob Astor III, Julia Gardiner, who would become President John Tyler's First Lady lived on Colonnade Row, as did Cornelius Vanderbilt, Washington Irving, and Warren Delano. In addition, Columbia Law School held classes for a time in the house that was once occupied by John Jacob Astor III.


The Colorado Convention Center (CCC) is a multi-purpose convention center located in Downtown Denver, Colorado.  At 2,200,000 square feet (total space) it is currently the 12th largest convention center in the United States. It opened in June 1990; the first event being the NBA Draft for the Denver Nuggets. The convention center was expanded in 2004 to include several meeting rooms, two ballrooms and an indoor amphitheater. Since opening, the center hosts an average of around 400 events per year. Centrally located in the city, it has become one of Denver's many landmarks due to its architecture and is adjacent to the Denver Performing Arts Complex and is just blocks away from the Colorado State Capitol, Auraria Campus and the 16th Street Mall.  The CCC is directly served via light rail by RTD's Theatre District–Convention Center station.


The CCC is bounded by 14th Street, Speer Boulevard, Champa Street and Welton Street. Stout Street runs underneath the building, as does the (RTD) Light Rail's Central Corridor. Currently the D, F and H lines run through this corridor's stop. The CCC is linked by a pedestrian bridge across Champa Street to the Denver Performing Arts Complex with its nine theatres. It is across Welton Street from the Emily Griffith Opportunity School. The University of Colorado Denver, Metropolitan State University of Denver, and the Community College of Denver are all located to the west across Speer Boulevard at the Auraria Campus. The Colorado Convention Center is central to many other downtown attractions including: the 16th Street Mall, the Denver Pavilions, the LoDo (Lower Downtown) district, the Pepsi Center- home of the Colorado Avalanche, Denver Nuggets, Colorado Crush and the Colorado Mammoth,  Coors Field- home of the Colorado Rockies, Denver's Downtown Aquarium, Elitch Gardens amusement park, and the Denver Botanic Gardens.


Exhibit Hall
The "Exhibit Hall" is the main facility at the convention center. The space consists of six individual halls spanning 90,000 to 100,000sqft. The space is primarily used for trade shows, conventions and product launches
Mile High Ballroom
The "Mile High Ballroom" is the largest ballroom in Denver and the convention center. The space can hold up to 3,000 guests for catered events and up to 5,000 for general admission. The ballroom features a state-of-the-art lighting system that provides the illusion of the night sky. The space is primarily used for banquets, conferences and intimate music events. The space was renovated in 2004 as part of the convention center's overall expansion plan. The venue's namesake derives from the Korbel Champagne Cellars.
Four Seasons Ballroom
The "Four Seasons Ballroom" was the newest ballroom, completed as part of the convention center's expansion plan. The space can hold up to 3,500 guests. The venue is primarily used for banquets and fundraising events. It is home to numerous graduation ceremonies for Denver area schools including: The Art Institute of Colorado, Community College of Denver, Metropolitan State College of Denver, Regis University and the University of Colorado Denver.


The superstructure of the building was constructed using granite from the Aberdeen Quarry near Gunnison, Colorado. Approximately 280,000 cubic feet (7,900 m³) or 24,000 tons of the granite were quarried for the building. This gray granite forms the exterior of the building. The interior of the building uses a large amount of Colorado Rose Onyx, a rare rose marble from a quarry near Beulah, Colorado. The amount used in the building consumed the entire known supply. White Yule Marble from the quarries near Marble, Colorado was also used throughout the capitol for the floors. Many designs have been found in the marble including an image resembling George Washington and another of Molly Brown.
Many of the windows are stained glass, depicting people or events related to the history of Colorado. The halls are decorated with portraits of every president of the United States, with all the presidents from George Washington to George W. Bush being painted by Lawrence Williams. Painter Sarah A. Boardman took over from Williams, and has since painted Barack Obama, Donald Trump, and Joe Biden as well. One of the contractors for the construction of the Colorado State Capitol building was Illinois building contractor William Douglas Richardson, who was the president of the W. D. Richardson Construction Company. Richardson had participated in numerous major building contracts throughout the United States, and was interconnected with the Jacob Bunn and John Whitfield Bunn network of corporations.


