Original furniture and paintings created by the Anchers and other Skagen artists are shown in the restored home and studio.
The Saxild House hosts special exhibitions, usually of photos of the Anchers and other Skagen painters who made up their circle of friends.


Ancona Cathedral (Italian: Duomo di Ancona, Basilica Cattedrale Metropolitana di San Ciriaco) is a Roman Catholic cathedral in Ancona, central Italy, dedicated to Saint Cyriacus. It is the seat of the Archbishop of Ancona. The building is an example of mixed Romanesque-Byzantine and Gothic elements, and stands on the site of the former acropolis of the Greek city, the Guasco hill which overlooks Ancona and its gulf.


Excavations carried on in 2016 proved that an Italic temple, perhaps dedicated to Aphrodite, existed on the site as early as the 3rd century BC. On top of it, in the 6th century AD, a Palaeo-Christian church was built: this had a nave and three aisles with the entrance facing south-east (where the current Chapel of the Crucifix is). Some remains of it still in existence include a mosaic pavement and perimeter walls.
In 995–1015 a new church was built, which kept the original walls. In 1017 the renovated basilica received the relics of Saint Marcellinus of Ancona and Saint Cyriacus. Further enlargement works occurred between the late 12th and the early 13th centuries, with the addition of a transept to obtain a Greek cross plan, and an entrance towards the south-west, resulting in the church now facing the port and the new road entering the city. The transepts were at a higher level than the previous nave, and had apses. The church, previously dedicated to Saint Lawrence, was re-dedicated to Saint Cyriacus the Martyr, the patron saint and (possibly) bishop of Ancona.
In 1883 the basilica underwent a very impressive restoration by Giuseppe Sacconi, future superintendent of the monuments of the Marches and Umbria from 1891 to 1902 and author of the project of the Vittoriano. He restored it to its original austere medieval appearance, eliminating the decorations and overlapping plasters, which over the centuries had altered the original appearance of the church.
During World War I, on 24 May 1915, the basilica was damaged by a bombardment of the Austro-Hungarian fleet. The damage was restored in 1920, but in World War II Anglo-American aerial bombings destroyed the south transept and the Crypt of Tears under it, along with the art objects housed there. Once the transept was rebuilt, the church was officially reopened in 1951. Further damage was caused by an earthquake in 1972, followed by a new restoration and another official opening in 1977.
In 1926 the cathedral was declared a minor basilica.


The edifice is built in white stone from Mount Conero, with apses protruding from the transept's ends and an elevated body, with a dome at the crossing, in correspondence to the nave. All the external surfaces feature a decoration of Lombard bands. The bell tower is in an isolated position. It is mentioned from 1314 and was built above a pre-existing late 13th-century tower.
The façade, divided into three section, is preceded by a wide staircase; above it is a 13th-century Romanesque portal formed by a round arch supported by four columns. The anterior ones stand on lions in Veronese red marble, while the rear ones, added later by Luigi Vanvitelli, are on a simple pedestal.
Under the arches are four reliefs depicting the symbols of the Evangelists. The portal is attributed to Giorgio da Como (c. 1228), and is in Romanesque-Gothic style, built in Conero white stone from Mount Conero and Veronese red marble. It is decorated by a series of columns holding ogival arches with reliefs of saints' busts, animal figures and vegetable motifs. Above the portal is a large oculus with a Romanesque frame between two single mullioned windows.
The dome is one of the most ancient in Italy. It has an ogival shape with a dodecagonal drum, standing on a square base with small decorative arches. It was built over the crossing in the 13th century, and is attributed to Margaritone d'Arezzo (1270). Together with the church of Sant'Antonio at Padua and St. Mark's Basilica in Venice, it was one of the few contemporary examples of domes built in churches, instead than in separate baptisteries. The copper cover was added in the 16th century.


The interior is on the Greek cross plan. All the arms are divided into a nave and two aisles, with re-used antique Roman columns with Byzantine capitals. At the crossing is the internal part of the dome, which has pendentives with Byzantine-style figures of praying angels. The dome is supported by cruciform cluster piers.
The side arms of the transept end in elevated apses, while the central arm of the presbytery lost the original apse during the enlargement works of the 18th century. All the naves have hull-shaped, painted wooden vaults dating from the 15th century. At the beginning of the northern nave is the monument to a Fermo warrior from 1530.
The south transept is home to the Chapel of the Crucifix. Its screens (transennae) are formed by tiles with sgraffito decoration from a balustrade of 1189. They depict, on the left, Jeremiah and Habakkuk; the Eternal Father and the Blessed Virgin; an angel and Saint John the Evangelist; and Saint Cyriacus; and, on the right, figures of animals: two cranes on a pomegranate tree, an eagle, two peacocks on a tree and two gryphons. In the Crypt of Tears below, rebuilt after the devastation of World War II, are remains of ancient structures. The presbytery's arms house, in the northern aisles, the sepulchre of Blessed Girolamo Ginelli (d. 1506), made in 1509 by Giovanni Dalmata.
The northern transept houses the Madonna Chapel, with a lavishly decorated niche designed by Luigi Vanvitelli in 1739, which is the site of a venerated 17th century image of the Madonna. Under the chapel is a crypt with the remains of Saint Cyriacus (in a marble case), Saints Liberius and Marcellinus (in Sicilian jasper) and the ashes of Saint Palatia. The urns with bronze festoons were designed and executed between 1757 and 1760 by Gioacchino Varlè.


The part was donated by Col. William Angell to the Sun Prairie Fire Department in 1903. The track is nationally known for its midget car races, which began racing in 1936. As of the 2008 season, it is the only track in the United States to host weekly midget car races. The track was closed between 1942 and 1945, since all racing in the United States was halted during World War II.
The Badger Midget Auto Racing Association (BMARA) began sanction at the track in 1946 when racing resumed after World War II. Night racing at Angell Park began in 1948. With the lights installed, Kelly Peters of Lake Forest, IL set fast time, won his heat and captured the first feature race run under the lights. From that point forward, weekly Sunday night racing has been held at the facility except for a few shortened seasons for minor contract disputes in the late 1960s and early 1970s.
The track began hosting its first non-midget car races in 2007 when an occasional touring event was added to its program and by 2010 every race evening featured a class from another track or a touring series. The Angell Park Speedway board and the sanctioning body BMARA had a fall out before the 2010 season. The track ran its own sanction during May 2010. At the end of the month weekly track operation halted for the 2010 season except for special events (two USAC midget weekends and the Fireman's Nationals). The track returned to occasional events in 2011 including BMARA sanction.
The track was closed in 2020 due to the COVID-19 pandemic. In January 2021, Hans Lein and SLS Promotions were announced as promoters of the track. In February 2021, Gregg McKarns was announced as the new promoter of the track instead. McKarns also promotes Madison International Speedway and the ARCA Midwest Tour. Angell Park hosted its first USAC Midget race at the track since 2015 and 47th overall. Tanner Thorson won his seventh race of the season.


Some midget car drivers come from New Zealand and Australia during their country's winter to race during the United States' summer between May and September. The 2008 season featured Michael Pickens from Auckland, New Zealand (who stayed at one of the other driver's house) and Matt Smith from Newcastle, Australia.
Several notable racers raced at the track in its regular weekly series:
Justin Allgaier
Tom Bigelow
A. J. Fike
Aaron Fike (2002 BMARA champion)
Stan Fox (1979 BMARA champion)
Jeff Gordon (four-time Winston Cup Champion)
Mel Kenyon
Michael Pickens (many time New Zealand National Midget champion)
Landy Scott (1947 BMARA champion and BMARA president from 1951 to 1959)


Angers Cathedral (French: Cathédrale Saint-Maurice d'Angers) is a Roman Catholic church dedicated to Saint Maurice in Angers, France. It is the seat of the Bishops of Angers.
Built between the 11th and 16th centuries, it is known for its mixture of romanesque and Gothic architecture, its ornate Baroque altar and sculpture. It also has an extensive collection of stained glass windows, including the transept's window of Saint Julian, considered to be a masterpiece of French 13th-century glasswork. as a national monument of France.


The earliest cathedral on the site was dedicated to the Virgin Mary but in 396 Saint Martin, the Archbishop of Tours, added the Theban Egyptian martyr Saint Maurice to the dedication.  He had acquired a relic of some of the blood of the members of the Theban Legion, who were martyred with Saint Maurice in the 3rd century for converting to Christianity. The relic was brought to Tours and later, according to the legend, a phial of it was given to Angers.
In the 7th century, an additional devotion to Saint Maurilius, the Bishop of Angers in the 4th century, began. A biography of him was written and in 873 his body was transferred to the cathedral. For 200 years Saints Maurilius and Maurice were frequently mentioned together as the patron saints of the cathedral but gradually Saint Maurice became the primary patron.


At the beginning of the 11th century, Hubert de Vendôme, the Bishop of Angers from 1010 to 1047, decided to build a new cathedral in the Romanesque style to replace the existing church. The new church was consecrated on 16 August 1025, but in 1032 it was ravaged by a fire.
Geoffroy de Tours, the Bishop of Angers from 1081 to 1093, ordered the reconstruction of the cathedral, which continued under the supervision of his successors, Renaud de Martigné (1102–1125), Ulger (1125–1148) and Normand de Doué (1148–1153). The altar crucifix was blessed in 1051 and the new altar was consecrated in 1096.
In the mid-12th century, the cathedral underwent another transformation. Atop the Romanesque lower walls new walls and vaults were constructed in the Angevin variation of Gothic architecture; which took its name from the historic province of Anjou, a fiefdom of the French crown. The vaults were composed of high crossing ribs,  supported by rows of clustered columns and pillars in the nave below. This allowed the construction of very large windows on the upper walls between the ribs. filling the interior with light.
The rebuilding of the nave was followed by that of the choir and the new transept. This was carried out between 1235 and 1274, largely under the direction of Guillaume de Beaumont, the Bishop of Angers from 1203 to 1240. The choir followed a similar design as the nave, with the grand arches replaced by large blind arches topped with a narrow passageway, now decorated with a wrought-iron railing, below the large windows of the upper level. The arches are taller an more slender than those of the nave, and the decoration more stylised.
In the 17th century the interior of the church underwent another rebuilding; Angers Cathedral was one of the first in France to redesign its interior following the directives of the Council of Trent, to make the interior more welcoming and decorative for ordinary worshippers, and to remove the barriers between the clergy and the congregation. This was the arrival of Baroque architecture into churches. The jubé, or rood screen, which separated the clergy and congregation was removed, and the altar was moved from the center of the choir to a position closer to the congregation in the nave. The majestic new baldaquin over the altar, with columns of red marble supporting a great crown of filled with sculpture, was installed in 1757. The altar beneath faces both toward the clergy in the choir and the worshippers in the nave.


