The Rollright Stones are a complex of three Neolithic and Bronze Age megalithic monuments near the village of Long Compton, on the borders of Oxfordshire and Warwickshire. Constructed from local oolitic limestone, the three monuments, now known as the King's Men and the Whispering Knights in Oxfordshire and the King Stone in Warwickshire, are distinct in their design and purpose. They were built at different periods in late prehistory. During the period when the three monuments were erected, there was a continuous tradition of ritual behaviour on sacred ground, from the 4th to the 2nd millennium BCE.
The first to be constructed was the Whispering Knights, a dolmen that dates to the Early or Middle Neolithic period. It was likely to have been used as a place of burial. This was followed by the King's Men, a stone circle that was constructed in the Late Neolithic or Early Bronze Age; unusually, it has parallels to other circles located further north, in the Lake District, implying a trade-based or ritual connection. The third monument, the King Stone, is a single monolith. Although its construction has not been dated, the dominant theory amongst archaeologists is that it was a Bronze Age grave marker.
The British philologist Andrew Breeze has proposed that the name "Rollright" is from the Brittonic phrase *rodland rïx 'wheel enclosure groove', where *rïx 'groove' refers to a narrow valley near Great Rollright and *rodland 'wheel enclosure' refers to the King's Men circle. By the Early Modern period, folkloric stories had developed about the Stones, telling of how they had once been a king and his knights who had been turned to stone by a witch. Such stories continued to be taught amongst local people well into the 19th century. Meanwhile, antiquarians such as William Camden, John Aubrey and William Stukeley had begun to take an interest in the monuments. Fuller archaeological investigations were undertaken in the 20th century, culminating in excavations run by George Lambrick in the 1980s. The site is listed by Historic England as a scheduled monument and was first designated in 1882.
In the 20th century, the stones became an important site for adherents of various forms of Contemporary Paganism, as well as for other esotericists, who hold magico-religious ceremonies there. They also began to be referred to more widely in popular culture, being featured in television, literature, music and art.


The Rollright Stones are located on the contemporary border between the counties of Oxfordshire and Warwickshire, two-and-a-half miles north-northwest of the town of Chipping Norton, and one-and-three-quarters of a mile west of the smaller village at Great Rollright. The monuments are located on the scarp of the Cotswold Hills, just as the scarp forms a ridge between the Stour valley to the north and the Swere valley to the south. Geologically, this ridge had been formed from Chipping Norton limestone, itself a variant of the Great Oolite series of Jurassic limestone.


The Rollright Stones are three separate megalithic monuments, constructed close to one another during the later prehistoric ages of the Neolithic and Bronze Age. Their current names  – the King's Men, the King Stone, and the Whispering Knights – descend from folklore that has surrounded the site since the Early Modern period. These local terms have since been adopted by archaeologists and heritage managers.
Fragments of stone used in the construction of the monument underwent a petrological examination at the British Museum in London, where it was established that they were a form of oolithic limestone that was local to the area around the Rollrights. Archaeologist George Lambrick argued that the stones had been discovered by prehistoric peoples as naturally occurring surface boulders, rather than having been quarried. He noted they had certain weathering patterns which were consistent with those found on surface boulders. He said that the most likely place that such surface boulders would have been found in the late prehistoric was "on the sides of the ridge at or near the level of the strong spring line between the Inferior Oolithic and the Lias clay." If this had been the place where the megalith builders had found the boulders, the huge stones would have had to be transported up hill. The gradient averages about 1 in 15 on the shortest routes, for either 250 metres (for the Whispering Knights), or 450 metres (for the King Stone and King's Men).
Basing his ideas upon experimental archaeological investigations performed at Stonehenge, Lambrick suggested that the prehistoric workers who hauled the stones uphill would have made use of wooden sledges. They  may have used timber rollers beneath the sledges, in order to reduce the manpower needed to drag the sledge. Lambrick calculated the estimated work force and labour that would have been required to produce the Rollright Stone monuments. In comparison to that required for many other monuments, he concluded that the time and labour investment would have been "trivial", and would not have stretched local resources in terms of manpower.


The earliest known written account describing the Rollrights comes from the 14th century CE, during the Late Mediaeval period in Britain. It was at this time that an unknown author wrote a tract entitled De Mirabilibus Britanniae (The Wonders of Britain) in which the prehistoric monuments at Stonehenge and the White Horse of Uffington were mentioned alongside the Rollrights. As the author related:
In the neighbourhood of Oxford there are great stones, arranged as it were in some connection by the hand of man. But at what time; or by what people; or for what memorial or significance, is unknown. Though the place is called by the inhabitants Rollendrith.
The nearby village, Great Rollright, is spelt as "Magna Rollandryght" in 1430.
The other village, Little Rollright, appears (in Latin) as "Parva Roulondryght" in 1460.


The site has also attracted interest from individuals involved in the Earth Mysteries movement. Alfred Watkins suggested that the Rollright Stones were part of a ley line running through Long Compton church, Chipping Norton church, and a tumulus near Charlbury.
During the late 1970s, the Dragon Project — led by the Earth Mysteries proponent Paul Devereux — carried out investigations at the site in an attempt to determine if any anomalous phenomena could be detected there. They concluded that ultrasonic pulsing could be detected at the King Stone at sunrise, while there were no ultrasound readings in the King's Men circle at the summer solstice, suggesting that the stones acted as a shield from the low levels of ultrasound found elsewhere in the landscape. Devereux and Thomson suggested that the Stones were also part of another ley line, running from Arbury Banks in Northamptonshire to All Saints Church in Wroxton. A third putative ley line involving the Rollright Stones has also been suggested, running from the King's Men circle to the Uffington White Horse.


From excavations completed in the region, the thermae complex was constructed in the second half of the 1st century BCE and persisted in some form until the end of the 3rd century. Around the 2nd century, a theatre was constructed. At the end of the 3rd century, the complex was profoundly remodelled, resulting in the substantial reduction in the total area occupied by the thermae; the remodelling of the urban structure was part of the ongoing redesign of Bracara Augusta, into the provincial capital of Gallaecia by Diocletian. This meant that by the 4th century even the theatre was deactivated, and the stones used to construct the city walls.  In fact, the remnants encountered confirm the existence of three periods of construction, starting with the first, which corresponds to the pre-thermae period of Julius Caesar and Claudius. The second cycle occurred during the reigns of Flavius and Anthony, represented by the presence of the public baths, which used the pre-existing structure. Finally, the third phase was initially marked by the remodelling of the building, with its courtyard dramatically reduced.
By the 5th century, the building and thermal baths were abandoned.
In 1994, the municipal council of Braga solicited the president of the IPPAR for the help in financing the acquisition of the terrains necessary to construct an archaeological reserve for Colina de Maximinos.
Five years later, during excavations of the site the archaeological team discovered the remains of the theatre.
In 2004, a project under the responsibility of the Câmara Municipal de Braga, supported by the Plano Operacional da Cultura (Culture Operational Plan), was initiated.
Excavations began in August 1977 (when the site was originally discovered), resulting in the early discovery of late hypocausts (channels). Between 1977 and 1980, the designated area was enlarged to include a space of 800 square metres (8,600 sq ft). Interventions between 1980 and 1986 were made to specific points throughout the site in order to resolve problems associated with the chronology and architecture of the site.
Between 2005 and 2006, excavations were realized by the UAUM Unidade de Arquelogia da Universidade do Minho (Archeological Unit of the University of Minho) whose intention was to unearth the Roman theatre alongside the site.


Romanija (Serbian Cyrillic: Романија) is a mountain, karst plateau, and geographical region in eastern Bosnia and Herzegovina, including numerous villages and towns, such as Pale, Sokolac, Rogatica and Han Pijesak. Its highest point is Veliki Lupoglav (1,629 m).
A football club from the neighbouring town of Pale bears its name, FK Romanija.


Burnham & Root had their offices at the Rookery for a while upon its completion, and at one time Frank Lloyd Wright had an office in the building as well. Current tenants include US Bank, Brooks Brothers, Perkins Eastman and Interactive Brokers Group.


WikiWeb_Roosevelt Field (shopping mall)_2

As an airfield, the land served as the take-off site of many famous aviators such as Amelia Earhart and Wiley Post. Charles Lindbergh's solo transatlantic flight took off from Roosevelt Field in 1927. The field was originally named Hazelhurst Field and was renamed in honor of Theodore Roosevelt's son, Quentin, who died in World War I. After the airfield was closed in 1951, the site was developed by New York's William Zeckendorf and designed by I. M. Pei.
Ground was broken on the $35 million project in April 1955. The center opened with a single level and was an open-air center. It included F.W. Woolworth 5 & 10 store, Walgreens Drug, Food Fair supermarket, Buster Brown Shoes, a public auditorium, movie theater, and an outdoor ice rink. The original anchor of the mall was a 2-level 343,000 ft² (31,900 m²) Macy's which opened on August 22, 1956.
In 1962, a 250,000 ft² (2,320 m²) Gimbels store opened. Today, the structure houses Dick's Sporting Goods and Bloomingdale's Furniture. With the addition, the complex held over 1,000,000 ft² (92,900 m²). A major extension was completed in 1964. Macy's had an 85,000 ft² (7,900 m²) third level added. In 1968, The Century Roosevelt Cinema began operation. At that time, the mall was enclosed.
In 1972, a second major expansion was completed which added a 3-level, 260,000 ft² (24,200 m²) J.C. Penney, which was later completely renovated in 2010, and a 2-level 314,000 ft² (2,900 m²) Alexander's. Le Petit Mall, a Tudor-style expansion was built in 1974 that architecturally reinforced the novelty of shopping indoors.
An upper level of stores and food court was established in 1993 after a major renovation which started in 1991. When Alexander's went bankrupt in 1992, Abraham & Straus gutted the building and extensively renovated it, opening in 1992. The Abraham & Straus location at Roosevelt Field only lasted until 1995, when the chain became defunct. The store was slightly renovated, and re-opened as a Bloomingdale's in 1995. The Bloomingdale's store at Roosevelt Field had a major renovation, which was finished by the summer of 2009. The Gimbels anchor was a Stern's between 1987 and 2001.
After Stern's closed, the spot was taken over by Galyan's, which opened in 2003 (later bought out by Dick's Sporting Goods in 2004). Dick's Sporting Goods occupied the eastern section and Bloomingdale's Furniture Gallery, which opened in 2004, occupied the western half until closing in 2019. A new, 3-story Nordstrom and a 2-story wing leading to the new Nordstrom opened in August 1997. Simon Property Group took ownership of the mall when it acquired Corporate Property Investors in 1998.
In March 2012, it was announced that a new 100,000-square-foot building anchored by luxury department store Neiman Marcus would be added to Roosevelt Field. Opened on February 19, 2016, this expansion created room for even more shops leading up to the luxury department store and was accompanied by a new parking structure. During the renovation of the mall in 2015, the glass elevators in the center were removed to create a play area and new elevators were built to replace them. Simon had discovered that the scenic elevators had to be removed due to severe hydraulic oil leakage.
According to Newsday, on June 26, 2020, Microsoft announced they were closing their store with the rest of the Microsoft stores.
On September 10, 2020, it was announced that Century 21, which was going to open in the former Bloomingdale's Furniture Gallery space in 2021 would no longer be coming to the mall due to chain filing for bankruptcy and closing all 13 stores.