The Columbia Center, formerly named the Bank of America Tower and Columbia Seafirst Center, is a skyscraper in downtown Seattle, Washington, United States. The 76-story structure is the tallest building in Seattle and the state of Washington, reaching a height of 933 ft (284 m). At the time of its completion, the Columbia Center was the tallest structure on the West Coast; as of 2017, it is the fourth-tallest, behind buildings in Los Angeles and San Francisco.
The Columbia Center, developed by Martin Selig and designed by Chester L. Lindsey Architects, began construction in 1982 and was completed in 1985. The building is primarily leased for class-A office spaces by various companies, with the lower floors including retail space and the upper floors featuring a public observatory and private club lounge. The tower has the highest public viewing area west of the Mississippi River. It occupies most of the block bounded by Fourth and Fifth Avenues and Cherry and Columbia Streets.


Before men existed and the animal people ruled, the huge beaver, Wishpoosh, who lived in the Keechelus Lake, would take and destroy lesser creatures. Eventually the coyote god (of the Columbia region), Speelyei, stood up to him to reign in his behaviour. However, this dissatisfied Wishpoosh and in his fury he burst the banks of the lake, which flooded the adjacent canyon and formed a new great lake, in the Kittitas Valley. The fight continued, and the edges of this new lake held strong, but the wrath of Wishpoosh was such that they eventually gave way as well, and the area around Yakima, WA was flooded. Wishpoosh and Speelyei fought on, until the new lake extended West all the way to the junction of the Yakima, Snake and Columbia Rivers, which had for a long time been dammed by the Umatilla Highlands. This huge lake now had its Eastern border at the Umatilla Highlands and its Western border at the Cascade Range. The fighting did not cease, and ultimately, the enormous Cascade Mountains were breached, and the water that had accumulated raced to the sea, creating the Columbia River Estuary. Thus the “Great Water” assumed the flow that it follows today, and Speelyei finally killed Wishpoosh out in the open ocean; his body washed up south of the Estuary.


The Columbia River Estuary is in a valley that has been cut into marine sediments and volcanic rocks from the Tertiary period. The estuary receives large volumes of water from the Cascade Range, mountains to its east that trap precipitation and moisture. Pleistocene and Holocene sediments have filled the valley and continue to do so, dominating the estuary's morphology.


The nearest stations are Hoxton and Shoreditch High Street (London Overground). Bethnal Green (London Underground Central line) and Bethnal Green and Cambridge Heath mainline stations are also within walking distance. Bus routes 26, 48 and 55 serve Hackney Road, and 8, 388 and D3 serve Bethnal Green Road.


The Columbus Ohio Temple is a temple of The Church of Jesus Christ of Latter-day Saints (LDS Church) located in Columbus, Ohio, United States. It was completed and dedicated in 1999 as the church's 60th operating temple and serves church members living in 16 stakes, covering most of Ohio, but also extending into western Pennsylvania and southwestern West Virginia. The temple is in the western edge of Columbus, adjacent to Interstate 270 just north of its western junction with I-70.


WikiWeb_Columbus Tower (San Francisco)_2

Currently occupying much of the tower is Francis Ford Coppola's American Zoetrope studio.
Other tenants include independent public media producers for NPR and PBS, as well as independent sound designers for Pixar and Skywalker Sound, among others.
On the ground floor is the Cafe Zoetrope (previously Cafe Niebaum-Coppola), which has occupied part of the building since 1999. The café is a bistro and wine shop satellite of the Inglenook Estate Winery in the Napa Valley.


The Column of Antoninus Pius (Italian: Colonna di Antonino Pio) is a Roman honorific column in Rome, Italy, devoted in AD 161 to the Roman emperor Antoninus Pius, in the Campus Martius, on the edge of the hill now known as Monte Citorio, and set up by his successors, the co-emperors Marcus Aurelius and Lucius Verus.