In the 16th century, the architect Jean Delespine constructed a new base to the two towers. The lower portio, in the new Renaissance style, was covered with sculpture depicting Saint Maurice and his seven knight-companions and their martyrdom.  They also gave the central tower a Renaissance-style hexagonal crown, finished in 1515. Another Renaissance spire was built atop the south tower, completed in 1523. The deteriorating original sculptures were largely replaced with copies in 1909.


In 1806, the mediaeval porch on the west front had to be demolished because of its dilapidated condition.  Built in the Angevin Gothic style in front of the entrance gate, it had two levels. Four pointed arches are the only suriving vestiges of the original porch. In the mid-19th century, the Neo-Gothic pulpit was created by the Bishop Choyer, with the support of Eugène Viollet-le-Duc, who was overseeing multiple Gothic restoration projects in France.
Various reconstruction projects were developed in the 20th century but none of them went beyond the planning stage.


The original Romanesque church was rebuilt with Gothic details in the mid-12th century. The single aisle was vaulted with pointed arches resting on a re-clad interior elevation. The nave consists of three simple bays, with single bays on either side of a crossing forming a transept, followed by a single-bay choir, backed by an apse.


The west front clearly illustrates the three different periods of the construction of the cathedral. The lower portions are Romanesque, with thick walls, rounded arches, and a Romanesque portal and a central window. The towers on either side are Flamboyant Gothic, with rich decoration and a delicate dissymetery. The central tower is a work of Renaissance architecture, with classical influences, built between 1533 and 1537.
The portal, much damaged and restored over the centuries, originally was protected by a porch. tympanum over the doorway represents Christ in majesty, and it is decorated the column-statues from the 12th century. The decorative ironwork on the doors dates to Romanesque period. Above the portal is a later gallery of sculptures depicting eight knights, who represent the companions of Saint Maurice, who joined him in his martyrdom. It was added in the 16th century. The originals were replaced with copies in 1909.


The nave was constructed as a single vessel, without chapels. The current chapel on the south lower nave was originally a separate church for the parish, which was later attached to the cathedral. The lower walls are Romanesque, rebuilt in the early 11th century. In about 1150, a major rebuilding added the enormous arches between the supports of the Romanesque walls, up to the middle level of the walls.  Then massive pillars of clustered columns were put in place supporting the arches of three large vaults.  The space between ribs of the vaults on the upper walls was filled with very large stained glass windows, filling the interior with light.


The choir and transept were constructed after the nave, between 1235 and 1274. The walls and vaults were similar to those of the choir, except that the arcade of large pillars was replaced by blind arches, topped with a narrow passageway halfway up the wall, with a balustrade of cast iron.
The decoration of the choir is particularly notable. Angers was one of the first Cathedrals in France to adapt the new Baroque style, imposed by the Vatican Council of Trent in order to make the altar more visible from the nave and to make the interior more dramatic and inspiring. The old rood screen that separated the choir from the nave was demolished, and the altar was placed between the two spaces. facing both. In 1757, the enormous Baroque ciborium or altar canopy, supported by columns of red marble and crowned with a pyramid of sculpture by Gervais was put into place.


The oldest original window dates from about 1165 and depicts the infant Christ. At the end of the 12th century, under Bishop Raoul de Beaumont, new windows were made for the nave. Windows from this period depict the Martyrdom of Saint Catherine of Alexandria, the life of the Virgin Mary (Bay 123) and the Martyrdom of Saint Vincent. These are very good examples of the new technique of painting onto glass, or silver stain, which became popular in that century.  Early windows from the late 12th and early 13th century include the Glorification of the Virgin window (Bay 123), a rare example of a window signed with the emblem of its maker.
A number of windows from the 13th century are found in the choir, including the life of Saint Jean the Baptist. Some of these windows were commissioned by Bishop Guillaume de Beaumont, whose figure appears in the windows devoted to saint Julien, and whose coat of arms appears in the window depicting the life of Saint Thomas Becket (F-108 left in the Choir). Some of the windows mix glass from different periods; the window of the Life of Saint Martin contains glass from the 16th century, from the Priory of the Verger of Seichs-sur-le-Loire, combined with earlier works from 1230-1235, which were originally made for the transept.
Following a fire in 1451, new windows were commissioned from André Robin representing large figures of the saints standing before architectural settings. One of his notable windows is in Bay 109, depicting Saint René.  was also the creator of the two rose windows, which depict the signs of the coming end of the world, a popular theme in 15th century manuscripts, but rare in stained glass windows.
By the end of the 19th century any of the early windows had been destroyed. Other early windows in the nave were destroyed by a bomb in 1944. They were restored in the 1950s by the Paris glassmaker and painter Jacques Le Chevallier. The new windows depict the saints particularly venerated in the Angers diocese.


The cathedral is noted for the rich wood carving of the pulpit. It was created in the 19th century by the Abbot and sculptor Choyer in the Neo-Gothic style, at the suggestion of Eugène Viollet-le-Duc, who was involved in the major restoration of the cathedral. Its carved sculpture features images of the patron of the cathedral, Saint Maurice, as well a figure of Adam supporting the pulpit from below.


The cathedral has a particularly fine collection of medieval tapestries. The oldest group, which depicts the Apocalypse and Acts of Revelation,  was donated to the Cathedral by René of Anjou in 1480. It is now displayed at the Château d'Angers.  The other ninety tapestries in the collection were made in Flanders and France from the 15th to the 18th century, and were gathered together in the Cathedral in the second part of the 19th century, and are one of the most important single collections in Europe. In the past they were displayed only for certain religious holidays. Now they are hung as a group only during the festivals of Saint John and Saint Maurice, with the others only displayed individually according to the liturgical calendar.


In about 1980 several remarkable mural paintings dating from 1240 to 1260 were discovered hidden behind the elaborate 18th century woodwork in the back of the apse, which had been created by Sébastien Leyssner. They depict the miracles achieved by Saint Maurilius of Angers, a 5th century bishop of Angers, whose miracles included the resurrection of Saint René, who later became a member of the chapter of Cathedral.


The cathedral has a particularly rich collection of sculpture, ranging from Romanesque and Gothic column capitals decorated with faces,to dramatic scenes of Baroque sculpture above the main altar. There is also an assortment of tomb sculpture from different periods.


Among the significant works in the cathedral are:
the north transept was paved by the architect Guillaume Robin in 1453;
the straight staircase to the library built by Guillaume Robin, also in 1453, in the south transept. He supervised the construction of the cathedral at the same time as the master glassmaker, André Robin, made the stained glass windows.


A pipe organ has been in the cathedral from as early as the 14th century but the current version was built only in 1617 by the organ maker, Jacques Girardet, who was probably recycling the pipes and other parts from the previous organ. An earlier organ was replaced in 1416 with a new case by Jean Chabencel but in 1451 it was destroyed by a fire. A replacement was built in 1507 on the initiative of Anne of Brittany on the original spot, the organ loft in the choir. It was restored for the first time, after another fire, in 1533 by Peter Bert and for the second time in 1701 by Marin Ingoult, who added the pedalboard. When Ingoult was done, the organ had, besides the pedalboard, 47 stops with four keyboards (manuals). In the 18th century, its case was replaced. Between 1869 and 1872, the organ was reorganized by Aristide Cavaillé-Coll. In 1957 it was electrified, adding 19 stops to make a total of 66 stops, with just three manuals and a pedalboard. It is in the balcony of the organ loft at the west end of the cathedral.


The cathedral has nine bells, housed in central tower. The Bourdon, the largest and oldest bell, with the deepest notes, is named Maurice; It was Founded by the firm of Besson, and weighs 6700 kilograms.


Lours, Mathieu (2018). Dictionnaire des Cathédrales (in French). Editions Jean-Paul Gisserot. ISBN 978-27558-0765-3.


Anglesey Abbey was built on the remains of a priory of Augustinian Canons Regular, which was founded as a hospital of St Mary during the reign of Henry I (i.e., between 1100 and 1135) and endowed as a priory by Richard de Clare in 1212. The priory was closed in 1536 during the Dissolution of the Monasteries and three years later was granted to lawyer John Hynde. The priory was largely demolished and materials used in the construction of Madingley Hall.
The Fowkes family acquired the property in 1595 and converted what remained of the demolished priory into a Jacobean-style house. The walls of the chapter house were incorporated into the main part of the domestic dwelling, with the calefactory or monks' day room to the north left as an outbuilding. Subsequent owners included the Cambridge carrier Thomas Hobson (of "Hobson's Choice"), his son-in-law barrister Thomas Parker and descendants, Cambridgeshire MP Samuel Shepheard and his daughter Lady Irvine, and George Leonard Jenyns. Owners did not always occupy the house themselves; it was leased out as a farmhouse at times. By the time Thomas Parker died in 1643 the property was known as Anglesey Abbey, rather than Priory.
In 1848 Reverend John Hailstone, vicar of the neighbouring parish of Bottisham, son of botanist Samuel Hailstone and nephew of geologist John Hailstone, purchased Anglesey Abbey and carried out restorations, converting the monks' day room into an entrance hall, adding a service wing and building a stable block from remaining medieval masonry. Several sketches he made of the house survive. He was also responsible for planting trees, including cedars, wellingtonia, weeping elm and silver lime, along the drive to the house. Reverend Hailstone lived in the house after his resignation as vicar of Bottisham in 1861 until his death in 1877. His widow sold it in 1888 to the Reverend James George Clark, who lived there with his family until 1912, when he was given a living in Hertfordshire and tenants were found for Anglesey Abbey.
Anglesey Abbey was sold in 1926 to two brothers, Urban Huttleston Broughton (later 1st Baron Fairhaven) and Henry Rogers Broughton, who purchased it for its proximity to the horse-racing town of Newmarket and their stud at Great Barton near Bury St Edmunds. The brothers had inherited a fortune from their maternal grandfather, American oil baron Henry Huttleston Rogers, and could live a life of leisure devoting themselves to owning and breeding racehorses, collecting art and creating gardens. The brothers made a number of alterations to the house soon after they bought it, converting the monks' day room from an entrance hall into a dining room, moving the front porch, adding a stone newell staircase and putting in fireplaces and panelling. The work was done by architect Sidney Parvin from the London firm of interior designers Turner Lord, and featured in a 1930 edition of Country Life.
Henry moved out when he married in 1932, leaving his older brother, by then Lord Fairhaven (having been given the barony that was about to be bestowed on his father, Urban H. Broughton, when he died) as the last private owner of Anglesey Abbey. Lord Fairhaven made extensive additions to the house in order to provide room for his rapidly expanding collection of books, paintings, tapestries, clocks, furniture and objets d'art. The library wing, designed by Sidney Parvin, was added in 1937 and was followed by the Tapestry Hall, a staircase hall off the dining room, in 1939. In 1934 Lord Fairhaven bought and restored Lode Mill on the boundary of his property. The mill had been built in the 18th century but had been converted to grind cement rather than corn in 1900.
Lord Fairhaven converted the grounds of Anglesey Abbey, which had been largely meadow and grazing land when the brothers bought the property, into an 18th-century style park with avenues of trees, flower gardens, statuary and ornaments. The final addition to the house, a two-story picture gallery designed by Sir Albert Richardson was completed in 1956.
When Lord Fairhaven died in 1966, Anglesey Abbey was left to the National Trust together with an endowment of £300,000. Lord Fairhaven had stated in his will that the house should be preserved as "a complete and furnished entity so that it retains as far as possible the character of an English Home".