WikiWeb_Roosevelt Hall (National War College)_3

Roosevelt Hall was designed by the noted New York architectural firm McKim, Mead and White in the Neoclassical or Beaux Arts style.


Rosecliff is a Gilded Age mansion of Newport, Rhode Island, now open to the public as a historic house museum.  The house has also been known as the Hermann Oelrichs House or the J. Edgar Monroe House.
It was built 1898–1902 by Theresa Fair Oelrichs, a silver heiress from Nevada, whose father James Graham Fair was one of the four partners in the Comstock Lode. She was the wife of Hermann Oelrichs, American agent for Norddeutscher Lloyd steamship line. She and her husband, together with her sister, Virginia Fair, bought the land in 1891 from the estate of George Bancroft and commissioned the architectural firm of McKim, Mead, and White to design a summer home suitable for entertaining on a grand scale.  With little opportunity to channel her considerable energy elsewhere, she "threw herself into the social scene with tremendous gusto, becoming, with Mrs. Stuyvesant Fish and Mrs. O.H.P. Belmont (of nearby Belcourt), one of the three great hostesses of Newport."
The principal architect, Stanford White, modeled the mansion after the Grand Trianon of Versailles, but smaller and reduced to a basic "H" shape, while keeping Mansart's scheme of a glazed arcade of arched windows and paired Ionic pilasters, which increase to columns across the central loggia. White's Rosecliff adds to the Grand Trianon a second storey with a balustraded roofline that conceals the set-back third storey, containing twenty small servants' rooms and the pressing room for the laundry.


Rosedown's floorplan is in the French or Early Louisiana design in contrast to the American scheme of a hall through the center of the house. The plan has a main entrance hall, decorated with block-printed wallpaper by Joseph Dufour et Cie of Paris, with an elliptical mahogany staircase to the second floor, a parlor to the right, music room to the left, and an office, butler's pantry and dining room in the rear that features a punkah. Upstairs are the family bedrooms. The north wing houses a guest bedroom with an en-suite bathroom that features an early form of a shower supplied with water from a cistern on the roof. The bedroom was built to house a suite of furniture that was originally to have been installed in the Lincoln Bedroom at the White House for the presidency of Henry Clay. Clay lost the election in 1844 and Daniel Turnbull, a Clay supporter, purchased the 13-foot-tall rosewood Gothic Revival bed. The bed was found in the room for over 150 years until the last private owner of Rosedown sold it to the Dallas Museum of Art for $450,000. The south wing houses a library that was utilized by Turnbull as an office for his oversight of the plantation. The home was furnished with imported goods from Philadelphia, New Orleans, and Europe. Most of the furnishings remained with the house during the years after the American Civil War, and a large percentage of original pieces are still displayed at Rosedown, including a tapestry stitched by Martha Washington.


Along Kronprinsessegade and parts of Gothersgade, the park is enclosed by a wrought-iron grill incorporating 16 small pavilions, which opens to the street side.
After the Copenhagen Fire of 1795 there was an urgent need for new housing and Crown Prince Frederik put the southern strip of his garden at disposal for the construction of a new street which was to connect Gothersgade to Sølvgade. It was named Kronprinsessegade (en. Crown Princess Street) in honour of Crown Princess Marie Sophie. New residential buildings soon sprung up along the south side of the street but in the same time the need arose for a barrier toward the garden and City Architect Peter Meyn was charged with the commission. He had just returned from Paris where he had been struck by the Pont-Neuf with its iron grill and many small shops and the street life which surrounded it. With this as an inspiration, he designed the new grill along the edge of the park with 14 small shop pavilions which were completed in 1806. The two last pavilions, opposite Landemærket, were not built until 1920. Before this time, the site was occupied by two buildings, Exercerhus (en. The Drill House) and Rosenborg Brøndanstalt.
The pavilions are built to a Newclassical design and are six ells wide, six ells deep and six ells high.
Among the goods which were sold from the pavilions were cakes and stockings. Later they were available to architects and artists from the Roydal Arts Academy as a sort of grant. Today they are rented out by the Palaces and Properties Agency on two-years leases with possibility of extension. There is a required minimum opening time of 20 hours per week and the use need be relevant to the site's history and in the same time put it in a contemporary context.


Gabriel Bengtsson Oxenstierna named the palace after his mother, who came from the prestigious Tre Rosor ("Three Roses") family. Construction of the building in the typical Renaissance style of the time started in 1634 and was completed in 1638.
In the late 17th century, the Renaissance style was out of fashion and Oxenstierna's son, Bengt Oxenstierna, had it radically modernised in the then current Rococo style under the architect Nicodemus Tessin the Younger. The gables of the main building were demolished and the building was given a new roof. New wings and colonnaded gallery were added.
In 1747, Rosersberg was acquired by Baron Erland Carlsson Broman, and was again modernized with the assistance of the architect Jean Eric Rehn. Broman died in 1757, and the palace was acquired by the State, and given to Karl.
Karl took up residence in the palace and continued with Rehn's plans for modernizing it. It was renovated in the late Gustavian style but was lacking many of the more capricious aspects of the style, replacing them with a more serious and romantic tone which is referred to as the Karl XIII Empire style. As part of the modernisation a series of new interiors were created, the most notable of which are the Orange and Red drawing rooms, and the Hogland Room.
It was a favourite among the palaces for Karl XIV Johan and Queen Desideria, the first of the Bernadotte line, who spent their summers relaxing at Rosersberg and were the last royals to use the palace as a residence. Karl Johan's bedchamber is regarded as one of the most important examples of an early 19th-century Swedish interior. Nowadays, the rooms and collections are preserved very much as they were during the period 1795–1825.
After the death of Desideria in 1860, the palace was given to Swedish infantry. In 1874 the Swedish Infantry Gunnery School moved into the castle's ground floor and wings. In the spring of 1961, the Infantry Gunnery School was relocated to Linköping Garrison. On 1 July 1961 the castle was handed over to the Swedish Civil Defence Board. In 1986, the Civil Defence Board was reorganized into the Rescue Services Agency, which until 2006 had premises in the castle and castle wings. In the summer of 2008, Rosersberg Hotel and Conference opened a café and bed and breakfast.


Alternative histories involving Rosslyn Chapel and the Sinclairs have been published by Andrew Sinclair and Tim Wallace-Murphy arguing links with the Knights Templar and the supposed descendants of Jesus Christ. The books in particular by Tim Wallace-Murphy and Marilyn Hopkins Rex Deus: The True Mystery of Rennes-le-Château and the Dynasty of Jesus (2000) and Custodians of Truth: The Continuance of Rex Deus (2005) have focused on the hypothetical Jesus bloodline with the Sinclairs and Rosslyn Chapel.
On the ABC documentary Jesus, Mary and Da Vinci, aired on 3 November 2003, Niven Sinclair hinted that the descendants of Jesus Christ existed within the Sinclair families.  These alternative histories are relatively modern - not dating back before the early 1990s. The precursor to these Rosslyn theories is the 1982 book The Holy Blood and the Holy Grail (retitled Holy Blood, Holy Grail in the United States) by Michael Baigent, Richard Leigh and Henry Lincoln that introduced the theory of the Jesus bloodline in relation to the Priory of Sion hoax - the main protagonist of which was Pierre Plantard, who for a time adopted the name Pierre Plantard de Saint-Clair.


Georg Baselitz, Gotthard Graubner, Gerhard Richter, Günther Uecker — Credo — paintings
Andreas Mühe — photography
Otto Niemeyer-Holstein — Evviva la pittura — Es lebe die paintings  — paintings
Richard Serra — Paperworks — sketches and printed graphic art
Walter Schels and Beate Lakotta — Noch mal Leben — photography and texts
Norbert Bisky, Peggy Buth, Katharina Grosse, Gregor Hildebrandt, Antje Majewski, Thomas Rentmeister, Thomas Scheibitz and Amelie von Wulffen — Portfolio Berlin 01 — paintings and objects
Paolo Roversi — Studio — photography
A. R. Penck — Werke aus der Sammlung Böckmann — paintings
Pop-Art aus dem Reich der Mitte — All the great modern things: China Total — paintings and objects
Wolfgang Joop — Eternal Love — photography and objects
Paul Wunderlich — Die Radierungen und Sammlung Székessy — etchings
Ernst Barlach and Alexander Dettmar — Zwiesprache — sculptures and pictures
Robert Rauschenberg — Close encounter
Robert Rauschenberg — Seo — pictures
Bert de Beul — Bilder 2002–2007  — paintings
Camille Claudel  — sculptures and sketches
Christo and Jeanne-Claude — The Pont Neuf, Wrapped / Over the River  — objects, graphical art, and photography


Magistrates, politicians, advocates and other orators spoke to the assembled people of Rome from this highly honored, and elevated spot. Consecrated by the Augurs as a templum, the original Rostra was built as early as the 6th century BC. This Rostra was replaced and enlarged a number of times but remained in the same site for centuries.
In 338 BC the Rostra got its name when, following the defeat of Antium by the consul Gaius Maenius, the Antiate fleet was confiscated by Rome, of which the prows (literally rostra in Latin) of six ships were set upon the Rostra.  Maenius paid for it out of his share of war booty.  He also erected a victory column, the Columna Maenia, close to the Rostra.
Julius Caesar rearranged the Comitium and Forum spaces and repositioned the Senate Curia at the end of the republican period. He moved the Rostra out of the Comitium. This took away the commanding position the curia had held within the whole of the forum, having advanced extremely close to the Rostra during its last restoration. Augustus, his grand-nephew and first Roman emperor,  finished what Caesar had begun, as well as expanded on it. This "New Rostra" became known as the Rostra Augusti. What remains in the excavated forum today, next to the Arch of Septimius Severus, has endured several restorations and alterations throughout its historical use. While a few different honorary names are attributed to those restorations, scholars, archeologists and the government of Italy recognise this platform as the "Rostra Vetera" encased inside the "Rostra Augusti".
The term "Rostrum", referring to a podium for a speaker is directly derived from the use of the term "Rostra". One stands in front of a Rostrum and one stands upon the Rostra. While, eventually, there were many rostra within the city of Rome and its republic and empire, then, as now, "Rostra" alone refers to a specific structure.
Before the Forum Romanum, the Comitium was the first designated spot for all political and judicial activity and the earliest place of public assembly in the city.  A succession of earlier shrines and altars is mentioned in early Roman writings as the first suggestum. It consisted of a shrine to the god Vulcan, that had two separate altars built at different periods. This early Etruscan mundus altar originally sat in front of a temple that would later be converted into the Curia Hostilia.
During the late Republic the rostra was used as a place to display the heads of defeated political enemies. Gaius Marius and consul Lucius Cornelius Cinna captured Rome in 87 BC and placed the head of the defeated consul, Gnaeus Octavius, on the Rostra. The practice was continued by Sulla and Mark Antony, who ordered that Cicero's hands and head be displayed on Caesar's Rostra after the orator's execution as part of the Proscription of 43 BC.
Caesar spoke from the Rostra in 67 BC in a successful effort to pass, over the opposition of the Senate, a bill proposed by the tribune Aulus Gabinius (the lex Gabinia) creating an extraordinary command for Pompey to eliminate piracy in the Mediterranean. Brutus and Cassius spoke from the Rostra to an unenthusiastic crowd in the Forum after the assassination of Caesar in 44 BC. Millar comments that during the late Republic, when violence became a regular feature of public meetings, physical control and occupation of the Rostra became a crucial political objective.