Erected in front of the Rostra and dedicated or rededicated in honour of the Eastern Roman Emperor Phocas on August 1, 608 AD, it was the last addition made to the Forum Romanum. The fluted Corinthian column stands 13.6 m (44 ft) tall on its cubical white marble socle.  On stylistic grounds, the column seems to have been made in the 2nd century for an unknown structure, and then recycled for the present monument. Likewise, the socle was recycled from its original use supporting a statue dedicated to Diocletian; the former inscription was chiselled away to provide a space for the later text.
The base of the column was uncovered in 1813, and the inscription on it reads, in Latin:
Optimo clementiss[imo piissi]moque / principi domino n[ostro] / F[ocae imperat]ori / perpetuo a d[e]o coronato, [t]riumphatori / semper Augusto / Smaragdus ex praepos[ito] sacri palatii / ac patricius et exarchus Italiae / devotus eius clementiae / pro innumerabilibus pietatis eius beneficiis et pro quiete / procurata Ital[iae] ac conservata libertate / hanc sta(tuam maiesta)tis eius / auri splend(ore fulge)ntem huic / sublimi colu(m)na(e ad) perennem / ipsius gloriam imposuit ac dedicavit / die prima mensis Augusti, indict[ione] und[icesima] / p[ost] c[onsulatum] pietatis eius anno quinto
The English translation is as follows:
To the best, most clement and pious ruler, our lord Phocas the perpetual emperor, crowned by God, the forever august triumphator, did Smaragdus, former praepositus sacri palatii and patricius and Exarch of Italy, devoted to His Clemency for the innumerable benefactions of His Piousness and for the peace acquired for Italy and its freedom preserved, this statue of His Majesty, blinking from the splendor of gold here on this tallest column for his eternal glory erect and dedicate, on the first day of the month of August, in the eleventh indiction in the fifth year after the consulate of His Piousness.
The precise occasion for this signal honour is unknown, though Phocas had formally donated the Pantheon to Pope Boniface IV, who rededicated it to all the martyrs and Mary (Sancta Maria ad Martyres). Atop the column's capital was erected by Smaragdus, the Exarch of Ravenna, a "dazzling" gilded statue of Phocas (which probably only briefly stood there). Rather than a demonstration to mark papal gratitude as it is sometimes casually declared to be, the gilded statue on its column was more likely an emblem of the imperial sovereignty over Rome, which was rapidly fading under pressure from the Lombards, and a personal mark of gratitude from Smaragdus, who had been recalled by Phocas from a long exile and was indebted to the Emperor for retrieving his position of power at Ravenna.
In October 610, Phocas was overthrown and killed; his statues everywhere were overthrown.
The monument remains today in its original location (in situ). Its isolated, free-standing position among the ruins has always made it a landmark in the Forum, and it often appears in vedute and engravings. The rise in ground level due to silt and debris had completely buried the socle by the time Giuseppe Vasi and Giambattista Piranesi made engravings and etchings of the column in the mid-18th century.  The square foundation of brick (illustration, right) was not originally visible, the present level of the Forum not having been excavated down to its earlier Augustan paving until the 19th century.


Combe Down Tunnel is on the now-closed Somerset and Dorset Joint Railway main line, between Midford and Bath Green Park railway station, below high ground and the southern suburbs of Bath, England, emerging below the southern slopes of Combe Down village.
Opened in 1874, this 1,829-yard (1,672 m) long disused railway tunnel was once the UK's longest without intermediate ventilation.  The tunnel now forms part of the £1.8 million Two Tunnels Greenway walking and cycling path opened on 6 April 2013 and is the longest cycling tunnel in Britain.  Its custodian is Wessex Water.


As a part of the Napoleonic during the process of German mediatization, the Comburg and its estates were divided between the Electorate of Württemberg and the Electorate of Bavaria in 1802. Württemberg was awarded almost all of Comburg's remaining properties and the Comburg itself, which was subsequently secularized. Frederick I, Elector of Württemberg, ordered the monastery's treasure to be melted down at the royal mint in Ludwigsburg. The monastery's library was moved to the State Library in Stuttgart. From 1807 to 1810, the Comburg was the residence of Prince Paul of Württemberg and Princess Charlotte of Saxe-Hildburghausen as exiles from the court in Stuttgart for their opposition to Frederick's alliance with Napoleon.
In April 1817, Frederick assigned the Comburg to the Württemberg Invalids Honor Corps, which he had created in 1806 and originally stationed in Stuttgart, for the residence of its members and their families. The Corps remained at the Comburg until it was made redundant by military pension legislation in 1871, though it was not officially dissolved until 1909. By then, four invalids still resided at the Comburg, the last of whom died in 1925.
The Comburg housed an adult education center from 1926 to 1936 and since 1947 has been the campus of a teachers' school.