In addition to its Grade I listing, the house is also notable for its contents. Lord Fairhaven's collection includes furniture, paintings and sculptures, clocks, tapestries, books, and objets d'art and, according to the author of a guide to Anglesey Abbey, expresses "an eclectic taste and refreshing disregard for fashion".
Rooms open to the public include: the living room that originally formed the chapter house of the priory and dates from the 13th century; the "oak room" with its oak panelling and plaster ceiling copied from that of the Reindeer Inn at Banbury; the dining room formed from the monks' day room; the tapestry hall; the service wing; the library, where various royal visitors have engraved their names on a window; several first floor bedrooms; and the two-storey picture gallery.
Furniture includes an Italian Renaissance refectory table in the dining room, chairs embroidered by Lord Fairhaven's mother in the living room, a white japanned Chippendale dressing table that once belonged to actor David Garrick in one of the bedrooms, and bookshelves made from the piles of John Rennie's Waterloo Bridge in the library. The tapestry collection includes, as well as seventeenth century works, one commissioned by Lord Fairhaven from the Cambridge Tapestry Company depicting Anglesey Abbey and the Fairhaven coat-of-arms. There are a large number of clocks in the house with pride of place going to a four-tier pagoda shaped clock in the living room.
The art collection at Anglesey Abbey reflects Lord Fairhaven's taste for British painting of the nineteenth century and earlier, with a particular fondness for views of Windsor Castle, landscapes, animal and bird paintings, and nudes by William Etty. The twentieth century is represented by paintings by Alfred Munnings, including a picture of a drum horse of the 1st Life Guards (Lord Fairhaven's old regiment), and a portrait by Oswald Birley of Lord Fairhaven in the ceremonial uniform of his regiment. There are paintings by John Constable, Thomas Gainsborough (a rare seascape), Richard Parkes Bonington, Edwin Landseer and the Pether family as well as a series of Tudor portrait panels. Lord Fairhaven collected over 750 paintings, prints and drawings of Windsor Castle. His interest in the castle dates from his youth when his parents had a country house near Windsor, and from when he was later stationed at the castle with his regiment. The Windsor collection was catalogued by art historian Cyril Bunt in 1949. Although most of the paintings in Anglesey Abbey are by British artists, foreign artists are represented in the Windsor collection and there are also flower pieces by Ambrosius Bosschaert and Jean-Baptiste de Fontenay, as well as three paintings by Claude Lorrain. Sculpture in the collection includes 18th century marble horses, a 15th-century continental wooden figure of St Jerome, a bronze bull by Antoine-Louis Barye, a collection of bronzes by R. Tait McKenzie, Frederic Leighton, Alfred Gilbert and others, and a silver Shield of Achilles by John Flaxman.
The library at Anglesey Abbey contains nearly 5200 books, mostly ordinary reading books in fine bindings with about a thousand collector's books.


The 98 acres (400,000 m²) of (Grade II* listed) landscaped grounds at Anglesey Abbey are divided into a number of avenues, walks, vistas, and gardens, with classical statuary and flowerbeds. It was Lord Fairhaven who laid out the grounds in the style of an eighteenth century park. He was responsible for replanting the rose garden and creating the dahlia garden, the herbaceous garden, the hyacinth garden and the Narcissus garden (so called because it has a statue of Narcissus in it) for seasonal bedding. To commemorate the coronation of King George VI and Queen Elizabeth in 1937, Lord Fairhaven planted an extensive avenue of trees with a crossing avenue at the far end. The trees used were London plane alternating with horse chestnut in four rows, copying those planted in Windsor Great Park. Storm damage in 1968 removed most of the plane trees leaving only the horse chestnut trees. The Temple Lawn was created in 1953 to commemorate the coronation of Queen Elizabeth II. In front of the house to the south there is a formal lawn and beyond it is a meadow where earthworks mark the position of fishponds from the original priory.
In 1964 American landscape gardener Lanning Roper wrote a book, The Gardens of Anglesey Abbey, in which he  described the careful planning of the garden with its many vistas, avenues, rare and common trees, pools, statues and river temples. He describes the way in which huge areas of sky and mown grass were used to balance symmetrical planting and how Lord Fairhaven used the trees and shrubs to make groups of contrasting colour and foliage. Three generations of the local Ayres family have worked in the gardens since 1921, with Noel and Richard becoming head gardeners. A Winter Garden was opened in 1998 in Lord Fairhaven's memory. In 2013 Richard Todd, head gardener at Anglesey Abbey since 1974, received the British Empire Medal for his years of service to the trust and national heritage. In 1999 he had been responsible for establishing a composting system to improve drainage and help retain water in drought. Ten years later 95% of garden waste was composted.
To the north-west of the house, a block of farm buildings was converted into a large bungalow, complete with swimming pool, to serve as the Summer House for the Fairhaven family in the days when they used to occupy Anglesey Abbey house in the winter, before they moved to Kirtling Tower in 2004.
The grounds are bounded on the north-west by Bottisham Lode, with Lode Mill, bought and restored by Lord Fairhaven in 1934, at its head. To the south of the mill is the quarry pool, a large pool believed to be the site of a 19th-century coprolite mine.


Anglesey Abbey, officially known as Anglesey Abbey, Gardens and Lode Mill, was until 2020 open to the public all year round. There is an admission charge, with National Trust members having free entry. In 2018/19 there were 382,235 visitors to Anglesey Abbey, making it the eleventh most visited National Trust property open at a charge. In 1978 the mill was restored to working order by the Cambridgeshire Wind and Watermill Society and flour can be bought in the mill or the shop. A new visitor centre with a restaurant and shop was opened in 2008. Seasonal attractions include the winter lights festival, snowdrop walks and summer outdoor cinema.
In March 2020 the property was closed to visitors due to the COVID-19 pandemic, with the gardens and park re-opening in June 2020.
Anglesey Abbey featured in the National Trust's 2020 Interim Report on the Connections between Colonialism and Properties now in the Care of the National Trust, Including Links with Historic Slavery since Samuel Shepheard, who bought the property in 1739 but did not live there or make any additions to it, had been one of the 24 directors of the East India Company from 1717 to 1721.


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Thomas, Graham Stuart (2003). Recollections of Great Gardeners. London: Frances Lincoln. p. 91.
Roper, Lanning (1964). The Gardens of Anglesey Abbey. Cambridgeshire: Faber and Faber.
Waterson, Merlin (1994). The National Trust: the first hundred years. The National Trust. p. 136.
Todd, R. (2008). "Planting for winter interest". Gardening Secrets from National Trust Head Gardeners. London: National Trust Books. p. 41. ISBN 978-1-905400-35-5.
"Queen's Birthday Honours: Straw Bear Festival founder recognised". BBC News. 15 June 2013. Retrieved 29 February 2020.
Todd, R. (2008). "Making Compost". Gardening Secrets from National Trust Head Gardeners. London: National Trust Books. p. 93. ISBN 978-1-905400-35-5..
"Available to rent: The Summer House at Anglesey Abbey". Cambridge Independent. 3 March 2017. Retrieved 29 February 2020.
National Trust annual report 2018/19, p76
"Anglesey Abbey, Gardens and Lode Mill". National Trust. Retrieved 29 February 2020.
"Parkland at Cambridgeshire's Wimpole Hall and Anglesey Abbey to reopen". Cambridge Independent. 29 May 2020.
Interim Report on the Connections between Colonialism and Properties now in the Care of the National Trust, Including Links with Historic Slavery


Angrignon Park (French: Parc Angrignon) is an urban park in the Le Sud-Ouest borough Montreal, Quebec, Canada. Angrignon Park has a total area of 97 hectares. It includes a 1.1km long lake. It is considered by the City of Montreal as one of its large parks.
The park is named for Jean-Baptiste Angrignon (1875–1948), an alderman in Côte Saint-Paul from 1921 to 1934. Before 1927, the area was named Crawford Park.
The park was inspired by the design of 19th-century English gardens. The park contains 20,000 trees, winding paths and a pond surrounded by cattails.
The park is located just south of Ville-Émard, east of Carrefour Angrignon, which is also named after Jean-Baptiste Angrignon, and west of Verdun.
The park was once home to a small farm.
Angrignon station – the western terminus of the Montreal metro Green Line – is at the northern corner of the park.
On December 7, 2020, the City of Montreal announced a plan to create a green corridor between the park and Bois-de-Saraguay Nature Park. The plans included a walking path, a bicycle link, and landscaping.


The shrine itself was built in a style like that seen in the Goryeo period. It has high ceilings, and houses various portraits of General Gang.
Situated by the shrine is a Three Storied Stone Pagoda (designation Seoul Tangible Cultural Property No. 4) of the Goryeo dynasty, also erected to commemorate General Gang at the place of his birth, Nakseongdae. Nakseongdae (낙성대, 落星垈)  literally means “place where a star has fallen,” and refers to the legend that a star fell from the sky when General Gang was born.  The pagoda was moved from the original site of Gang’s birth (Nakseongdae Yuji, 낙성대유지), and relocated to the Nakseongdae Park area in 1973.
In front of the shrine is a large statue of General Gang on horseback.


Anguksa shrine at Nakseongdae Park can be visited by taking the Green 02 bus from Nakseongdae Station on Subway Line 2.


Ankara Castle (Turkish: Ankara Kalesi) is an historic fortification in the city of Ankara, Turkey, constructed in or after the 7th century. The earliest fortification on the site was constructed in the 8th century BC by the Phrygians and rebuilt in 278 BC by the Galatians. The castle was rebuilt or renovated under the Roman, Byzantine, Seljuk, and Ottoman empires.