Until about 145 BC, the Comitium was the site for tribal assemblies (comitia tributa) at which important decisions were taken, magistrates were elected and criminal prosecutions were presented and resolved by tribal voting. Before an assembly, the convening magistrate, acting as augur, had to take the auspices in the inaugurated area (templum) on the Rostra from which he was to conduct the proceedings. If the omens were favorable and no other magistrate announced unfavorable omens, the magistrate summoned other magistrates and senators and directed a herald to summon the people. Heralds did so from the Rostra and from the City walls. During an assembly, magistrates, senators and private citizens spoke on pending legislation or for or against candidates for office. Before bills were presented for voting, a herald read them to the crowd from the Rostra. At the culmination of the process, the tribes were each called up to the templum on the Rostra to deliver their votes. After about 145 BC, the voting population of Rome grew too large for the Comitium, and tribal assemblies were then held at the opposite end of the Forum around the Temple of Castor, the steps of which served as an informal Rostra.
The Rostra was also used for meetings of courts. In Republican Rome, criminal prosecutions took place in the Forum either before a tribal assembly with a magistrate prosecuting (a procedure specified in the Twelve Tables and the normal mode of prosecution in the middle Republic) or in a jury-court (quaestio de repetundis) established by statute and presided over by a magistrate with a jury (after 70 BC) of about 50-75 jurors. For trials held in the Comitium, the Rostra served as the tribunal upon which the magistrate sat in his curule chair with a small number of attendants. "This was enough in itself to establish a court, though it was supplemented by benches (subsellia) for the jurors, the parties to the case, and their supporters." The circle of onlookers (corona) either stood or sat on nearby steps.
The original structure was built during the middle years of the Roman Republic in approximately 500 BC It subsequently became known as the "Rostra" after the end of the Latin War in 338 BC when it was adorned by Gaius Maenius with naval rams (rostra) of ships captured at Antium as war trophies.
The Rostra was located on the south side of the Comitium opposite the Curia Hostilia (the original Senate house), overlooking both the Comitium and the Roman Forum. In addition to the prows of captured ships, the Rostra bore a sundial and, at various times,  statues of such important political figures as Camillus, Sulla and Pompey.  Private citizens also erected a number of honorary columns and monuments on the Rostra and throughout the forum. At one point, the Senate threatened to have them removed if the donors did not do so themselves.


In 1974 the Social Democratic Party of Switzerland (SP) launched a proposal to transform the factory building in the Wollishofen neighbourhood of Zürich into a cultural centre. The derelict factory was squatted. As a result, studios were set up for artists and cultural events were held. In 1977, voters made the choice for the preservation of the building and use as a cultural centre. It was planned to host exhibitions and events and to serve as a music venue.
In 1980, it became known that the Zürich Opernhaus (Zürich Opera House) was renting the Rote Fabrik for storage space and that it would be granted CHF 61 million for renovations. Youth activists were outraged that there was no money for a social centre. A three-day festival at the opera house began on 30 May 1980 and around 200 uninvited young protesters came to demand an autonomous youth centre. The Stadtpolizei Zürich and state Kantonspolizei Zürich police corps had been informed beforehand, and stationed themselves in the foyer of the opera house. When the young people occupied the stairs, the demonstration became a street battle, the police using water cannons, tear gas and rubber bullets. The riots became known as the Opernhauskrawalle (Opera House riots).A first political compromise was the so-called AJZ, a temporary youth centre at the Zürich main station. The most prominent politician involved was Emilie Lieberherr, then member of the city's executive (Stadtrat) authority.
On 25 October 1980, the cultural centre Rote Fabrik opened. Music and theater were the focus of activities. Some independent theater groups which gained increasing influence in the local cultural scene made their debuts at the Rote Fabrik. A referendum in 1987 decided that the Rote Fabrik should be used as an alternative cultural centre and also subsidised.
The centre has hosted authors such as Günter Grass and Alice Schwarzer and bands such as Bad Religion, Manu Chao, Nirvana and the Red Hot Chili Peppers. The centre also has a contemporary art gallery called the Shedhalle and a restaurant, Ziegel oh Lac.
In the early 1990s, the area was redeveloped. In 2002, the subsidies were adjusted to 2.3 million francs. With this money it became possible to organise more than 300 events annually.
In 2012, a large fire fought by 50 firemen destroyed artists studios. A history of the Rote Fabrik entitled Bewegung tut gut (Movement is good) was published in 2021.


Day trips to the lighthouse, from Bremerhaven via the vessel "Lev Taifun", can be taken in June, July, and August. Staying overnight is also possible.


The Rothaarsteig is a 154.80 km long hiking trail along the crest of the Rothaargebirge mountain range in Germany in the border region between the states of  North Rhine-Westphalia (NW) and Hesse (HE). It was opened in 2001.


The main route of the Rothaarsteig trail runs from Brilon (NW), mainly in a southerly direction over the Kahler Asten (NW) to Dillenburg (HE).
Most of the Rothaarsteig is located in the Rothaargebirge Nature Park. It runs mainly along the watershed between the rivers Rhine and Weser over the heavily forested mountains of the Rothaargebirge and through its valleys and uses the existing network of metalled and unmetalled forest tracks. In an extremely sparsely populated region it links hills and places of interest such as the Bruchhauser Steine, the Langenberg, the Kahler Asten, the Rhine-Weser Tower, the Ginsburg and several sources of major rivers like the Ruhr, Eder, Sieg and Lahn. Between Schmallenberg and Bad Berleburg the Rothaarsteig meets the Waldskulpturenweg.
Despite its route inside a range of high hills, the Rothaarsteig generally easy to walk. It passes several towns including Winterberg, through which it runs.


The 154.80 kilometre long main trail of the Rothaarsteig runs over mountains, past springs and natural and cultural monuments and through nature reserves. These include, from north to south (with heights above  Normalnull; NN):
The Rothaarsteig starts at Brilon (450 m) and runs southwards past the source of the Möhne (500 m) to the Borbergskirchof (629 m; at Borberg, 669 m), over the Ginsterkopf (663 m) and past the Bruchhauser Steinen (up to 756 m) to the Richtplatz (old Thing site for the Electorate of Cologne; 762.6 m; near the Hoppernkopf, 805 m). The walking trail then runs over the Langenberg (843.2 m), the highest point in North Rhine-Westphalia, and through the Neuer Hagen nature reserve, whereby it runs past the source of the Hoppecke (785 m) up the Clemensberg (839.2 m) and past the Hillekopf (804.9 m) to the northeast.
The route then continues on to the Küstelberg (666.1 m; which is the source of the river Orke) to the Wagenschmier quarry (645 m), then past the source of the Ruhr (666.5 m) on the Ruhrkopf (695.7 m) and on in a southwesterly direction to Winterberg (670 m), where it passes the southern portal of the Herrloh Tunnel at Herrloh (732,9 m), 200 m southeast of the St.-Georg-Schanze. The path then runs past the mountains of Poppenberg (745.5 m) and Bremberg (809 m) to the Kahler Asten (841.9 m), on which the Asten Tower (an observation tower) and e. g. the source of the river Lenne may be found (819 m).
From the Lenne spring the Rothaarsteig runs by the high villages of Lenneplätze, Neuastenberg, Langewiese and Hoheleye to Albrechtsplatz (728.6 m) and past the source of the Friede (740 m; a tributary of the Odeborn) to the Heidenstock (752.2 m). About 500 m southwest of the Heidenstock the Rothaarsteig divides into separate hill and valley courses:
The Bergweg ("mountain path"), which is part of the main Rothaarsteig trail, crosses a section of the Waldskulpturenweg, which combines with it in places. Initially it runs in a southerly direction past the hamlet of Kühhude (697.2 m; a northern suburb of Bad Berleburg) and the Saukopf (715.5 m) to the suspension bridge near the source of the Hochgelmke Siepen (680,5 m; in the catchment area of the Lenne tributary, the Latrop). Then the Bergweg runs westwards over the Großer Kopf (740.3 m) to the Millionenbank (632.4 m), where it rejoins the Talweg or valley path.
The Talweg (13.7 km long), also called the Hochsauerlandvariante ("High Sauerland Variant"), is the most important branch of the Rothaarsteig. It runs initially westwards past a war cemetery (Soldatengrab, 711.7 m) and the cultural monument of the Wegsperre (715.9 m) to the village of Schanze (700 m; east-southeastern suburb of Schmallenberg). It then runs in a more or less southeastern direction and then west again in the  Grubental valley along the Grubensiepen (tributary of the Latrop) and its tributary, the Schladebach, past the Altarstein (heathen sacrifice site; 536.2 m) and the natural monument known as the Dicke Eiche ("Fat Oak", 482.7 m) to the village of Latrop in the Latrop valley (430 m; southeastern municipality of Schmallenberg). Thereafter the Talweg runs south around the neighbouring mountains of Große- (610.2 m) and Kleine Bamicke (659.8 m) to the Millionenbank (632.4 m), where it meets the Bergweg.
From the Millionenbank the main Rothaarsteig path continues westwards via Jagdhaus (650 m; southern municipality of Schmallenberg), where the Kapellenwäldchen natural monument is found at Heidkopf (665.9 m), to the Trudes Sonnenbank (657.3 m) mountain hut and past the source of the Somborn (680 m; in the Eder catchment area), which is located on the southeastern slopes of the Härdler (755.8 m), to the crosstracks of Potsdamer Platz (678.1 m). The walking path then runs past the refuge hut on the Margaretenstein (685 m) to the Rhine-Weser Tower (680 m; observation tower) on the Westerberg (684.6 m).
From the Rhine-Weser Tower the Rothaarsteig runs in a southerly direction to the source region of the Schwarzbach (right source stream of the Eder tributary, the Röspe). Just under 1 km further southeast it runs past the Panorama-Park Sauerland before following the valley of the Schwarzbach. After crossing that stream the walking trail runs along the Schwarzbach tributary, the Habecker Bach, to its origin and then continues to the mountain hut  (621.1 m) at Rastplatz Hochheide. Continuing through the nature reserve of Haberg (625.4 m; Heinsberger Hochheide) it runs over the 637.9 m high crest of the closed Heinsberg Tunnel (1,303 m long) and then heads south to the Dreiherrnstein (673.9 m), which is a northeastern subpeak of the Riemen (677.7 m).
The Rothaarsteig runs past the summit of the Riemen about 150 m to the east to the valley of the Elberndorfer Bach (a western Eder tributary), which it crosses in a westerly direction. Next it runs a few metres east of the  Ferndorf spring (600 m), and passes, further south, the cultural monuments of Schrammer Heide and Schanze and runs in a southwesterly direction − over the Schloßberg Tunnel (270 m long) of the Rothaar Railway− to the ruins of Ginsburg (587.,6 m).
Thereafter the Rothaarsteig runs eastwards over the Giller (653.5 m; with its Giller Tower) to Lützel (575.1 m) southeast of Hilchenbach. Next the trail runs along the Eder to its source (620 m) and over the old coal road (Kohlenstraße, maximum height 640 m) to Waldheim in Benfe, south of Erndtebrück, where it crosses the Eder tributary, the Benfe (568 m). Bordering the eastern edge of the village of Großenbach, west of Bad Laasphe, where the Rothaarsteig swings towards the southwest for a few hundred metres, it runs to the source of the Rhine tributary, the Sieg (603 m), where it crosses part of the Eisenstraße.
After that the Rothaarsteig runs in a southerly direction parallel to and, in places, along the Eisenstraße to the source of the Ilm (622 m; tributary of the Lahn) and then past the origin of the Lahn (605 m) itself in Lahnhof (a village near Nenkersdorf which is in turn part of the borough of Netphen) eastwards to the Ilsesource (620 m). It then runs over the Jagdberg (675.9 m), along a section of the border with the neighbouring state of Hesse and past the Kaffeebuche natural monument (590 m) to the source of the Dill (560 m) which lies in Hesse on the Haincher Höhe (606 m). Passing over the Tiefenrother Höhe (551 m) near Wilgersdorf on the state border and then the eastern subpeak of the Kalteiche (579,3 m), where the trail bends southeast to the Lucaseiche natural monument (440 m), the Rothaarsteig finally reaches Hesse. Through Rodenbach (310 m), north of Haiger, it continues to Manderbach (305 m), north of Dillenburg, and over the Dillenburg Galgenberg (302 m), running past the Wilhelm Tower (260 m) before finally ending in Dillenburg (233 m).