The Vígszínház was designed by architects Ferdinand Fellner and Hermann Helmer who worked on over 47 state-of-the-art theater buildings around Europe. Its construction was financed by the tripartite ownership consisting of Count István Keglevich, the writer Ferenc Szécsi, and local businessman Gábor Faludi. I The destined area was a swampland before, but in the next few years it developed into the bourgeois Lipótváros district. The construction started in 1895 and lasted for one year, finishing on 1 May 1896. With 3 main tracts: the stage, including the flies; the lower seating tract; and the entry hall; the building exemplifies late historicism, featuring large sizes, an elevated driveway and baroque decorations, often using golden coloring. As a distinct feature from contemporary theaters, the Vígszínház featured three rows of box seats, large corridors and public areas supported by several wide stairs to answer the call of rising social life in the rapidly developing Budapest.


The main entrance to the ballpark is located across the street from the Fox Theatre and between two historic downtown churches, St. John Episcopal Church and Central United Methodist Church. Outside the main entrance is a tiger statue 15 feet (4.6 m) in height. There are 8 other heroic-sized tiger statues throughout the park, including two prowling on top of the scoreboard in left field. These tigers' eyes light up after a Tigers home run or a victory and the sound of a growling tiger plays as well. The tigers were originally created by sculptor Michael Keropian and fabricated by ShowMotion Inc. in Norwalk, Connecticut. Along the brick walls outside the park are 33 tiger heads with lighted baseballs in their mouths.
At the left-center field concourse there are statues of former Tigers players, including Ty Cobb. A list of prominent former Tiger players and broadcasters is printed on a wall in right-center field. Ernie Harwell, the team's long time radio announcer and a recipient of the Hall of Fame's Ford C. Frick Award, has a statue just inside the stadium on the first base side.
Comerica Park is currently the only ballpark in MLB to feature a distinctive dirt strip between home plate and the pitcher's mound. This strip, sometimes known as the "keyhole", was common in early ballparks, but it is very rare in modern facilities. Additionally, the home plate area is in the shape of the home plate itself, and not as a standard circle.
In the northeastern corner of the stadium behind the stands from the third base line is a Ferris wheel with twelve cars designed like baseballs. In the northwestern corner of the stadium behind the stands from the first base line is a carousel.
The flagpole located between center and left fields was originally in play, as was the flagpole in Tiger Stadium. However, the left field wall was moved in front of the pole before the 2003 season. A ball that hits the pole is now ruled a home run. The right field of the stadium features the Pepsi Porch, a picnic deck between the 100 and 200 level seating bowls. Also in right field, and part of the 100 level seating bowl, is an area of seats known as "Kaline's Corner", an homage to Hall of Fame right fielder Al Kaline, who once played for the Tigers when the team played in Tiger Stadium.
An LED scoreboard was added to the right-center field wall, and the upper deck fascia for the 2007 season.
A giant fountain is located behind center field. General Motors sponsored the fountain from 2000 to 2008, and used the area to showcase GM manufactured vehicles as well. While GM dropped its sponsorship for the 2009 season due to financial issues, the GM branding was not removed from the fountain. Instead, signs for Chrysler and Ford were also added to the display, along with the message "The Detroit Tigers support our automakers." In 2010, GM returned to sponsoring the display, now known as the Chevrolet Fountain.
A completely redesigned and upgraded left field video display debuted for the 2012 season. The serif "TIGERS" wordmark was removed and replaced by cursive lettering that can also display graphics and video. An analog clock below the Tigers wordmark and above the Comerica Park logo was also removed. An HD LED display was installed, which was much larger than the three displays that had been there for years. The previous scoreboard used light bulbs – still a popular scoreboard technology around the time the park opened, though they were quickly aging as LED displays became available and were installed around other Major League ballparks. The scoreboard was also raised 16 feet (4.9 m) in an effort to address complaints that the scoreboard was too far left and thus obstructed by the left field upper deck. Along with the replacement scoreboard, all remaining bulb fascia scoreboards were also upgraded to LED.
In 2014, the Tigers announced a $4 million renovation to Comerica Park's Pepsi Porch. This renovation included the removal of the bleachers that once occupied the space and the addition of new stadium seats. The plan also included new high top tables, a new bar in the middle of the porch, couches and lounge chairs, as well as a fire pit. The bleachers that once occupied the area were moved to the space above The Jungle restaurant and bar.


The floods of 2003 and 2006 actually helped the falls a lot because it removed most of the debris that previously lined the creek below the falls.  Once again, due to the strong bedrock the falls flow over, the falls were not altered much.