The castle is composed of an inner line of walls with closely spaced towers that encloses an area of about 350m by 150m, and an outer line of walls with towers some 40m apart. Both sets of walls were constructed using large quantities of reused masonry. The exact dates of their construction are uncertain, but both postdate the capture and destruction of Ankara by the Persians in, probably, 622 AD (Foss considers that the inner walls may date from the reign of Constans II; the outer walls are generally believed to have been erected slightly later).


Annapurna II is part of the Annapurna mountain range located in Nepal, and is the eastern anchor of the range.
In terms of elevation, isolation (distance to a higher summit, namely Annapurna I East Peak, 29.02 km or 18.03 mi) and prominence (2,437 m or 7,995 ft), Annapurna II does not rank far behind Annapurna I Main, which serves as the western anchor. It is a fully independent peak, despite the close association with Annapurna I Main which its name implies; it is, however, closely connected to the shorter Annapurna IV. Annapurna II is the 16th highest mountain in the world and the 2nd highest peak of the Annapurna mountain range.


Annapurna II sits apart from the main ridge of the Annapurna Massif, along with the shorter Annapurna IV. Its summit proper lies along a steep rock ridge, relatively free of snow towards its highest point, which drops in altitude to run west to the summit of the smaller peak. The South Face is a large pyramidal wall only interrupted by the central spur, while the North Face is more complex, with steep walls cascading between ice fields near the summit and base of the mountain. To the northwest, a large hanging glacier occupies the flank between it and Annapurna IV, while the Northeastern wall has a distinctive, recurrent series of cornices and rock bands resembling a human face or skull, visible in the above photograph.
Annapurna II is notable for its large avalanches, especially those originating from the high snowpack behind the North-central buttress. Other dangers include rockfall, large ice overhangs, and frequent storms. These have limited the scope of mountaineering expeditions, indeed, the standard route of ascent uses the central connecting ridge with Annapurna IV to bypass many of its objective hazards.


It was first climbed in 1960 by a British/Indian/Nepalese team led by J. O. M. Roberts via the West Ridge, reached by climbing the North face of Annapurna IV. The summit party comprised Richard Grant, Chris Bonington, and Sherpa Ang Nyima.
Yugoslavs from Slovenia repeated this ascent in 1969, also climbing Annapurna IV. Kazimir Drašlar and Matija Maležič reached the summit. In 1973 Japanese took a shortcut by climbing directly up the north face between IV and V before continuing along the west ridge. Katsuyuki Kondo reached the top by himself.
In 1983, Tim Macartney-Snape planned and participated in an expedition to Annapurna II (7,937 m or 26,040 ft), reaching the summit via the first ascent of the south spur. The descent was delayed by a blizzard and the expedition ran out of food during the last five days.  They were reported missing and when the expedition eventually returned they received significant publicity.
On Feb 2, 2007; Philipp Kunz, Lhakpa Wangel, Temba Nuru and Lhakpa Thinduk made the first winter ascent. The team followed the route of the first ascent from the north.


The Anne Frank House (Dutch: Anne Frank Huis) is a writer's house and biographical museum dedicated to Jewish wartime diarist Anne Frank. The building is located on a canal called the Prinsengracht, close to the Westerkerk, in central Amsterdam in the Netherlands.
During World War II, Anne Frank hid from Nazi persecution with her family and four other people in hidden rooms, in the rear building, of the 17th-century canal house, later known as the Secret Annex (Dutch: Achterhuis). She did not survive the war but her wartime diary was published in 1947. Ten years later the Anne Frank Foundation was established to protect the property from developers who wanted to demolish the block.
The museum opened on 3 May 1960. It preserves the hiding place, has a permanent exhibition on the life and times of Anne Frank, and has an exhibition space about all forms of persecution and discrimination. In 2013 and 2014, the museum had 1.2 million visitors and was the 3rd most visited museum in the Netherlands, after the Rijksmuseum and Van Gogh Museum.


The house – and the one next door at number 265, which was later purchased by the museum – was built by Dirk van Delft in 1635. The canal-side façade dates from a renovation of 1740, when the rear annex was demolished. It was a private residence until the nineteenth century - in 1821, for instance, a Captain Johannes Christiaan van den Bergh, plaats-majoor der tweede klasse (adjutant third class) resided there.
Subsequently, the building became a warehouse, and the front warehouse with its wide stable-like doors was used to house horses. At the start of the 20th century, a manufacturer of household appliances occupied the building, succeeded in 1930 by a producer of piano rolls, who vacated the property by 1939.


On 1 December 1940, Anne's father, Otto Frank, moved the offices of the spice and gelling companies he worked for, Opekta and Pectacon, from an address on Singel canal to Prinsengracht 263.
The ground floor consisted of three sections; the front was the goods and dispatch entrance, behind it in the middle section were the spice mills, and at the rear, which was the ground floor of the annex, was the warehouse where the goods were packed for distribution. Directly above the ground floor were the offices of Frank's employees, with Miep Gies, Bep Voskuijl (known in Anne Frank's diary as Elli) and Johannes Kleiman occupying the front office while Victor Kugler worked in the middle office. The rear office held a large radio that the people in hiding used until 1943, after which the radio was handed in by the employees when the Nazis began confiscating Dutch radios.
The Achterhuis (Dutch for "back house") or Secret Annex – as it was called in The Diary of a Young Girl, an English translation of the diary – is the rear extension of the building. It was concealed from view by houses on all four sides of a quadrangle. Its secluded position made it an ideal hiding place for Otto Frank, his wife Edith, two daughters, Margot and Anne, of whom Anne was the younger, and four other Jews seeking refuge from Nazi persecution. Though the total amount of floor space in the inhabited rooms came to only about 450 square feet (42 m²), Anne Frank wrote in her diary that it was relatively luxurious compared to other hiding places they had heard about. They remained hidden here for two years and one month until they were raided by the Nazi authorities, arrested, and deported to their deaths in concentration camps. Of the hidden group, only Otto Frank survived the concentration death camps.
After those in hiding were arrested, the hiding place was cleared by order of the arresting officers and all the remaining contents (clothes, furniture, and personal belongings) of the Frank family and their friends were seized and distributed to bombed-out families in Germany. Before the building was cleared, Miep Gies and Bep Voskuijl, who had helped hide the families, returned to the hiding place against the orders of the Dutch police and rescued some personal effects. Amongst the items they retrieved were books and papers that would eventually be compiled into The Diary of Anne Frank.


After Otto Frank returned to Amsterdam in June 1945, he was given Anne's diaries and papers and subsequently compiled the two versions of his daughter's diaries into a book published in Dutch in 1947 under the title Het Achterhuis, which Anne had chosen as the name of a future memoir or novel based on her experiences in hiding. Achterhuis is a Dutch architectural term referring to a back-house (used comparatively with voorhuis meaning front-house). However, when the English translation began production, it was realised that many English-speaking readers might not be familiar with the term and it was decided that a more evocative term (the 'Secret Annexe') would better convey the building's hidden position. Otto Frank's contributions to the diary were such that he is recognized as a co-author.


Shortly after the book was published, visitors were shown around by the employees who had hidden the families and could see the secret rooms. However, by 1955, the company had moved to new premises and the entire block to which the building belonged was sold to a single estate agent who served a demolition order with the intention of building a factory on the space. A campaign to save the building and to list it as a protected monument was started by the Dutch paper Het Vrije Volk on 23 November 1955. The building was saved by campaigners who staged a protest outside the building on the day of demolition.
The Anne Frank Foundation was established on 3 May 1957 in cooperation with Otto Frank, Anne Frank's father, with the primary aim of collecting enough funds to purchase and restore the building. In October of that year, the company who owned it donated the building to the Foundation as a goodwill gesture. The collected funds were then used to purchase the house next door, Number 265, shortly before the remaining buildings on the block were pulled down as planned. The building was opened as a museum to the public in 1960.
The former hiding place of Anne Frank attracted a huge amount of interest, especially as translations and dramatisations of the Diary had made her a figure known throughout the world. Over 9,000 visitors came in its first year. In a decade, there were twice as many. Over the years, the building has had to be renovated to manage such a large number of visitors, and it closed temporarily for this reason in 1970 and 1999.
On 9 September 2001, Queen Beatrix of the Netherlands reopened the museum, which now incorporated the entire building between exhibition spaces, a bookshop and a cafe, and featured the offices in the front house reconstructed to their state in the 1940s. In 2007, over one million people visited the museum.
On display at the museum is the Academy Award that Shelley Winters won, and later donated to the museum, for her performance as Petronella van Daan in the 1959 film The Diary of Anne Frank. The award now sits in a bullet-proof glass case in the museum.
In 1998, the Anne Frank Zentrum in Berlin was opened after the completion of a cooperation agreement with the Anne Frank House.


Ronald Leopold has been executive director of the museum since 2011 and Garance Reus-Deelder has been managing director since 2012.
The museum had 1,152,888 visitors in 2012, 1,195,456 visitors in 2013, and 1,227,462 visitors in 2014. It was the 3rd most visited museum in the Netherlands in 2013 and 2014, after the Rijksmuseum and Van Gogh Museum.
The museum is a member of the Museumvereniging (Museum Association).


The construction was started by Peter the Great in 1720, after Russia had successfully finished the Siege of Vyborg and captured the town from Sweden in the Great Northern War. The fortification was completed by Anna of Russia in 1741. The project was under the direction of the German-born soldier-engineer Burkhard Christoph von Münnich.
Annenkrone is composed of four bastions and three ravelins facing west and one moat on the north side. The fortification was never used in war. After the Finnish War of 1808–1809 Annenkrone lost its significance as Finland became a part of the Russian Empire and the border against Sweden was transferred hundreds of kilometres west. The last barracks and other buildings were completed in the mid-19th century.
Today the fortification is a part of the Petrovsky District. During the Finnish era 1917–1944 it was a part of the Siikaniemi district.
After the 1918 Finnish Civil War Battle of Vyborg, a mass execution was conducted in Annenkrone as the Whites shot up to 400 Russian civilians in the so-called Vyborg massacre.


The work consists of cast iron figures which face out to sea, spread over a 2-mile (3.2 km) stretch of beach between Waterloo and Blundellsands. Each figure is 189 centimetres (6 ft 2 in) tall and weighs around 650 kilograms (1,430 lb). The figures are cast replicas of Gormley's own body. As the tides ebb and flow, the figures are revealed and submerged by the sea, and are subject to corrosion by seawater and colonisation by marine animals. The figures were cast at Hargreaves Foundry in Halifax, West Yorkshire and the Joseph and Jesse Siddons Foundry in West Bromwich by foundryman Derek Alexander.