Past awardees include Bishop Proaño, Cardinal Arns, the Oslobodjenje, Sr. Dianna Ortiz,  Salima Ghezali, and Berta Cáceres.


The Rotonda della Besana (also known as Rotonda di Via Besana or Complesso di San Michele ai Nuovi Sepolcri, and originally as Foppone della Ca' Granda) is a late baroque building complex and former cemetery in Milan, Italy, built between 1695 and 1732 and located close to the city center.  The complex comprises a lobate hectagonal colonnade portico enclosing a garden and the deconsacrated church of San Michele ai Sepolcri ("Saint Michael by the Sepulchers").  The portico was designed by architects Francesco Croce and Carlo Raffaello Raffagno, while the church was designed by Attilio Arrigoni.  Although originally a cemetery, over time the Rotonda has been adapted for a number of other uses; today, it is a leisure area and a venue for cultural events.
The complex covers an overall area of 7,100 m² and owes its current name to its location, at number 15 of Via Enrico Besana.


The Rottalhorn (3,972 m) is a mountain of the Bernese Alps, located on the border between the Swiss cantons of Bern and Valais. It lies 600 m south of the Jungfrau, between the small valley of the Rottal and the Jungfraufirn (part of the Aletsch Glacier).


Charles Angrand
Henry Barbet
Albert Beaucamp
Michel Bérégovoy
Édouard de Bergevin
François Adrien Boieldieu (cœur)
Georges Bouctot
Louis Bouilhet
Louis Auguste de Bourbel de Montpinçon
Jean-Baptiste Cécille
Marcel Couchaux
Joseph-Désiré Court
Pierre Chirol
Jean Benoît Désiré Cochet
Georges Dubosc
Marcel Duchamp
Suzanne Duchamp
Raymond Duchamp-Villon
Gustave Flaubert
Jean Pierre Louis Girardin
Jacques Hébertot
Auguste Houzeau
Eustache-Hyacinthe Langlois
Albert Lebourg
Théodore-Éloi Lebreton
Léon-Jules Lemaître
Valérius Leteurtre
Juste Lisch
Ferdinand Marrou
Georges Métayer
Étienne Nétien
Émile Frédéric Nicolle
Félix Archimède Pouchet
Raymond Quenedey
Augustin Pouyer-Quertier
Marie Antoine de Reiset
Jean Revel
Louis Ricard
Eugène Richard
Antoine Sénard
Jacques Villon
Francis Yard
Colette Yver


Rouge National Urban Park is a national urban park in Ontario, Canada. The park is centred around the Rouge River and its tributaries in the Greater Toronto Area. The southern portion of the park is situated around the mouth of river, in Scarborough, and extends northwards into Markham, Pickering, Uxbridge, and Whitchurch-Stouffville.
Since 2011, Parks Canada has been working to nationalize and nearly double the size of the original Rouge Park. Parks Canada is planning to add more trails, education and orientation centres and improved signage and interpretive panels and displays throughout the park. Parks Canada introduced new educational programs to the park, including Learn-to-Camp, Learn-to-Hike, fire side chats, and other complimentary programming. Once fully established, the park will span 79.1 square kilometres (30.5 sq mi). Parks Canada managed 95% of the area as of June, 15, 2019, with the rest expected to transferred in the future. Of which, 46 square kilometres (18 sq mi) had been formally designated under the Rouge Urban National Park Act.


Rougemont Castle, also known as Exeter Castle, is the historic castle of the city of Exeter, Devon, England. It was built into the northern corner of the Roman city walls starting in or shortly after the year 1068, following Exeter's rebellion against William the Conqueror. In 1136 it was besieged for three months by King Stephen. An outer bailey, of which little now remains, was added later in the 12th century.
The castle is mentioned in Shakespeare's play Richard III in a reference to that king's visit to Exeter in 1483. Devon's county court was located here from at least 1607, and the three Devon Witches—the last people in England to be executed for witchcraft—were tried and convicted at the Exeter Assizes in 1682.
All the buildings inside the walls were swept away in the 1770s to make way for a new courthouse, which was extended by the addition of wings in 1895 and 1905. Because of its function as a court, the interior of the castle was not open to the public until the court moved to a new site in 2004. The entire site was later sold to a developer whose stated aim was to transform it into "the Covent Garden of the South West".
The castle is named after the red stone found in the hill, and used in the construction of the original buildings, of which the large early Norman gatehouse is the main remaining feature. It is surrounded on three sides by the Rougemont Gardens and Northernhay Gardens, public parks now maintained by Exeter City Council.


In 1607 a courthouse was built within the castle walls, and in 1682 and 1685 the three "Devon witches" were tried here, before being executed at Heavitree. They were the last people in England to be executed for witchcraft; a plaque on the wall by the gatehouse commemorates the events.
The noted cartographer and chorographer, John Norden produced a plan of the castle and its precincts in 1617. It shows, amongst other features, the newly built court houses, the chapel, the position of the castle well, the north sally-port and what may have been the ruined walls of a rectangular keep against the north-eastern wall.
The castle did not play a major role during the Civil War, although in late 1642 Parliament authorised the City of Exeter to use £300 of public funds to fortify the city and perform repairs to the castle. Despite there being at least four artillery batteries at the castle, the city fell to the Royalists in 1643, then to the Parliamentarians in 1646. During part of the war the gatehouse was used as a prison.
In 1773 all the buildings within the castle walls were demolished and replaced with a courthouse built in limestone in the Palladian style. The design was by local architect Philip Stowey, amended by James Wyatt. At this time, the early-16th-century entrance arch was replaced by a new one, built of reclaimed stone and sporting a false portcullis. This remains the entrance to the site today. The court buildings were extended to the west in 1895, creating offices for the new county council, and extended again in 1905 by the addition of a neo-Palladian wing to the east.
A section of the castle wall between the gatehouse and the eastern city wall was found to be in imminent state of collapse in 1891 and despite efforts to repair it, it fell in October of that year. The unstable part of the wall was that around the site of the circular tower shown on Norden's plan of 1617. It was speculated that when this tower was demolished (at an unknown date), the rebuild was of very poor quality. After the demolition of St Mary's chapel with the other buildings in the late 18th century, a lodge had been built close to the new castle entrance. This lodge was threatened by the unsafe wall and during works to make it safe, excavations in its floor revealed a number of human skeletons which were assumed to have been buried in the grounds of the chapel. Thomas Westcote wrote in around 1630 that the chapel was "ruinous" and a document of 1639 records that Bishop Hall was requested to assign the chapel precinct "for buryall of such Prisoners as shall die in the Gaole."
Other notable events that took place at the castle included a Monsieur St Croix making the first hot-air balloon ascent in Exeter from the Castle yard in June 1786; and on 15 May 1832 the first Annual Exhibition of the Devon Agricultural Society, the forerunner of the Devon County Show, was held here. The County Council moved to Devon County Hall in 1964.


Accessible across the causeway from Kippford when the tides allow or across the mudflats from Rockcliffe, the isle of Rough can be walked to from the Scottish mainland. As the island is a bird sanctuary visitors should avoid travelling to the island during the months of May and June to avoid disturbing the nesting oystercatchers and ringed plovers. The islands' causeway is flooded and underwater for 5 (five) hours during high tide and visitors to the island need to take this into account when travelling there.