Spean Bridge is a small village around eight miles (thirteen kilometres) northeast of Fort William in the Scottish Highlands, and the memorial is located approximately 1 mile (1.5 kilometres) northwest of Spean Bridge, at the junction of the A82 road and the B8004 road. It is a prominent landmark visible from the A82, and the site itself offers views across the River Spean valley to the peaks of Ben Nevis and Aonach Mòr to the south.
The location was chosen because it is on the route from Spean Bridge railway station to the former Commando Training Centre at nearby Achnacarry Castle. Arriving prospective Commandos would disembark after a 14-hour journey, load their kit bags onto waiting trucks and then speed-march the seven miles (eleven kilometres) to the training centre in full kit with weapon, weighing a total of 36 pounds (16 kilograms). Anyone not completing it within 60 minutes was immediately RTU'd (returned to unit).


In 1823 Moreton Bay was chosen as a penal settlement for New South Wales convicts who were secondary offenders or those who had re-offended while serving their sentence of transportation in Botany Bay. It was intended to better control the convicts and affect a reform in them through isolation, hard labor, strict discipline and harsh living conditions. In 1824 Lieutenant Henry Miller arrived at Redcliffe with thirty convicts. As this location proved unsuitable, the settlement was moved in 1825 inland to a ridge overlooking and bounded on three sides by the Brisbane River, and simple buildings were constructed to serve it.
Penal colonies were run on a military system and so a commissariat directed the procurement, supply and distribution of essential goods, as well as serving as a custom house and bank. The first building used for this purpose in what would become Brisbane Town at Moreton Bay was a slab structure in the vicinity of the current intersection of Albert and Elizabeth streets. There were two other store structures at Amity Point and Dunwich on Stradbroke Island. In 1826 Captain Patrick Logan arrived as Commandant and began a works program that replaced key buildings with more substantial structures made of stone and brick. One of these was the Commissariat Store. Along with houses for the Commandant, Commissariat officer and chaplain, it was erected on the ridge running parallel to William and George Street that remains the focus of government buildings to the present day.
A position near the river bank was selected for the new store, following recommended procedure, to allow goods to be conveniently loaded and unloaded from a wharf. This also provided a single point for the entry and distribution of tools, weapons, clothing and food rations to permit secure control of such vital supplies.
In common with the settlement's other new buildings, the Commissariat Store followed a simple design suitable for everyday use in a penal colony and was well constructed from local materials. The design was by William John Dumaresq (Acting Civil Engineer for New South Wales) whose plans arrived from Sydney in April 1828. Dumaresq was also responsible for the design of the store at Dunwich completed in 1828.
The original river bank in this area was quite steep and the underlying rock was quarried to create a relatively level building platform. The excavation work was heavy and carried out by the Gaol Gang of convicts as a specific punishment, but the masonry and other construction work required skilled labour and was most likely supervised by Lieutenant Thomas Bainbrigge, sent especially from Sydney with skilled stonemasons and quarrymen in 1827 and made Superintendent of Works for the colony the following year. Some time after retaining walls were constructed around three sides of the store building; the one to William Street appearing in an 1838 cross-section and the two at each side in Petrie's front elevation of the building also dated to that year.
The first outpost of the convict colony in Australia had been established in New South Wales in 1788, the settlement being almost immediately extended to Norfolk Island (abandoned in 1814 and re-established 1825), and then to Tasmania, to Newcastle (later to Port Macquarie), Moreton Bay and then to Western Australia. Apart from the Commissariat Store in Brisbane, there are seven other convict-built Commissariat Stores that survive today at:
Hobart, Tasmania (1808–10)
Darlington Probation Station on Maria Island, Tasmania (1825)
Oatlands, Tasmania  (1827)
Paterson Barracks Commissariat Store, Launceston, Tasmania (1828)
Kingston and Arthur's Vale Historic Area, Norfolk Island (1835)
Fremantle, Western Australia (1852)
Guildford, Western Australia (1853-4)
Two of the earliest store buildings in New South Wales at Sydney Cove (1812) and Parramatta, have been demolished. Only three of the surviving buildings, all of which have been quite changed over time, are older than the store in Brisbane. All built during a similar period and for the same purpose, the surviving store buildings exhibit a number of similar characteristics, which include proximity to both a point of entry for goods and the settlement served, robust and utilitarian form communicating authority, and incorporating aspects of Georgian and Regency architectural styles such as symmetrical elevations with windows decreasing in size from lower to upper levels, and restrained, Classically inspired decoration.
The importance of the Brisbane store and its river frontage as a portal to the colony was emphasised by the addition of the royal cypher of King George IV and the date to the front, river-facing gable; features retained when the third storey was added later. The clear orientation towards the river (and what is now Queens Wharf Road) is also reflected in the stonework itself, which is evenly coursed at the front, but more random at the rear (William Street) and sides (Miller Park to the north-west). The Commissariat Store was built of Brisbane tuff from the quarry at the Kangaroo Point Cliffs with sandstone from Oxley Creek used for footings, the base course, quoins, sills and lintels. Lime for mortar was then obtained from burning oyster shells from Amity Point on Stradbroke Island or from the newly established lime kiln at Limestone Hill in Ipswich. The windows were small, unglazed and barred for security and the roof was clad with ironbark shingles. The Commissarat Store was completed in 1829.
Features of the building included a brick drainage system throughout the foundation, as well as an 18 feet (5.5 m) retaining wall at the rear with a wall and gate at the front facing the river. The Commissariat Store procured, stored, and distributed goods and rations, such as food, clothing, and tools, for the penal colony.
The only entry point into the penal settlement was via the adjacent wharf on the Brisbane River. Initially known as the King's Wharf or Jetty, it was constructed by 1827 when the boat crew's hut and boat builder's shed were first occupied. A crane was constructed on the end of the wharf in order to transfer goods from the arriving ships to the shore. The main roadway into the settlement was up along the steep river bank following the present day alignment of Queens Wharf Road. A pedestrian path developed along the slope from the wharf to the ridge of present-day William Street passing to the north-west of the Commissariat Store, through what is now Miller Park. A retaining wall along the Queens Wharf Road frontage of Miller Park had been constructed by convicts before 1831. A wall, with an opening leading to stairs in a position corresponding to this path, appears in an 1838 plan. A pencil sketch by Henry Boucher Bowerman dated c. 1835 shows a wall here with an arched opening a few metres up the hill from the store yard wall.