Another Place was first exhibited on the beach of Cuxhaven, Germany, in 1997 followed by Stavanger in Norway and De Panne in Belgium. It was the subject of much controversy in Merseyside, although many people considered the figures to be beautiful pieces of art, and tourism in the local area increased.
Originally, the statues were due to be relocated in November 2007. Those who use the beach for watersports were among the most vocal in their resistance to the figures remaining, citing safety concerns. The coastguard also expressed safety concerns, fearing that tourists could become stuck in soft sand and get cut off by the tide. Conservationists, meanwhile, complained that bird-feeding areas had been compromised by the increased tourist traffic. Art lovers and local businesses, on the other hand, lobbied for the statues to stay. Gormley himself supported the proposal to keep the statues at Crosby Beach, saying the location was "ideal".
In October 2006, the local council refused to give permission for the statues to stay, prompting Gormley to criticise what he called Britain's "risk-averse culture." He stated, "When I have been down on the beach myself, the majority of people have been intrigued, amused, sometimes very moved." The company Another Place Ltd was established to campaign for the figures' permanent installation and appealed the council's decision.
In March 2007, permission was granted for Another Place to remain at Crosby Beach permanently. The approved plan provided for 16 statues to be moved from contentious areas and decreased the installation's area from 232 to 195 hectares. The cost of the work was estimated at £194,000, to be paid by Another Place Ltd with funding from sources including The Northern Way and Northwest Development Agency.
In a press release, the Chief Executive of Sefton Metropolitan Borough Council, Graham Haywood, said, "Despite some controversy, this internationally renowned artwork has aroused national and international public and media support ... The Iron Men have placed Crosby and Sefton firmly in the spotlight and the knock-on benefits of this should be felt for years to come."
In 2012, biologists from the University of Liverpool studied the colonisation of the statues by sessile intertidal organisms, such as invasive species of barnacles.


The palace was developed from a medieval building. From 1398 to 1400 Frederick I, Elector of Brandenburg, expanded a Stiftshof outside the city walls to a water castle. Structural remains are preserved in the northwest wing of the present building.
George Frederick, Margrave of Brandenburg-Ansbach, ordered the Swabian architect Blasius Berwart (his chief architect from 1563 to 1580) to build a palace. It was erected in Renaissance style from 1565 to 1575. A large hall was built from 1565 to 1575, now called the "Gothische Halle" (Gothic Hall) because of its rib vault. It now houses the largest collection of fayence and porcelain of the former "Ansbacher Manufaktur".
A century later, the major construction was done by Gabriel de Gabrieli (1694–1716), by Karl Friedrich von Zocha (1719–1730), and by Leopold Retti (1731–1749). Between 1705 and 1738 the building was changed to its present form.


Gabriel de Gabrieli created before 1709 the southeast wing with the main facade in a style similar to Viennese Baroque. The interior dates from 1734 to 1745 under architect Leopoldo Retti. Carlo Carlone created a fresco on the ceiling  of the Festsaal (Festive hall). Meissen porcelain is shown in the Spiegelkabinett (Hall of Mirrors).
The interior of the palace has a hall of mirrors with French rococo features; the great hall was provided with painted ceiling and the rooms were fitted with Ansbach porcelain tiles of 18th century vintage. It had a garden that was laid out in the 16th century and modified in the 18th century with an orangerie.
The castle has richly furnished state rooms on the first floor. In 1791, Karl August von Hardenberg, Prussia's representative in Ansbach, added board rooms and a library. From 1806, once the Royal Bavarian Government of Rezatkreis started functioning in Ansbach, the castle's first floor rooms were converted into offices, while the rooms on other floors remained unchanged. Between 1962 and 1974, the last major renovations to the castle were completed. The Bavarian Administration of State-owned Palaces, Gardens and Lakes is in charge of the buildings and the museum.


A garden was first mentioned in the 16th century in the herbal accounts of Leonhart Fuchs. Between 1723 and 1750, it was designed as a Baroque garden. Severely damaged during World War II, it was reconstructed after the war, including an herb garden with many medicinal plants and a house to keep potted plants in winter.
Chief architect Carl Friedrich von Zocha created an Orangerie as an architectural center of the gardens. It was begun in 1726, but seems to have been incomplete when Frederick the Great visited in September 1743.
On 14 December 1833 Kaspar Hauser suffered a fatal stab wound in the backyard garden. At the site  a small gothic pillar is engraved  "HIC OCCULTUS OCCULTO OCCISUS EST" (Here a stranger was killed by an unknown person).
Not far away, in 1825 a monument to the poet Johann Peter Uz was Ansbach (1720-1796) built with a bronze bust by Carl Alexander Heideloff. The inscription on the stele-like pedestal reads: "THE WISE, THE POET, THE PEOPLE'S FRIEND FROM HIS ADMIRERS".
The Orangerie and its courtyard host the annual Rococo Festival, showing life in the court at the time of Margrave Carl Wilhelm Friedrich von Brandenburg-Ansbach.


Rembrant Fiedler: Zur Tätigkeit des Baumeisters Gabriel de Gabrieli in Wien und Ansbach. Bamberg 1993 (Dissertation University of Würzburg)
Christoph Graf von Pfeil: Die Möbel der Residenz Ansbach. Verwaltung der Staatlichen Schlösser, Gärten und Seen, Kataloge der Kunstsammlungen. Prestel: München/London/New York 1999. ISBN 3-7913-2078-5
Christoph Graf von Pfeil: Residenz Ansbach mit Hofgarten und Orangerie. Verwaltung der Staatlichen Schlösser, Gärten und Seen. München 2005; ISBN 3-932982-58-4
Josef Maier: Residenzschloß Ansbach. Gestalt und Ausstattung im Wandel der Zeit. Yearbook of the  Historischer Verein für Mittelfranken 100. Ansbach 2005. ISBN 3-87707-660-2
Wolfgang Wüst: Leben zwischen höfischem Luxus und ökonomischer Enge. Die Residenzen der Bischöfe von Augsburg und der fränkischen Hohenzollern im Absolutismus, in: Zeitschrift des Historischen Vereins für Schwaben 99 (2006) ps. 111–134. ISBN 3-89639-558-0


The Antigua Boat Sheds in Christchurch, New Zealand is an historic building on the banks of the Avon River. It is possibly the only 19th-century example of a commercial boat shed situated on a river in New Zealand. It has been used as a boat shed continuously since its completion in 1882.


The sheds are named after Antigua Street and the Antigua Bridge, which is today the northern terminus of Antigua Street; although until 1904, Antigua Street extended as far north as Armagh Street. The boat sheds are right next to the northern end of the Antigua Bridge and opposite Christchurch Hospital.


The sheds were built between 1882 and 1883 by two Lyttelton boat builders Albert Shaw and J.T. Tidd. They launched their first boat on 28 July 1882. Samuel Anstey took over the boat sheds in 1896 and introduced photographic services from within the boat sheds. On 14 May 1907 a fire destroyed half of the Antigua Boat Sheds along with around half the boats. The eastern end was replaced by a new two-storey section. The business was taken over by Maurice and Diane Phipps in 1978. In 1986, they sold the business to their daughter and son-in-law, Mike and Sally Jones, and later they sold them the building, too. As of 2017, the Jones' are still the proprietors of the business.
The building survived the 2010 and 2011 Christchurch earthquakes due to recent renovation and strengthening work.


The building was classified as a "Category II"  historic place by Heritage New Zealand on 10 September 2004 with registration number 1825. It was upgraded to "Category I" on 19 February 2010.


Antigua Guatemala Cathedral (Spanish: Catedral de San José) is a Latin Catholic church in Antigua Guatemala, Guatemala. The original church was built around 1541, but suffered several earthquakes throughout its history, and the first church building was demolished in 1669. The cathedral was rebuilt and consecrated in 1680. By 1743 the cathedral was one of the largest in Central America. However, the devastating 1773 Guatemala earthquake seriously damaged much of the building, though the two towers at the front remained largely intact. These have undergone restoration work, and the cathedral has been partly rebuilt


WikiWeb_Antoine de Saint-Exupery Museum_0

The Antoine de Saint Exupéry Museum   is a museum of air mail in Tarfaya, Morocco. Founded in 2004, it is devoted to author and aviator Antoine de Saint-Exupéry (1900–1944), who lived there for two years, from 1927 to 1929, and found there the inspiration for much of his literary work.
In 1927, Saint-Exupéry was appointed chief of the stopover airfield in the Tarfaya region, formerly known as Cape Juby. Tarfaya opened the museum in 2004 to recount the history of the aviation company Aéropostale and its route from Toulouse to Saint-Louis, Senegal. The museum is the principal attraction for visitors to the town.


Jervis, Simon & Tomlin, Maurice (revised by Voak, Jonathon; 1984, revisions 1989 & 1995) Apsley House Wellington Museum published by the Trustees of the Victoria and Albert Museum, London ISBN 1-85177-161-1
Nikolaus Pevsner, The Buildings of England: London vol. I, p. 463. ISBN 0-300-09653-4
Stourton, James (2012). Great Houses of London (Hardback). London: Frances Lincoln. ISBN 978-0-7112-3366-9.


The Arabat Fortress, built in the 17th century by the Ottoman army, stands at the southernmost part of the Arabat Spit. Its purpose was to guard the spit and Crimea from invasions. It was in use, with intermissions, until the Crimean War of 1853–1856.


The name of the Arabat Fortress originates from either Arabic "rabat", meaning a "military post", or Turkic "arabat" meaning a "suburb", and is the origin of the name of the Arabat Spit.


The 1475 Turkish invasion of Crimea rang the death knell of the Genoese colonies there, leading to the destruction of the Genoese fortresses on the peninsula. The Turks built or rebuilt fortresses in all strategically important points of the peninsula, their main fortresses being Or Qapi at Perekop, Arabat, Yeni-Kale on the Kerch Strait, Gözleve, and Kefe.
The fortress was probably built in the second half of the 17th century by the Turkish army and was first depicted on a map compiled by Jacob von Sandrart in 1651. This map was based on material collected by French military engineer and cartographer, Guillaume Le Vasseur de Beauplan, author of the 1651 book "Description d'Ukranie".
The fortress had a relatively advanced military design, is octagonal in shape with 3-meter thick stone walls, and was surrounded by an earthen wall and a moat. It contained five towers and two gates. Several rows of embrasures faced east, north and west and were designed for various artillery types. Whereas the fortress was hard to conquer when properly defended, its remote location from Turkey meant that its garrison was often understaffed, allowing Russian troops to bypass it in 1737 and to take it by storm in 1771.