Rough Tor is approximately one mile northwest of Brown Willy, Cornwall's highest point, on Bodmin Moor. Its summit is 1313 ft (400m) above mean sea level, making it the second highest point in Cornwall. Both hills are in the civil parish of St Breward and near the town of Camelford. The De Lank River rises nearby and flows between the two hills. Rough Tor and Little Rough Tor are twin summits of a prominent ridge of granite, though there are actually three tors at the site: Showery Tor, Little Rough Tor, and Rough Tor. Crowdy Reservoir and the Lowermoor Water Treatment Works are not far away from the hill.
Hikes to the summit and to neighbouring Brown Willy are popular, though the walk may be strenuous; a road provides easy access to a car park, which is about a mile and a half from the summit.


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The Round House had a plaque placed by the Royal Western Australian Historical Society as part of the commemoration of historical sites in the Western Australia centenary year of 1929.  However, in the 1940s and 1950s it was used as storage site, raising concerns about its condition as a result.


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The Rousse Regional Historical Museum is one of the 11 regional museums of Bulgaria. It acts within the Rousse, Razgrad, and Silistra regions. The museum occupies the building of the former Battenberg Palace, previously a local court, built 1879–1882 by Friedrich Grünanger.
The Rousse Regional Historical Museum was established in 1904. Its basis are the archeological collections of Karel and Hermenguild Shkorpil, as well as of the naturalist Vasil Kovachev, which were gathered in the "Knyaz Boris" men's high school of Rousse.


The Roxy is a fine example of an Inter-war cinema designed in a modified Art Deco architectural style with Art Nouveau and Spanish Mission elements. The building is constructed of brick walls, with the primary facade rendered, the roof clad in corrugated iron and timber floors. The theatre has a full size concert stage with the original two levels of seating, a foyer and ticket box area and an integrated shop at the west side. Large red neon lettering for "Roxy" is mounted above the roof parapet in three directions, plus extensive neon lighting on the front facade.


WikiWeb_Royal Air Force Museum Cosford_10

"ALVA - Association of Leading Visitor Attractions". www.alva.org.uk. Retrieved 27 October 2020.
"Royal Air Force Museum Cosford, registered charity no. 244708". Charity Commission for England and Wales.
Ellis 2004, p. 179.
Spicer, Graham (7 February 2007). "Cold War Exhibition Opens in Spectacular New RAF Cosford Building". www.culture24.org.uk. Retrieved 11 July 2011.


The history of the Albert Dock dates back to 1837, when Jesse Hartley first began the development of plans for a combined dock and warehouse system. The plans drawn up by Hartley and fellow civil engineer Philip Hardwick for the Albert Dock were at the time considered quite 'radical', as they envisioned the loading and unloading of ships directly from the warehouses. However, this idea was not new, and as far back as the 1803 Warehousing Act, legislation had been passed to allow this form of development to occur, whilst the concept was first actually used in the construction of St Katharine's Dock in London, which was opened in 1828. As part of the development process, Hartley was eager to test the fire resistance of any particular design by constructing an 18 ft (5.5 m) by 10 ft (3.0 m) dummy structure, filling it with timber and tar, and setting it alight. After testing several structural designs he settled on the combination of cast iron, brick, sandstone and granite. The design was submitted for planning permission in 1839 although it was not until 1841, when the bill authorising the design of the dock was eventually passed by Parliament, that construction was allowed to begin.
The site chosen for the dock to be built on was an area of land bordered by Salthouse Dock to the east, the entrance channel to Canning Dock to the north and by Duke's Dock to the south. The land earmarked for the site had to be cleared, with 59 tenants being evicted and numerous premises demolished including a pub, several houses and the Dock Trustee's Dockyard. Upon the clearance of this land both the Salthouse and Canning docks were drained to allow entrance passages into the Albert Dock to be constructed, whilst hundreds of "navvies" were employed to dig out the dock basin and construct the new river wall. The dock basin was completed by February 1845, allowing the first ships to enter the Albert Dock, although with the warehouses still under construction this was merely to allow these boats to "lay-up".
The dock complex was officially opened in 1846 by Albert, Prince Consort, husband of Queen Victoria and the man in honour of whom it was named. This event marked the first occasion in Liverpool's history in which a member of the Royal Family had made a state visit to the city and as a result the occasion was marked with a major celebrations. Many thousands of people turned out for the Royal visit with the newspaper The Pictorial Times noting the reception Prince Albert received:
His reception was most enthusiastic; balconies were erected along the line of procession, and these and the windows of houses were filled with gay and animated parties. There was a most brilliant display of flags, banners & c. [sic]. All business is suspended. There are 200,000 strangers in town, and all the inhabitants are in the streets. All is gaiety and splendour. (The Pictorial Times, 1846).
The Prince was taken on a processional tour through the city, including a visit to the town hall where the royal address was made, before departing aboard the ferry across to the Cheshire side of the Mersey and then northwards towards the Albert Dock. Again this stage of the procession route was laden with onlookers with The Pictorial Times describing the Prince's entrance into the Albert Dock:
From the Cheshire side of the river the Fairy crossed to the Liverpool side, and returned along the line of docks amidst the cheers of assembled thousands and the roar of artillery. The sight was really magnificent, all the ships in the docks were decked out in gayest colours and the river was crowded with boats filled with people. At half-past two the fairy entered the dock, where were assembled two thousand ladies and gentlemen, the elite of the town; they cheered enthusiastically, which his Royal Highness returned, and in order to gratify the crowd sailed round the dock. (The Pictorial Times, 1846).
Despite the official opening taking place in 1846, the construction of the Albert Dock was not fully completed until 1847. In 1848, a new dock office was built and the dock itself was upgraded to feature a hydraulic cargo handling hoist system, the first of its kind in the world. Over the next decade several more buildings were added including houses for the piermaster, his assistant, and the warehouse superintendent; and a cooperage. Warehousing in the dock was also expanded to meet the increasing demand by joining together the eastern and western ends of the Southern Stack.


The museum was one of the first projects carried out under the UK private finance initiative: a non-departmental public body, the Royal Armouries, contracted with a private sector company, Royal Armouries International (RAI), which was financed by a long-term bank loan together with equity investment from 3i, Gardner Merchant, Electra and Yorkshire Electricity. RAI commissioned a new building to accommodate the museum: it was designed by Derek Walker and Buro Happold, and built by Alfred McAlpine at a cost of £42.5 million. and was officially opened by Queen Elizabeth II in March 1996.


The museum is mentioned in the Kaiser Chiefs song "Team Mate", from the band's debut album, Employment.
The Nightmare Stacks, by Charles Stross, is mainly set in and around Leeds and the novel's title is an allusion to the museum's holdings.
The Gamespot YouTube series "Firearms Expert Reacts" is filmed on the museum grounds and features the Royal Armoury's Keeper of Firearms and Artillery, Jonathan Ferguson, analyzing the design and use of  firearms in popular video games.


In 1720, the Board sought to establish an on-site military academy for the education of its Artillery and Engineer officers. Tower Place had by this time largely been demolished, and a new building was erected in its place to provide a base for the new academy alongside a Board Room for the Ordnance Board (with a new residence for the Storekeeper added to the rear). It would not be until 1741, however, that the Royal Military Academy was set up on a firm footing and occupied its rooms in the building. Soon, the Academy's cadets were given their own purpose-built barracks alongside the southern boundary wall; dating from 1751, these were entirely demolished in the 1980s for road widening.


The Napoleonic wars prompted an increase of activity at the Arsenal, which affected all areas of its operation.
In 1803–1805 a substantial Royal Carriage Factory was built (on the site of New Carriage Square, which had been destroyed by fire - possibly arson - the previous year). Its outer walls, complete with a contemporary chiming clock, survive; within, where there are now new apartment blocks, there was once a vast engineering and manufacturing complex staffed by wheelwrights, carpenters, blacksmiths and metalworkers. It was here that steam power first came to be used in the Arsenal, when Joseph Bramah installed his patented planing machine in 1805.
The Arsenal was soon a renowned centre of excellence in mechanical engineering, with notable engineers including Samuel Bentham, Marc Isambard Brunel and Henry Maudslay employed there. Brunel was responsible for erecting the steam sawmills, part of the Royal Carriage Department; Maudslay later expanded this buying more steam machinery. The Arsenal also became a noted research facility, developing several key advances in armament design and manufacture. One example was the innovative Congreve Rocket, designed and (from 1805) manufactured on site by William Congreve (son of the Comptroller of the Royal Laboratory). Thenceforward rocket manufacture became a key activity, carried out in purpose-built premises on the eastern edge of the site.
Between 1805 and 1813 the massive Grand Stores complex was constructed alongside new wharves by the river; though celebrated as a landmark of size and dignity befitting the Arsenal, the buildings were immediately, and for many years afterwards, vulnerable to subsidence due to their proximity to the river (this was caused in no small part by on-site supervisors directing the use of cheaper wooden piles in place of the stone foundations specified by the architect, James Wyatt). The buildings formed a three-sided quadrangle of warehouses facing the river, with the central open space used as a shot-yard. (The main range of buildings was flanked by smaller quadrangles to the east and west, only fragments of which survive.) The Grand Store was not uniquely, or even primarily, designed as an artillery store, but rather as warehousing for all kinds of military equipment: an early example of a planned integrated military stores complex.
From 1808, "New Laboratory Square" began to be developed to the north of the original Laboratory complex, with an open-sided quadrangle built around an eighteenth-century Naval storehouse; initially used for storage, it came to be used for manufacturing from the 1850s. (It replaced the 'East Laboratory', a quadrangle of buildings which had been demolished to make way for the Grand Store.) Earlier, in 1804, subsidiary Royal Laboratories were set up in the Dockyard towns of Portsmouth and Devonport and in Upnor Castle near Chatham. The Devonport Laboratory (on Mount Wise) had been converted into barracks by 1834 but ten years later Portsmouth's (which had been overtaken by dockyard expansion) was relocated to Priddy's Hard, where manufacture (initially of small arms ammunition, later of shells and fuzes) continued, overseen from Woolwich.
Proof work continued at this time. In 1803 a burst gun caused damage to nearby buildings, which prompted construction of a new set of proof butts further to the east; these opened (on what would later be the site of the Arsenal's gasworks) in 1808. Starting in 1811, a project was begun to raise the ground level of the eastern part of the Arsenal site, as far as the canal, using material dredged from the river bed (a huge undertaking, which took nine years to complete). Also in 1811, a further 20 acres of marshland to the east was purchased, with a view to re-siting the gunnery range (so as to make room for the new sawmills); a 1,250-yard range was then built. In 1838, however, it was accepted that (due to improved ballistics) a much longer range was required; this would require multiple land purchases (at great expense), but was eventually achieved in 1855 when a 3,000-yard range was opened. At the same time, new proof butts were constructed alongside the range.