The Commodore Barry Bridge (also known as the Commodore John Barry Bridge or John Barry Bridge) is a cantilever bridge that spans the Delaware River from Chester, Pennsylvania to Bridgeport, in Logan Township, New Jersey. It is named after the American Revolutionary War hero and Philadelphia resident John Barry.
Along with the Betsy Ross Bridge, the Benjamin Franklin Bridge and the Walt Whitman Bridge, the Commodore Barry Bridge is one of the four toll bridges connecting the metropolitan Philadelphia region with southern New Jersey owned by the Delaware River Port Authority (DRPA).  Originally designed to connect with a now-cancelled freeway, the limited-access bridge has recently been retrofitted to better serve the local area.  Between 2007 and 2011, both the DRPA and the PennDOT, in conjunction with the Chester Redevelopment Authority, built a pair of entrance-exit ramps that allowed motorists, primarily heavy truck traffic, to access the Chester Waterfront, via Pennsylvania Route 291 and Flower Street (via West 9th Street (U.S. Route 13)) from I-95. Other improvements, such as deck joint replacement, concrete patching (on the approaches), and other safety and engineering improvements are either ongoing or have been completed.
The bridge replaced the Chester–Bridgeport Ferry, a ferry service that from July 1, 1930 to February 1, 1974, was the sole means of crossing the Delaware River from Delaware County, Pennsylvania to Gloucester County, New Jersey.  The Chester side of the ferry service experienced the Wade Dump fire and SuperFund cleanup, and has since become the city-owned Barry Bridge Park with the adjacent Subaru Park (home of the Major League Soccer's Philadelphia Union franchise) being opened in 2010.


It is 87 metres long, from 36 to 56 metres wide, and 75 metres high into the top of the cupola. It has a Latin Cross floor plan with a central nave and two side aisles, separated by pillars, and a Renaissance transept, with an imposing cupola over the crossing. The apses and the choir are of the 16th century. The interior has a series of nine important tapestries, woven at the end of the 16th century, in Ferrara, Florence and Brussels. There are also a number of 16th-century paintings by Bernardino Luini and Gaudenzio Ferrari.