After Crimea became part of Russia in 1783, the fortress was abandoned, but later refurbished and used by Russians during the Crimean War of 1853–1856 to defend the Crimean coast. After the war, the fortress was again abandoned and its walls were used by the people of the nearby small village of Arabat as a source of stone.


The Arabat Spit saw again heavy fighting between the Soviet Red Army and the White Army in 1920 and the German Army during World War II in 1941–1944.
In 1968, some scenes of a famous Soviet film, Two Comrades Were Serving, were shot there.


Google Earth satellite imagery shows the fort has been occupied by military forces since the Annexation of Crimea by the Russian Federation in 2014.


The Arcadia Round Barn is a landmark and tourist attraction on historic U.S. Route 66 in Arcadia, Oklahoma, United States. It was built by local farmer William Harrison Odor in 1898 using native bur oak boards soaked while green and forced into the curves needed for the walls and roof rafters. A second level was incorporated for use as a community gathering place. The town of Arcadia developed and prospered with the arrival of the railroad and in the 1920s the newly commissioned Route 66 was aligned through the town, passing next to the Round Barn.
With the reduction of traffic along Route 66 following the arrival of the Interstate, Arcadia and the barn likewise declined. In 1988 the 60 foot diameter roof collapsed. A team of volunteers led by Luther Robison worked to rebuild the structure, and restoration work was completed in 1992. Today the old barn is a tourist attraction and visitors admire the architectural and engineering details of America's only truly round (as opposed to hexagonal or octagonal) barn.


In 2005, the arch was under restoration.  Reconstruction was completed in 2007 and the arch is now roughly 21 meters high (about 36 feet), 37.45 meters long, and 9.25 meters wide.
Each face of the arch has four engaged columns standing on pedestals and bases. Each pedestal is 2.20 meters high, 2.25 meters wide and 1.20 meters deep. The base of each column is topped by a row of acanthus leaves.
There are three vaulted passageways on the lower level and each of these is flanked by two columns with Corinthian capitals.  The two flanked archways are topped with niches. Each niche is on top of a small entablature, which stands on two pilasters crowned with capitals.
The arch was crowned with an attic, which might have held a dedicatory inscription. The lower part of the attic was decorated with a frieze of acanthus leaves and the central part was crowned with a triangular cornice.


There was a marble tabula ansata panel that was 1.03 meters in height and 7.14 meters in width, with letters 12–13 cm tall.


The Amaravati Archaeological Museum is a museum located in Amaravati, a village in Guntur district of the Indian state of Andhra Pradesh. It is running by Andhra Pradesh tourism. It opens at morning 10:00 and closed at 5:00 pm and Friday holiday. It also consists modal of Amaravathi Mahachaitya.


WikiWeb_Archbishop Quigley Preparatory Seminary_0

Archbishop Quigley Preparatory Seminary was an American seminary preparatory school administered by the Roman Catholic Archdiocese of Chicago for young men considering the priesthood. Located in downtown Chicago at 103 East Chestnut Street, adjacent to Loyola University Chicago's Water Tower campus, it closed on 22 June 2007, and became the Archbishop Quigley Center, the pastoral center and headquarters of the archdiocese after renovations ending 19 November 2008. Between 1961 and 1990, the seminary was split into two campuses: Quigley South and Quigley North, with Quigley North housed at the original building. The south campus was closed in 1990, with all seminary operations returning to the original building.
The predecessor of the school, Cathedral College of the Sacred Heart, was founded in 1905. Cardinal George Mundelein announced plans in 1916 for the building of a preparatory seminary at Rush and Chestnut Streets in downtown Chicago, and named the school in honor of his predecessor, Archbishop James Edward Quigley.
Echoing the educational theories of Johann Wolfgang Goethe, Cardinal Mundelein surrounded Quigley students with great architectural beauty:
"This will unquestionably be the most beautiful building here in Chicago, not excluding the various buildings of the University of Chicago."
Quigley's Chapel of St. James, with stained glass modeled after Sainte-Chapelle in Paris, was dedicated upon the seventy-fifth anniversary of the Archdiocese of Chicago and the twenty-fifth anniversary of Mundelein's priestly ordination on 10 June 1920. Designed by architect Zachary Taylor Davis, with stained glass by Robert Giles of the John J. Kinsella Company of Chicago, it has been listed on the National Register of Historic Places since 1996. The American Institute of Architects Guide to Chicago has termed the stained glass of the Quigley Chapel "dazzling."
The Quigley seminaries have educated almost 2,500 priests, two cardinals, over forty-one bishops, two Vatican II periti, separate recipients of the Medal of Honor and the Presidential Medal of Freedom, the Order of Merit of the Republic of Poland, and, in sports, two members of the Basketball Hall of Fame.


WikiWeb_Archbishop Quigley Preparatory Seminary_1

Archbishop James E. Quigley began plans for a minor seminary in Chicago in July 1903, shortly after his installation. Only 417 diocesan and 149 order priests then served Chicago's 252 parishes, with a city population nearing 1.7 million, and with the archdiocese's then boundaries extending across northern Illinois. Quigley recruited Rev. Francis Andrew Purcell to head the new minor seminary, and dispatched him to the College Propaganda Fide in Rome to earn a doctorate in divinity.
The site of the new seminary at Wabash, then Cass Avenue and Superior Street, was opened on 2 October 1905, upon Purcell's return, and named Cathedral College of the Sacred Heart. Following the European seminary practice of being sited in the midst of the city center of ministry, it also followed the practice of school on Saturday, with Thursday off. No tuition was charged for the first 52 freshmen recruited and admitted upon the nomination of their pastor. Nine other priests, all with either Irish or German surnames, served as the faculty. It became the established tradition of Chicago's minor seminaries that financial want should not prevent a seminarian from attending.
Quigley purchased land on the far West Side of Chicago, in today's Austin neighborhood, for a future major seminary, and a site at Addison Street and Sheridan Road for a larger minor seminary, since Cathedral College had quickly grown to encompass three buildings. Chicago's rapid expansion made the Austin site unsuitable for a major seminary, and Quigley sold the property to the city for its present use as a portion of the beautiful Columbus Park, later designed by the noted landscape architect Jens Jensen. Quigley's health failed before he could put his plan of seminary development in motion, but at an ecclesiastical event in the Eastern United States prior to his death, Quigley providentially spent an afternoon with George Mundelein, then auxiliary bishop of Brooklyn, describing his plans in detail. Quigley died on 10 July 1915, but his successor Mundelein expanded upon Quigley's vision and put it into action. Upon his being named Archbishop, Mundelein boarded a train on 7 February 1916, with a delegation from his new archdiocese, and headed to Chicago, where he was installed as archbishop two days later.
Within a few weeks, on "the feast of the Holy Apostles Phillip and James, 1916", Mundelein wrote to the priests of Chicago:
"It is for this reason that in several of the dioceses of the country, the bishops have established the more modern form of the preparatory seminary, where the young boy selected from among his companions by the pastor or confessor, who discerns in him the probable signs of a vocation, the piety, application and intelligence which is required for the candidate for the holy priesthood, even while remaining in the sacred circle of the home and under the watchful eye of a pious mother, is placed apart and educated with those who only look forward to that same great work in life, the priestly field of labor, keeping daily before his mind the sublime vocation of the priesthood, preserving him pure and pious by constant exhortation, by daily assistance at the Holy Sacrifice and by frequent reception of the sacraments."
"The buildings are to be in the early French Gothic style of architecture and by reason of the distinct individuality and prominent location, will form a place of interest, not only to visitors, but to all lovers of the City Beautiful. The group will be composed of a main college building, and two ornate wings will be one the chapel, the other the library and gymnasium."
Earlier in 1916, Mundelein had purchased a half block of land on Rush Street from Pearson to Chestnut Streets, and later sold the Addison and Sheridan property for $600,000, with a profit of $160,000, in April 1917, with the profit going to build the new Quigley Seminary, and the principal being reserved for the planned new major seminary. With the ground broken in November 1916 and a cornerstone laid at the corner of Pearson and Rush on 16 September 1917, classes were first held at school's current location in September 1918.
Carrying on a precedent established in 1905 in Cathedral College under rector Rev. Francis Andrew "Doc" Purcell (Msgr. in 1922), also Quigley Seminary's first rector, the new "Quigley Memorial Preparatory Seminary" was established with a five-year program of study (which continued until 1961), but like Cathedral College as a day school, so that Quigley students "would never lose contact with their heritage, their families, their Church."
"By 1922, Quigley Seminary was already overcrowded, with over 600 students in a building designed to hold 500. A west wing of the building, this time in the Flemish-Gothic style, was begun in March 1925 and completed amazingly by December 1925, increasing the capacity of the school another 500."
Msgr. Purcell established the school newspaper, The Candle, its yearbook, Le Petit Seminaire, the Cathedral Choristers (a boys' choir which sang at Sunday Masses at Holy Name Cathedral), catechists (who served at parishes), the Beadsmen (who gathered after school and at breaks to pray the Rosary), and the primacy of basketball among Quigley Seminary's intramural and interscholastic sports. By the end of his tenure as rector in 1931, Quigley faculty had grown from ten at Cathedral College in 1905 to forty-two, and the student body had grown from fifty-two in 1905 to 1,030. Quigley's priest faculty were expected to live in the parishes of the Archdiocese, so as to keep a parish and priestly connection.
Msgr. Purcell was succeeded as rector in 1931 by Msgr. Philip Francis Mahoney, who according to the Archdiocesan history, changed little established by Purcell, and whose poor health led to his resignation during the 1934–35 academic year. Mundelein then met with the Quigley faculty and asked for their prayerful individual and confidential recommendations for the rector's position. During the next faculty meeting, Cardinal Mundelein named as Quigley's third rector the faculty choice, Rev. Malachy P. Foley. Msgr. Foley urged Quigley faculty to earn graduate degrees, regularly met personally with students both to praise and correct, expected classroom professionalism, and, according to Archdiocesan historian Msgr. Harry Koenig's account, "maintained Quigley as a seminary that saw itself as second to no other high school."