Several early 18th-century buildings on the site have been attributed to the architects Sir John Vanbrugh or Nicholas Hawksmoor (both of whom are known to have designed buildings for the Board of Ordnance), including the Royal Brass Foundry, Dial Arch and the Royal Military Academy; but whilst acknowledging their influence (direct or indirect), the Survey of London credits Brigadier-General Michael Richards (Surveyor-general for the Ordnance board at the time) as having played the leading part in their design. In the late-18th and early-19th centuries James Wyatt, as Architect of the Ordnance, was responsible for several buildings on the site, including the Main Guardhouse (1787), the Grand Store (1805) and Middlegate House (1807). More often than not, though, it was the on-site Engineers and Clerks of the Works who were responsible for the design of buildings and other structures within the working Arsenal.


The First World War, which took place between 1914 and 1918, saw the extensive use of artillery, particularly on the Western Front. Technical advances, combined with the relatively static nature of trench warfare, made these guns a key element of the conflict: over half the casualties in the war were caused by artillery. Artillery guns and their crews were themselves targets, and 49,076 members of the Royal Artillery died during the conflict. In the years after the war, many former servicemen, including gunners, found the scale of the losses difficult to deal with, or felt that their trust in the political leadership that had led them into the war had been challenged. Visual reminders of the conflict were often avoided: mutilated servicemen, for example, were banned in the 1920s from joining in veterans' marches, and those with facial injuries often hid them in public. Where sculpture of human figures was used in First World War memorials, it tended to depict allegorical figures such as Peace or Victory. Sculptures of soldiers were uncommon. Where they were used, the soldiers appeared healthy and smartly presented in military uniform, not dishevelled or injured.
The Royal Artillery War Commemoration Fund (RAWCF) was formed in 1918, made up of a mixture of commissioned officers and other ranks. The RAWCF's intention was to remember the artillerymen who had died during the war, and after some discussions of various options, including purchasing a house for wounded soldiers, or building a number of small shrines across the country, the RAWCF decided to construct a single memorial to the fallen Royal Artillery servicemen. Memorials to lost servicemen from the previous major conflict, the South African War fought between 1899 and 1902, had been widely criticised as being unimaginative and members of the RAWCF were unimpressed by the Royal Artillery's memorial to that war, located on the Mall. As a result of these problems, the prominent artist Sir Edward Poynter put forward recommendations that far more care, time and funding be given to the construction of future war memorials, which were taken on board by the RAWCF.
The RAWCF first explored the option of joining some form of national commemoration which was under consideration in the aftermath of the First World War, initially wishing to spend only a small proportion of the fund on a physical monument. Plans were floated for a national memorial in the vicinity of Buckingham Palace or on the Mall. Another option mooted was a memorial cloister attached to Westminster Abbey, with contributions from the Royal Artillery and other regiments, though this was quickly discarded as unlikely to gain approval from the relevant authorities. The national proposals stalled, partly because of concerns that individual regiments would not be able to maintain their individuality—something of great importance to the RAWCF—within a uniform whole. The RAWCF began exploring sites for its own individual monument, either at Hyde Park Corner or on the edge of Buckingham Palace gardens. The RAWCF sought a design that would be "unmistakably recognisable" as an artillery monument, and were insistent that the eventual designer take detailed advice from a junior officer who had served in the war.


The RAWCF first examined a design by Captain Adrian Jones, who produced the Boer War Cavalry Memorial a few years before, but his design was rejected. Next, the committee contacted the architects Sir Edwin Lutyens, Herbert Baker, and Sir Aston Webb (designer of the regiment's Boer War memorial). Lutyens sent in three designs, each costed at less than £15,000 (approximately equivalent to £704,000 in 2019), but several committee members felt them to be too similar to the Cenotaph and to give insufficient prominence to artillery. Further problems arose when the Office of Works stated that it would not approve Lutyens' designs on the grounds that all would be too tall for their surroundings. After the RAWCF insisted that a howitzer be prominently incorporated into the designs, Lutyens withdrew. Baker disagreed with the concept of single service monuments, but submitted a proposal costed at over £25,000 (approximately equivalent to £1,173,000 in 2019), which was declined and he withdrew from the project. Webb declined to submit a proposal and also withdrew.
The committee then approached the sculptor Charles Sargeant Jagger in early 1921. Jagger trained as a metal engraver before attending the Royal College of Art. He served in the infantry during the First World War and was injured at the battles of Gallipoli and Neuve-Église, being awarded the Military Cross. At the end of the war, Jagger became involved in the design of war memorials, which formed the basis of his artistic reputation. His first major memorial commission was the Hoylake and West Kirby War Memorial. The realism and starkness of the sculptures there marked Jagger out as unconventional among war memorial designers. Nonetheless, it was highly celebrated after it was exhibited at the Royal Academy in 1921, and led to other commissions across England and on foreign battlefields. Other examples include the Great Western Railway War Memorial at Paddington station in London, Portsmouth War Memorial, and the Anglo-Belgian Memorial in Brussels, though the Royal Artillery memorial is arguably his leading work.
Most of these works were in the design stage or under construction concurrently. Jagger was approached by the RAWCF both because of his reputation as a designer and because of his service as an infantry officer, although the American artist John Sargent, a patron of Jagger's, may have encouraged the committee to consider the young artist. General Sir John Du Cane, a member of the RAWCF committee, encouraged his fellow members to consider Jagger on the grounds that the memorial would be the work which established Jagger's reputation and thus the sculptor would produce his best work. The RAWCF requested that he submit a model for a realist sculpture, which should include a group of soldiers in bronze on a pedestal. The RAWCF felt that a realist design would have broader appeal and would be inclusive of the tastes of ordinary artillerymen—rather than catering solely for the tastes of the officers—while at the same time creating a historical record of the era for future generations.
Jagger engaged the architect Lionel Pearson to design the stone structure of the memorial, and through June and July 1921 the RAWCF and the authorities considered the proposal. Jagger's model was similar to the eventual memorial, but had only two gunners at either end of an oblong memorial; the howitzer on the top was smaller than the eventual version, and pointed sideways, rather than lengthways along the pedestal. In reporting to the committee, Jagger said that he felt strongly that the design should unashamedly focus on the events of the war, noting that it "should in every sense be a war memorial". Jagger explained that the artillery had "terrific power" and was the "last word in force", and that the howitzer he had chosen was the only suitable weapon to symbolise those capabilities. During the design process, the committee presented Jagger with many suggestions. He gladly accepted their advice on technical matters related to artillery procedures and the appearance of the howitzer, but was protective of his artistic independence and would not brook suggestions which he felt would impinge on the quality of the work. There were concerns on the committee that the design would shock members of the public, especially women, but the RAWCF eventually voted 50 to 15 in favour of accepting the design and the proposed cost of £25,000. Jagger was formally awarded the contract for the memorial in March 1922.
Jagger at that time was preoccupied with the Anglo-Belgian Memorial in Brussels and did not begin work on the Royal Artillery memorial until October, at which point he made several changes to the proposed design, which he submitted to the RAWCF early the following year. The revised memorial would be a third larger than before, cruciform in plan, and guarded by three bronze soldiers. Jagger rotated the howitzer by 90 degrees, bringing it into line with the main axis of the base, pointing towards the Wellington Arch. After much discussion—including advice from Lutyens and Sir Reginald Blomfield representing the Royal Fine Arts Commission—Jagger agreed that the howitzer would point south to produce a pleasing silhouette from the park. The change also resolved an objection raised by the King about the "gloomy" figure on the front of the memorial staring down Constitution Hill towards Buckingham Palace. A year-long debate occurred within the RAWCF as to what inscription should be placed on the memorial, adding to the delay. Jagger made another change in early 1924, adding an effigy of a dead soldier to the fourth side of the memorial, in keeping with the soldiers on the other three sides. The proposal proved controversial. Although recumbent effigies were not uncommon on tombs and (to a lesser extent) war memorials, a sculpture of a dead soldier at eye level was an unusual and dramatic feature among First World War memorials—architects often preferred abstract, classical designs (such as the Cenotaph) or portrayed death through allegory. Jagger was adamant about the inclusion, even offering to pay for the casting of the additional figure himself. After considerable debate, the RAWCF agreed to the modification. Jagger's work continued to take longer than planned, partially due to shortages of staff, the need to approve each amendment to the plan, and practical problems on the site itself. The names of his models for three of the statues are known—William Fosten for the driver, another ex-gunner called Metcalfe for the ammunition carrier, and Lieutenant Eugene Paul Bennett, VC, who fought in the same regiment as Jagger, for the commander.