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The Quigley-educated rector and faculty member, Msgr. John W. Schmid, followed Msgr. Foley as the fourth rector in 1944, and expanded the language curriculum, sending professors (Quigley faculty were called "professors" or "profs" for short) to study in Mexico, Canada, and Europe, and added sciences and physical education as requirements. Schmid, seeing the student body of Quigley growing to 1,300
near the end of his thirty-one years of service to Quigley as professor and rector in 1955, began a formal study for expansion of the school, and stepped aside so a younger man could lead it. The vigorous and athletic Msgr. Martin M. Howard, another Quigley graduate and professor, fluent in classical languages and Spanish, was named rector on 18 May 1955, by Cardinal Samuel Stritch.
According to Msgr. Koenig's account, Msgr. Howard faced the task of fitting four years of high school and two years of college into Quigley's five-year curriculum with a "Sulpician language-school model" of seminary inherited from Msgr. Purcell a half-century previous. With frequent faculty consultation, Howard participated in plans with Cardinal Stritch to convert Quigley to a four-year program, build a second Quigley near Chicago's south suburbs, establish a four-year free-standing college seminary, and shorten the program at St. Mary of the Lake Seminary in Mundelein, Illinois, to four years of graduate study. In the meantime, the Archdiocese rented the Ogden School at 39 West Chestnut from the Chicago Board of Education as Quigley's "Annex" to better accommodate the overflow of Quigley's 1,300 students.


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Before Cardinal Stritch could complete the plan for the second Quigley, he died in Rome on 27 May 1958. At the direction of his successor, Cardinal Albert Gregory Meyer, a former seminary rector and Milwaukee archbishop named archbishop of Chicago on 19 September 1958, the seminary built a new high school, Quigley Preparatory Seminary South, at 77th Street and Western Avenue, which opened in 1961, with Msgr. Howard named as its first rector. The original Quigley classes of 1960 and 1961 graduated in Spring, 1961, with the new Chicago college seminary, later to be called Niles College, opening that Fall.
Cardinal Meyer dedicated the Quigley South Chapel of the Sacred Heart (so named to hearken to the original Chicago minor seminary, Cathedral College of the Sacred Heart), its 40-acre (16 ha) campus, and new facilities for its 869 students on 13 September 1962. For a short period in the early 1960s, both Quigley campuses held joint events, including graduations, in order to instill among the students the spirit of sharing one school.
Msgr. John P. O'Donnell (Q' 41) was named rector of the newly named Quigley Preparatory Seminary North at the original Chestnut Street location in 1961. Msgr. O'Donnell encouraged his faculty to seek degrees from many universities, and he himself earned a PhD from Loyola University and a master's degree from the University of Notre Dame, in addition to earlier master's and licentiate degrees from St. Mary of the Lake Seminary. Cardinal Meyer continued the practice of appointing priests to Quigley on the theory that "young seminarians needed a good number of priest-models to make an intelligent decision about their vocations." In 1965, Msgr. O'Donnell also led Quigley North in earning accreditation from the North Central Association of Colleges and Schools and took steps to make Advanced Placement classes available for students, an action mirrored at Quigley South, the year that Archbishop John Patrick Cody was named to succeed Cardinal Meyer, who had succumbed to cancer on 9 April. Quigley North faced for the first time a problem of declining enrollment, seeing its freshman class decline from 256 in 1962 to 130 in 1967. Declining enrollments brought both Quigley seminaries to consider further changes.
In 1966, Cardinal Cody instituted a Chicago seminary system-wide change abolishing the Thursday day off and Saturday school day, which had for decades separated Chicago seminarians and seminary faculty from participating in Saturday social activities, while Quigley faculty voted to alter their own dress code requiring a cassock, in place of other clerical attire.  Seminary policies prohibiting seminarian participation in co-educational activities and organizations were also revised in that same year. In 1968, dress codes for both Quigley seminaries requiring a suit coat and tie for students were revised to fit the seasons of the year, and the Quigley seminaries made the necessary arrangements so that Quigley students could join the National Honor Society. After a year-long self-study of the entire Chicago archdiocesan seminary system in 1969, assisted by the Arthur D. Little Company of Boston, Cardinal Cody announced in 1970 a new admissions policy for the Quigley seminaries, which expanded beyond Cardinal Mundelein's original requirement in 1916 that Quigley students be "educated with those who only look forward to that same great work in life, the priestly field of labor." Boys from two categories would, as of 1971, be admitted to Quigley, "(a.) ... who have indicated a desire for the priesthood and who meet the requirements of admissions, and (b.) ... who, in the judgment of parish priests, have the kind of character, ability, and temperament which might lead to the personal discovery of a vocation in the priesthood." The new policy also indicated that Quigley North and South should "emphasize the fact that they are contemporary seminaries primarily concerned with the development and encouragement of vocations to the priesthood", and that "a vigorous campaign should be begun, especially on the part of priests, to enroll qualified students."


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To appeal to suburban enrollment, Quigley North, under the leadership of then Rector Rev. Donald Cusack, established in 1981 an off-campus residence hall called St. John Vianney Hall on the grounds of Angel Guardian Orphanage (AGO) at 2001 West Devon in Chicago's Rogers Park neighborhood. This site sequestered one building in the AGO complex to house and board students from the hinterland of Chicago, Monday through Fridays, during the academic school calendar. All four Quigley classes were represented in these six years. The Vianney priest faculty included Frs. Barnum and Devereaux, who lived at Vianney full-time. Laymen, typically Loyola University students, were offered room and board in exchange for limited duties of moderating the daily activities of residence life, provide curfew enforcement and supervision of the hall members. The suburbs and exurbs were represented: Maywood, Gurnee, Hoffman Estates, Hillside, Olympia Fields, Buffalo Grove, Waukegan, Oak Park, River Grove, Park Ridge and Skokie. From 1981 to 1985, one hall member even came all the way from Bristol, Wisconsin, attending all 4 years at Quigley North while residing at Vianney Hall. The dorm life was regimented by the priests, providing a general wake up call at 6:30 AM, Chapel service at 7 AM, followed by breakfast, hot or cold, prepared by a cook. Classes began at 8:45 AM. The CTA was the student's "green and cream limousine." The 155 Devon, 151 Sheridan 147 Express and L trains sped the students to Michigan Avenue and Chestnut. Curfew for returning to the hall was 5:30 PM for dinner. Study hours were 6-8 PM, followed by an evening Chapel service, then free time until "lights out" at 10-10:30 PM. A public phone was supplied. Chapel service was a reading of the day's Scriptures and minutes of silent contemplation. An amenity at AGO was a pristine full basketball court (once used by the Chicago Bulls prior to Michael Jordan's arrival) which was perfect for recreation and exercise after a full day's scholastic endeavor. Underclass students were 2 to a room and the Upperclass students were given single rooms. Only one student, Jeff Calabrese of Gurnee, was to have completed all 4 years of education while living at Vianney Hall from the Fall of 1982-Spring of 1986.
The residence life included a compulsory chore night: Thursday evening. Laundry, showers and lavatory, kitchen, and recreation areas, etc., were cleaned and repaired from the week's use. The residence opportunity facilitated a true '"'college prep" atmosphere. Students, as young as 14, were encouraged to care for one's self with limited supervision. To live in the city's North side, travel its Gold Coast, be schooled in a castle feet from the Mag Mile without daily parental imperatives was an accelerated track to young adulthood, save a Vocation's consideration. However, due to financial strains coupled to limited Niles College of Loyola enrollment from the roster of Vianney Hall, the experiment was abandoned. The opportunity for residence life was eliminated in 1987.
Some students chose to live in nearby parishes or commit to the lengthy commute. In all, some 20-30 youth spent a portion of their QN careers as residence of Vianney. Remarkably, this annex of QN was barely recognized by the student body as a whole or by faculty. Its mention, existence and mission were somewhat "conspicuous by absence." The progressive creation of a dormitory system to augment vocations was vanguard, and Quigley's only departure from the day-school model established by Cardinal Mundelein. When Jeff Calabrese mentions that he "lived at high school", he still conjures up New England wealthy and upper middle class institutions' sole ability to afford this option: live at school. Yet humble Quigley North took courage of its conviction and supplied the avenue for this unique and counter-cultural stance to house its students.


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While in 1983, Quigley North Rector Rev. Thomas Franzman could report that "45% of our seniors headed on to Niles College [Seminary]," by December 1989, facing declining enrollment and a reduction in the number of Quigley graduates completing studies for the priesthood, the Archdiocese announced the closure of both Quigley North and Quigley South as of June 1990, combining both schools into Archbishop Quigley Seminary at the original downtown site for the 1990 Fall term. For several weeks in early 1990, Quigley students and alumni from both institutions picketed the mansion of Cardinal Joseph Bernardin and published a full-page ad in the Chicago Sun-Times, but many of the protesters later joined in supporting the combined Archbishop Quigley Seminary. The Quigley South campus was purchased for the new location of St. Rita High School (originally located at 63rd Street and Claremont Avenue). The reorganized Archbishop Quigley Preparatory Seminary would go on to earn national recognition from US News and World Report in 1999 as one of 96 outstanding high schools in America.
During the period 1984–1993, Quigley graduated an average of 5.5 students per year who completed the remaining eight years leading to ordination. As of the Fall of 2006, with an enrollment of 183 students, Quigley was the largest of the seven remaining preparatory seminaries in the country.
Daily attendance at Mass was required of Quigley students for the greater part of the 20th century, following Cardinal Mundelein's letter of 1916 and John Paul II's 1979 direction quoted above, but the practice declined during the early 90s, when a weekly Mass was instituted. However, when Rev. Peter Snieg was appointed rector in 2001, per Cardinal George's decision, prayer was the centerpiece of Quigley once again. Since academic school year of 2000–01, Mass had been an integral part of spiritual growth, being required three days a week with Monday morning prayer and Friday afternoon prayer to begin and end each week.
The Archdiocese announced on 19 September 2006 that Quigley's doors would be shut at the end of the school year in June 2007.
After one year of renovation the site was to become home to the new archdiocesan Pastoral Center, containing the offices of the archbishop's curia and relative church bodies, with a "Quigley Scholars" program being established to support priestly vocations among high school boys.
On 15 June 2007, (the feast of the Sacred Heart of Jesus) Quigley closed its door to students at the end of the 2007 academic year.


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Beadle—during the Days of the Giants, the student in a Latin classroom designated by the professor to exact discipline and to pass back graded papers, usually the student with the second highest grades in a marking period, but sometimes a student creatively chosen by the professor to motivate the student or the class.
Beadsmen—an organization of Quigley students who prayed the Rosary in the chapel together and did service projects. Quigley students up until the 1970s were required to pray the Rosary daily.
Big Brother Little Brother Program- For a period of time, Quigley would pair a member of the senior class with an incoming freshman in order for them to become familiar with the school.
Candle—the Quigley, and after 1961, the Quigley North student newspaper
Cards—See "Give me your card." Said to a group of students committing some disciplinary infraction, such as smoking. The prof would hold out his hand, and simply say to the students, "Cards", or "Cards, please", and the offending students would hand over their demerit cards.
Cathedral Choristers—the boys' choir of Chicago's Holy Name Cathedral populated by Quigley and later Quigley North students during the Days of the Giants. Each entering Bennie was screened at orientation for singing ability, and if he could sing and his voice had not yet changed, his membership in the Cathedral Choristers was mandatory. If his voice had fully changed, he was assigned to the Schola or Glee Club. Founded as the St. George Choral Society in 1918, they became the Cardinal's Cathedral Choristers in 1931. The Choristers recorded "Carols of the Nations", which was a Christmas program performed at the Cathedral and at Quigley until the Choristers were disbanded in 1980.
Chapel—often referring to daily Mass, morning prayer, and afternoon prayer at Archbishop Quigley.
Christmas Wreath Toss—During the traditional QN/AQ faculty tree trimming party, usually the first week of Advent, faculty members would take turns in tossing a wreath onto the arm of the statue of John Cardinal Newman in the faculty lounge (aka Tudor Room). If the wreath lands on Cardinal Newman's head or hangs off his finger, the toss is invalid. Often, it will take up to 4-5 rounds before wreath is properly rested on Cardinal Newman's arm.
The Crow's Nest—located on the 3½ floor northeast staircase of Quigley, the highest office in altitude at 103 E. Chestnut. Fr. William Sheridan long resided in that office. His own name is carved on the wood of the door. The entrance to Memorial Hall is found through this office. During the 1960s this room served as the Le Petite Seminaire yearbook office, and was for a time called "Gilligan's Island" after Rev. John Gilligan, the yearbook moderator.
Daily Mass—attendance at daily Mass in the early morning hours at one's home parish was required of Quigley students up until the 1970s.
Days of the Giants—an expression by older Quigley graduates about a past Golden Age in which the school's discipline and performance standards were higher, thus making the students of that era smarter, tougher, holier, better than any given present cohort of students, based upon a Scriptural reference to Genesis 6:4, "At that time the Nephilim (giants) appeared on earth (as well as later), after the sons of heaven had intercourse with the daughters of man, who bore them sons. They were the heroes of old, the men of renown."
Day off—Traditionally, if the bishop came to visit Quigley for Mass, students could receive the rest of the day off of school, according to his personal prerogative. In latter years of the institution Auxiliary Bishop Jakubowski (an alumnus), particularly, liked to uphold this tradition by announcing at the end of Mass his grant of a "day off" of school (to be given at some later date as determined by the rector.) This practice earned him great affection from students who would, then, beg every other bishop visiting Quigley (including all auxiliaries who might pass through, the cardinal archbishop of Chicago, and visiting prelates from other dioceses) for the same, usually without success. Cardinal George did also eventually offer this privilege to students, at least on one occasion
Demerit—25 demerits in a semester lead to a student's expulsion, 60 in a year likewise.
Demerit Card—A card which totes 25 spots, 5 of which lead to a JUG, 25 of which lead to an expulsion. Often referred to in Monopoly terms such as 'Go to Jail' on 25, and Free Parking at 15 (a suspension).
Lenten Lob—during the season of Lent at Archbishop Quigley, tournaments were held to raise money for the Catholic Missions. Two key events are the Money Jars and the Lob. For the money jars, each class including faculty would have their own jar to collect/add money. At the end of Lent, the class with the most money wins; however, only quarters add to your amount while any other currency deducts from your total. The Lob is when students & faculty have to "lob" balls from different parts of the gymnasium balcony to a bucket on the floor of the gym. Depending on the location and the type of ball used, each class (plus faculty) gains points. At the end of Lent, the points and the money jar are added together to determine the winner.
Lenten Tournament—an intramural basketball tournament held both at Quigley and at off-site locations, such as the former Chicago Fire Department gymnasium at Navy Pier, during the Days of the Giants.
Memorial Hall—the east attic where students and faculty sneaked up and signed their names and class year. Earliest records indicates students from the class of 1918 and 1919, all four initials etched in stone. The rest have been signed in chalk with last name and graduation year. Memorial Hall can be accessed through the Crow's Nest.
Mission Party—a festive after-school event, usually on a Wednesday when Thursday was a free day, with card games, open gym and pool, movies, and refreshments, with funds raised going to benefit the Catholic Missions.
Mission Walk—The mission walk was to raise money for the Catholic missions, where students walk from Quigley to Mundelein Seminary, a total of approx 55 miles (89 km). Students are to fund raise money for each mile they walk. From the early 1990s to the early 2000s, the mission walk was a two-day event where students departed from Quigley on Friday morning and walk north to Mundelien. It is often tradition for the students who participate to stop by the Cardinal's residence before continuing on. The walk ended in the afternoon on Saturday. It is often tradition that the last mile the participants ran. After 2003, the mission walk was limited to Wrigley Field.
No girls—Quigley students were forbidden up to the point of expulsion from the seminary to date or to participate in clubs with girls without prior approval until 1966.
Pastor's signature—during the Days of the Giants, a pastor's letter of recommendation was required for a student to enter Quigley, and pastors as well as parents during the Days of the Giants were required to sign the student's report card at final marking periods. The report card included both grades and demerit totals, so obtaining the pastor's actual signature was a moment of reckoning.
Schola, or Schola Cantorum—a small group of Quigley students with mature voices trained in Gregorian Chant, who would sing at Quigley or at Holy Name Cathedral during the Days of the Giants.
Sparks—The official newspaper of Quigley North in its later years. Supposedly stems from an underground newspaper of the 70's called "Sparks from the Candle".
The Talon—The official student newspaper of Archbishop Quigley from 1990 to the present.
Thursday off, Saturday on—Quigley students went to school on Saturdays and had Thursday off up until 1966. On Thursdays, Quigley students would often go together to the nearest parish gym, which would sometimes be opened for their exclusive use. Parish priests would often also take Thursdays off, and sometimes join the seminarians in recreation.


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Alfred Leo Abramowicz (Q '37) was an Auxiliary Bishop of Chicago who served as Director of the Catholic League for Religious Assistance to Poland (1960–95). He was the principal US fundraising and organizational contact for the Solidarity movement. He was awarded the Order of Merit of the Republic of Poland.
Romeo Roy Blanchette (Q '31) was Bishop of Joliet (1966–79).
Edward K. Braxton (QS '62) is the Bishop of Belleville (2005–present) and former Bishop of Lake Charles (2000–05).
William E. Cousins (Q '21) served as Archbishop of Milwaukee (1958–71).
Edward Egan (Q '51) was a Cardinal who served as Bishop of Bridgeport (1988–2000) and Archbishop of New York City (2000–09).
Thomas Joseph Grady, (Q '32) was the director of the Basilica of the National Shrine of the Immaculate Conception (1956–67) and Bishop of Orlando (1974–89).
Wilton D. Gregory (QS '65) is the first African American archbishop to be elevated to the rank of Cardinal by Pope Francis on November 28, 2020.  He remains the Archbishop of Washington, DC. (2019–present). Previously, he was  Archbishop of Atlanta (2005–2019). He was the Bishop of Belleville (1994–2004) and president of the United States Conference of Catholic Bishops (2001–04).
Raymond Peter Hillinger (Q '26) was Bishop of Rockford (1954–56) and auxiliary bishop of Chicago (1956–71).
Francis J. Kane (Q '61) is an Auxiliary Bishop of Chicago (2003–present).
John Richard Keating (Q '52) was the Bishop of Arlington (1983–98).
James Patrick Keleher (Q '51) is the former Archbishop of Kansas City (1993–2005) and Bishop of Belleville (1984–93).
Gerald Frederick Kicanas (Q '60) is the Bishop of Tucson (2003–present), served as Vice President of the United States Conference of Catholic Bishops (2007–2010), and as Chair of Catholic Relief Services (2010-).
Jerome Edward Listecki (QS '67) is the Archbishop of Milwaukee (2010–present). He was formerly the Bishop of La Crosse (2004–09).
Timothy Joseph Lyne (Q '37) was Auxiliary Bishop of Chicago (1983–95).
John R. Manz (QN '63) is an Auxiliary Bishop of Chicago (1993–present).
Paul Casimir Marcinkus (Q '40) was an archbishop who served in a number of positions in the Vatican, most notably as head of the Istituto per le Opere di Religione (the "Vatican Bank"; 1971–89).
John L. May (Q '40) was the Bishop of Mobile (1969–80) and Archbishop of St. Louis (1980–92).
Thomas J. Murphy (Q '51) was the Bishop of Great Falls-Billings (1978–87) and Archbishop of Seattle (1991–97).
Cletus F. O'Donnell (Q '35) was Bishop of Madison (1967–92).
Thomas J. Paprocki (QS '70) is the Bishop of Springfield (2010–present).
Ernest John Primeau (Q '28) was Bishop of Manchester (1960–74).
George J. Rassas (Q '61) is an Auxiliary Bishop of Chicago (2005–present).
Edward James Slattery (Q '59) is the Bishop of Tulsa (1993–present).
John George Vlazny (Q '55) is the Archbishop of Portland, and former Bishop of Winona (1987–97).
Aloysius John Wycislo (Q '28) was Bishop of Green Bay (1968–83). During World War II and into the 1950s, he helped to establish refugee camps in the Middle East, India, and Africa, and later worked coordinating aid throughout Eastern and Western Europe.
Michael Fors Olson (QN '84) is the Bishop of Fort Worth (2014–present).
George J. Rassas (Q '61) is an Auxiliary Bishop of Chicago (2005–present).


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Daniel Coughlin (Q '53) is the former Chaplain of the United States House of Representatives (2000–2011); the first Roman Catholic to hold that position.
Monsignor John Joseph "Jack" Egan (Q '37) was an author and social and civil rights activist who marched with Rev. Dr. Martin Luther King, Jr. De Paul University's Egan Urban Center is named for him.
Rev. Andrew M. Greeley (Q '47) was an author, journalist, and sociologist perhaps best known as a columnist for the Chicago Sun-Times.
Monsignor George G. Higgins, (Q '34) was an author and civil rights activist. In 2000 he received both the Pacem in Terris Award and the Presidential Medal of Freedom.
Monsignor Reynold Henry Hillenbrand (Q '24) was a Quigley professor and leader in the Liturgical Movement. As rector of University of St. Mary of the Lake from 1936 to 1944, he served as mentor to several activist priests called "Hilly's Men", also mentor to "Specialized Catholic Action" and social action movements.
Mitch Pacwa SJ (QN '67) is a scripture scholar and EWTN television and radio host.
Michael Pfleger (QS '67) is a pastor and civil rights activist.