The Royal Artillery Memorial is located in what Malcolm Miles has termed the "leafy traffic island" of Hyde Park Corner in central London. It is one of several war memorials which dominate the roundabout and its surrounds; it is directly opposite the Wellington Arch while at the north end is another memorial to the Duke of Wellington in the form of an equestrian statue. Other memorials in the vicinity include the Machine Gun Corps Memorial, the Australian and New Zealand war memorials, and the Commonwealth Memorial Gates.
The Royal Artillery Memorial is 43 feet long, 21 feet wide and 30 feet high (13 metres by 6 metres by 9 metres); the pedestal and the one-third over-lifesize replica of a BL 9.2-inch howitzer, modelled on a gun in the Imperial War Museum, that sits on top of it are made of Portland stone. The plinth is in the form of a squat Roman cross. Cast by the A. B. Burton foundry, bronze figures are placed at the ends of each arm—an artillery captain holding a greatcoat at the front (facing south, below the barrel of the howitzer); a shell carrier on the east side; a driver wearing a heavy cape to the west; and to the north, a dead soldier on the north, his greatcoat thrown over him and his helmet resting on his chest. Carved stone reliefs show various detailed military scenes from the First World War—two on each side, one larger than the other—and the Royal Arms with the Artillery's cannon badge. The reliefs on the east side portray an action by heavy artillery and the crew of a howitzer; on the west side is an action involving horse artillery and a signaller and telephonist on the smaller relief. The memorial's main inscription on the west and east faces reads "In proud remembrance of the forty-nine thousand and seventy-six of all ranks of the Royal Regiment of Artillery who gave their lives for King and country in the Great War 1914—1919". Beneath the dead soldier is the inscription "Here was a royal fellowship of death", a quote from William Shakespeare's Henry V, which was suggested by Jagger himself.
The memorial forms a sharp contrast with both the earlier monuments of the South African War and most monuments contemporary to the First World War. Memorials of the South African War typically included figures of soldiers, sometimes dying in conflict, but always heroically in a "beautiful death". Classical symbolism was often used to distance the event of death from the observer, as typified in William Colton's work at Worcester. Most First World War memorials reacted to the criticism of this approach by adopting cleaner architectural forms, but still retaining the ideal of a "beautiful death", an approach which can be seen at Lutyens' Southampton Cenotaph, the precursor to his more famous Cenotaph on Whitehall. These memorials frequently used abstract designs intended to remove the viewer from the real world, and focus them on an idealised sense of self-sacrifice. Soldiers in these memorials were still frequently depicted as Homeric warriors, and classical ideals and symbols remained popular, as can be seen at the Machine Gun Corps Memorial by Francis Derwent Wood, close to the Royal Artillery Memorial. Where dead soldiers were shown, they were depicted in an image of serenity and peace, often physically distanced from the viewer on a high platform, the entire effect enhanced by the silence that traditionally surrounds ceremonies at the Cenotaph.
The Royal Artillery Monument attempted a very different effect. Jagger takes a realist approach to his figures, embracing detailed images of military power with none of the classical symbolism of other monuments, or even Jagger's own pre-war pieces. The art historian Reginald Wilenski likens the memorial to the work of Frank Brangwyn, who focused on depicting the physical labour of soldiers and workers during the war. The memorial shows the three upright bronze figures stood at ease, rather than to attention; the driver leans back against the parapet, his cape hanging over his outstretched arms, suggesting an attitude of exhaustion or contemplation. The faceless, heavily laden statue of the fallen soldier appears less at rest than exhausted, pulled down as if by a great weight. At the same time, the sheer size of the memorial, including the oversized gun and larger-than-life bronze figures, exudes a sense of strength and power; the figures are stocky, confident and imposing. This contributes to the sense of masculinity that pervades the work, from the phallic image of the howitzer, to the solid, muscular figures of the gunners.
Despite the realist nature of the bronze statues in the design, commentators have often also noted the dehumanising aspects of the memorial. Its sheer size and the bulk of the howitzer serve to distance the observer, which—according to art historian John Glaves-Smith—depersonalises the soldiers in a similar way to the Cubist war paintings of Wyndham Lewis and Richard Nevinson. The carved stone reliefs have an aggressive, hostile quality to them, a consequence of their focus on surface detail at the expense of the humans in the design. When questioned about his lifelike depictions, Jagger said that the "experience in the trenches persuaded me of the necessity for frankness and truth". According to historian John Glaves-Smith, the memorial uses themes of "endurance and sacrifice, not dynamism and conflict", and thus speaks to its audience about the experience of war in a way that the Cenotaph, for example, does not.


Royal Birkdale Golf Club is a golf course in the United Kingdom in North West England, located in Southport, Merseyside. It is one of the clubs in the rotation for both the Open Championship and Women's British Open and has hosted the Open Championship ten times from 1954 through 2017. Winners of the Open at the course include Pádraig Harrington, Mark O'Meara, Ian Baker-Finch, Tom Watson, Johnny Miller, Lee Trevino, Arnold Palmer, Peter Thomson (twice) and Jordan Spieth.
Royal Birkdale hosted the women's tournament for a sixth time in 2014, and was the site of the Senior Open Championship in 2013. It has also hosted the Ryder Cup (1965, 1969), the Walker Cup (1951), and the Curtis Cup (1948). Other courses in the Open rota near Liverpool are Royal Liverpool Golf Club (Hoylake) and Royal Lytham & St Annes Golf Club.
On 22 July 2017, in the third round of the 2017 Open Championship, Branden Grace became the first man in major championship history to record a score of 62 in a single round.


WikiWeb_Royal British Columbia Museum_23

By 2002 the RBCM had initiated a successful and innovative province-wide research and public education program that explored human and natural influences on regional environments combining cultural heritage with natural heritage. The museum maintained a Living Landscapes website.
Living Landscapes was an award-winning, successful "regional outreach program involving intensive cooperation with other museums, First Nations, educators, naturalists, and other agencies." Its goal was "to encourage and facilitate the exploration and appreciation of the human and natural history of British Columbia from regional perspectives," and it focused on "particular regions of B.C. and integrating stories and research locally generated with both research knowledge and descriptive information from the collections and curatorial staff at the Royal British Columbia Museum."
In 2000 the focus of Living Landscapes was on the Upper Fraser Basin, a "vast area extending across most of south-central British Columbia including the Fraser River valley upstream from Big Bar Creek, as well as it is tributary drainages such as the Chilcotin, Quesnel, and Nechako Rivers." During 2001-2002 RBCM hosted five Upper Fraser Basin communities including, Valemount, British Columbia, Burns Lake, Williams Lake, Quesnel and Prince George attended by approximately 4,500 people. Visitors met and interacted with local Living Landscapes researchers and Victoria-based RBCM curators. The events featured exhibits from the RBCM's permanent collections as well as "illustrated talks and demonstrations on a variety of topics by local and museum experts."
Initially, Living Landscapes focused on "in-field programming has been the northern, central and southern interior of British Columbia." In March 2006, when they had successfully completed the Northwest region, they discontinued the in-field programming.


Construction of the castle was probably started by Przemysł I in 1249 on hill later called Góra Zamkowa (Castle Mountain, Latin mons castrenis), and now better known as Góra Przemysława (Hill of Przemysł (or Przemysław)). The first building was a habitable tower made of bricks with a well inside, and the rest of the hill was surrounded by a rampart with a palisade.  A small ducal residence was incorporated into the system of city walls in the late 13th century.
The son of Przemysł I, Przemysł II, hoping for reunification of Poland under his rule decided to build a larger castle, more proper for a king. In 1295 Przemysł became king of Poland, but he was assassinated a year later. The castle was not finished. Work started by Przemysł was continued by a branch of the Piasts from Głogów ruling in Greater Poland, and finished before 1337. The castle served as the residence of prince Casimir, then-governor of Greater Poland.
In 1337, the Royal Castle in Poznań was the largest castle in the Polish Kingdom, modelled after the palatium of Henry I the Bearded in Legnica. The castle consisted of a tower built by Przemysł I and a huge building (63,0 m x 17,5 m) with three levels and a basement. It is uncertain whether the castle's characteristic roof, consisting of four parts, existed at that time.
Basements served as prisons and for storage of wines, and on the ground floor there were charring rooms. Those two floors were covered by vaults. Two higher floors probably had wooden ceilings. On the edges of first floor were representative chambers, and between them were habitual rooms. The whole second floor was occupied by a chamber for 2000 guests. On the south end of the large building was a defense tower. Since the reign of Władysław I the Elbow-high the castle served as the residence of starosta generalny of Greater Poland. Later only one king, Władysław II Jagiełło, ordered some minor work in castle.
During the fire of Poznań in 1536 the castle also burned. It was rebuilt in the renaissance style by the governor of Greater Poland, Andrzej II Górka. In the next years the oldest part of castle was transformed into a kitchen. The castle was later destroyed during the Swedish invasion, sacked in 1704 by the armies of Russia and Saxony during Great Northern War, and in 1716 during Confederation of Tarnogród by the confederates. The castle was partially renovated in 1721, but it didn't stop the devastation. The last starosta generalny, Kazimierz Raczyński, rebuilt the remains of the medieval buildings into an archive (finished in 1783). In 1804, after he Second partition of Poland, Prussians demolished the southern part of the castle, replacing it by buildings which, together with Raczyński's archive served as the office of the local Regierungsbezirk. Later on the castle was also as a seat of the Court of Appeals and the State Archive (the castle served as an archive until 1939). During the battle for the Poznań Citadel, in February 1945, Przemysł Hill was in line of artillery fire, and the remaining part of the castle was demolished.
In the years 1959–1964 Raczyński's archive and part of Prussian building were rebuilt, and on base of the oldest tower stands a small pavilion called the Royal Kitchen (Kuchnia Królewska). Today the Castle holds a Museum of Utilitary Art (Muzeum Sztuki Użytkowej).
On 22 April 2002, a committee for rebuilding of the castle was founded. Still extant from previous construction are two-meter-wide supports from the thirteenth and fourteenth centuries, the inner walls of the basement and the western wall (up to 10 meters high) from the same period, and a slightly newer eastern wall (up to 7 or 8 meters high), now integrated into Raczyński's Building.  On the surviving part of the castle are three plaques:  the foundation plaque of Kazimierz Raczyński from 1783, one from 1993 marking the five-hundredth anniversary of homage of Grand Master of the Teutonic Order, Johann von Tiefen, and another plaque commemorating the seven-hundredth anniversary of the coronation of Przemysł II.
On 20 December 2010, work began on the total reconstruction of the demolished parts of the castle, and meticulous restoration of the surviving buildings.


WikiWeb_Royal Courts of Justice, Belfast_1

Until 1920, the most senior courts in Ireland were in Dublin but under the Government of Ireland Act 1920, the British Government was required to establish a separate judicial system for Northern Ireland.
The building, which was designed by Sir Richard Allison and James Grey West in the Neoclassical style, was built between 1928 and 1933. The building was officially opened by the Governor of Northern Ireland, the Duke of Abercorn, in 1933. The design involved a symmetrical main frontage with thirteen bays facing onto Chichester Street with the end bays slightly projected forward; the central section of three bays featured a deeply recessed portico flanked by four Corinthian order columns supporting an entablature; the centre window on the first floor was decorated with a carving depicting the Royal coat of arms.
The building was targeted during the Troubles and was surrounded with large security screens. It suffered from bomb damage in 1989 and again in January 1997 when the Irish Republican Army attacked the building resulting in one Royal Ulster Constabulary officer being injured.
The Laganside Courts Complex, located to the north of the main building on the site of a former livestock market, was procured under a private finance initiative contract in 1999. The building, which was designed by Hurd Rolland and built by a joint venture of Turkington Construction and Karl Group at a cost of £50 million, was completed in 2002. The complex, which created six new courtrooms for the Crown Court, six new magistrates courts and four new county courts, replaced the Newtownabbey Courthouse, the Belfast magistrates' court and the Crumlin Road Courthouse.


The Royal Courts of Justice, commonly called the Law Courts, is a court building in Westminster which houses the High Court and Court of Appeal of England and Wales. The High Court also sits on circuit and in other major cities. Designed by George Edmund Street, who died before it was completed, it is a large grey stone edifice in the Victorian Gothic Revival style built in the 1870s and opened by Queen Victoria in 1882. It is one of the largest courts in Europe. It is a Grade I listed building.
It is located on Strand within the City of Westminster, near the border with the City of London (Temple Bar). It is surrounded by the four Inns of Court, St Clement Danes church, The Australian High Commission, King's College London and the London School of Economics. The nearest London Underground stations are Chancery Lane and Temple. The Central Criminal Court, widely known as the Old Bailey after its street, is about 1⁄2 mile (0.8 km) to the east — a Crown Court centre with no direct connection with the Royal Courts of Justice.


The Royal Dramatic Theatre (Swedish: Kungliga Dramatiska Teatern, colloquially Dramaten) is Sweden's national stage for "spoken drama", founded in 1788. Around one thousand shows are put on annually on the theatre's eight running stages.
The theatre has been at its present location in the Art Nouveau building at Nybroplan, Stockholm, since 1908. The theatre was built by the architect Fredrik Lilljekvist. Famous artists like Carl Milles and Carl Larsson were involved in making the decorations, and some of the interior decorations were made by Prince Eugen.
The theatre's acting school, the Royal Dramatic Training Academy, produced many actors and directors who would go on to be famous, including Gustaf Molander (who also taught there), Alf Sjöberg, Greta Garbo, Vera Schmiterlöw, Signe Hasso, Ingrid Bergman, Gunnar Björnstrand, Max von Sydow, and Bibi Andersson. The school was split off as a separate institution in 1967 (see Swedish National Academy of Mime and Acting).


The Royal Engineers Museum, Library and Archive is a military engineering museum and library in Gillingham, Kent. It tells the story of the Corps of Royal Engineers and British military engineering in general.


The Royal Exchange in London was founded in the 16th century by the merchant Sir Thomas Gresham on the suggestion of his factor Richard Clough to act as a centre of commerce for the City of London. The site was provided by the City of London Corporation and the Worshipful Company of Mercers, who still jointly own the freehold. It is trapezoidal in shape and is flanked by Cornhill and Threadneedle Street, which converge at Bank junction in the heart of the city. It lies in the ward of Cornhill.
It has twice been destroyed by fire and subsequently rebuilt. The present building was designed by Sir William Tite in the 1840s. The site was notably occupied by the Lloyd's insurance market for nearly 150 years. Today the Royal Exchange contains Fortnum & Mason The Bar & Restaurant, luxury shops, and offices.
Traditionally, the steps of the Royal Exchange are the place where certain royal proclamations (such as the dissolution of parliament) are read out by either a herald or a crier. Following the death or abdication of a monarch and the confirmation of the next monarch's accession to the throne by the Accession Council, the Royal Exchange Building is one of the locations where a herald proclaims the new monarch's reign to the public.


Richard Clough initially suggested building the exchange in 1562, and its original design was inspired by the Antwerp bourse, the world's first purpose-built bourse, with which Thomas Gresham, the representative of the English crown in Antwerp, was familiar, and on which the designs of the bourses of Amsterdam, Rotterdam and Middelburg would also be based.
It was Britain's first specialist commercial building, and Clough oversaw the importing of some of the materials from Antwerp: stone, slate, wainscot and glass, for which he paid thousands of pounds himself. The Royal Exchange was officially opened on 23 January 1571 by Queen Elizabeth I who awarded the building its royal title and a licence to sell alcohol and valuable goods. Only the exchange of goods took place until the 17th century. Stockbrokers were not allowed into the Royal Exchange because of their rude manners, hence they had to operate from other establishments in the vicinity, such as Jonathan's Coffee-House. Gresham's original building was destroyed in the Great Fire of London in 1666.  A second complex was built on the site, designed by Edward Jarman and opened in 1669. It featured a tall wooden tower over the south entrance in Corn Hill; this eventually fell into disrepair and in 1821, was replaced by a new stone tower and cupola designed by George Smith. The second Exchange was also burned down on 10 January 1838 in a fire caused by an overheated stove; the blaze was visible from Windsor, 24 miles (39 km) away. It had been used by the Lloyd's insurance market, which was forced to move temporarily to South Sea House following the 1838 fire.


The tower contains a chime of 15 bells all cast by Charles and George Mears of Whitechapel in 1844, with a mechanism that can play God Save the Queen, The Roast Beef of Old England, Rule Britannia! and Psalm 104. The combined weight of them is 131 cwt. I qr.
The original plan was to have the same number of bells  as before the fire (nine) but was increased to 15 at the suggestion of Edward John Dent, who, having visited Brussels to obtain information as to the arrangement of carillons, was convinced to recommend that the number so that a greater range of tunes could be played. Professor Taylor advised the committee to increase them to fifteen, which would then allow of playing in three octaves. The largest is also the hour bell, and bears the following inscription Cast for the Royal Exchange in the year of grace 1844; Richard Lambert Jones, Chairman of the Gresham College Committee; Daniel Watney, Master of the Mercers' Company; Ebenezer Trottman, Assistant; William Tite, Architect; Charles and George Mears, founders. The others only bear the words Royal Exchange, 1844.”


The Royal Exchange gives an average of 350 performances a year of nine professional theatre productions. Performances by the theatre company are occasionally given in London or from a 400-seat mobile theatre.
The company performs a varied programme including classic theatre and revivals, contemporary drama and new writing. Shakespeare, Ibsen and Chekhov have been the mainstay of its repertoire but the theatre has staged classics from other areas of the canon including the British premieres of La Ronde and The Prince of Homburg and revivals of The Lower Depths, Don Carlos and The Dybbuk. American work has also been important – Tennessee Williams, O'Neill, Miller, August Wilson – as has new writing, with the world premieres of The Dresser, Amongst Barbarians, A Wholly Healthy Glasgow and Port to its name.
The Royal Exchange also presents visiting theatre companies in the Studio; folk, jazz and rock concerts; and discussions, readings and literary events. It engages children of all ages in drama activities and groups and has performances including these children and teens.  Performances include "The Freedom Bird" and "The Boy Who Ran from the Sea".


Throughout its history the theatre has attracted great actors and a number of them have taken on many roles over the years. Actors who have been particularly associated with the Exchange and have appeared in several different productions include : -Lorraine Ashbourne, Brenda Blethyn, Tom Courtenay, Amanda Donohoe, Gabrielle Drake, Lindsay Duncan, Ray Fearon, Michael Feast, Robert Glenister, Derek Griffiths, Dilys Hamlett, Julie Hesmondhalgh, Claire Higgins, Paterson Joseph, Cush Jumbo, Ben Keaton, Robert Lindsay, Ian McDiarmid, Tim McInnerny, Janet McTeer, Patrick O'Kane, Daragh O'Malley Trevor Peacock, Maxine Peake, Pete Postlethwaite, Linus Roache, David Schofield, Andy Serkis, Michael Sheen, Andrew Sheridan, David Threlfall and Don Warrington.
Other notable actors have appeared at the theatre and these include Brian Cox, Albert Finney, Alex Jennings, Ben Kingsley, Leo McKern, Helen Mirren, David Morrissey, Gary Oldman, Vanessa Redgrave, Imogen Stubbs, John Thaw, Harriet Walter, Julie Walters and Sam West.
The company has always had a reputation for spotting young actors before they became famous. Kate Winslet, Hugh Grant, David Tennant, Michael Sheen,  Andrew Garfield and most recently Gabriel Clark all appeared at the Royal Exchange long before starring in film and television.


WikiWeb_Royal Garrison Church, Aldershot_7

The organ was built by Brindley and Foster in 1900, and is the second instrument to stand in the Church. It has 1749 pipes and three manuals and pedals and eighteen speaking stops, with provision for another twenty-two stops which have subsequently been added plus an additional three. The gilded pipes on the north aisle screen are only dummies, and are not connected to the organ in any way.


Before European settlement, Native Americans of the Ute people wintered in Royal Gorge for its protection from wind and relatively-mild climate. The Comanche, Kiowa,  Sioux and Cheyenne used Royal Gorge on buffalo hunting expeditions as an access point to mountain meadow regions such as South Park Basin. Colorado's Rocky Mountain region fell under Spanish claims, and conquistador expeditions of the 17th century or fur traders may have seen Royal Gorge in their traversal of the area. The first recorded instance of a European arrival, however, is the Pike Expedition of 1806. Zebulon Pike's group built a crude shelter in the gorge and explored the area, descending on horseback over the frozen Arkansas River.
Nearby Cañon City was founded in 1860 to exploit possible mineral deposits in the area. Discovery of silver and lead near Leadville in 1877 prompted a race to build rail access to the area. Royal Gorge was a bottleneck along the Arkansas too narrow for both the Atchison, Topeka and Santa Fe Railway and the Denver and Rio Grande Railroad to pass through, and there was no other reasonable access to the South Park area. Both railroads thus took to fighting the "Royal Gorge Railroad War", two years of essentially low-level guerrilla warfare between the two companies. Federal intervention prompted the so-called "Treaty of Boston" to end the struggle. The D&RGW completed its line and leased it for use by the Santa Fe.
In the 1890s Royal Gorge was used as a passenger route for transcontinental rail travel. As many as four trains per day went through the gorge, though in time the establishment of alternate routes through the mountains made the Royal Gorge fall from favor for transcontinental use, and passenger train service on the main line was discontinued in 1967. A sightseeing train now follows the route through the gorge.


The bridge was built between June and November 1929 at a cost of $350,000 (equivalent to $4.2 million in 2020 dollars), which was $100,000 over budget (equivalent to $1.2 million in 2020 dollars). The project was financed by Lon P. Piper, president of the Royal Gorge Bridge and Amusement Company of San Antonio, Texas. Piper hired George E. Cole as the Chief Engineer and the bridge was completed in about six months with no deaths or serious injuries. The formal opening occurred on December 8, 1929. Piper agreed to a twenty-year lease of the gorge and surrounding land, which is owned by Cañon City, paying a $1,000 yearly fee (equivalent to $12,100 in 2020 dollars) to the city, with a reduced fee of $500 (equivalent to $6,000 in 2020 dollars) in some years of hardship.
In 1931, the 3 ft (914 mm) narrow gauge incline railway was built to the bottom of the gorge through a narrow cleft just west of the north end of the bridge. The first suicide occurred later the same year when a man from Pueblo, Colorado jumped off the bridge. In 1937, a lighting system was installed to illuminate the bridge and the gorge walls.
In 1947, after struggling for many years through the Great Depression and World War II, Piper sold the bridge and leasing rights to a group of local Colorado businessmen and Clint Murchison, a Texan who made a fortune in oil, gas, and real estate. A long-time employee of the park stated that Murchison, who died in 1969, never visited the bridge he had bought, even after he became the sole owner.
In the 1950s, a lodge was built by the gorge and the Silver Rock Railway 2 ft (610 mm) narrow gauge train with a Chance Rides miniature C.P. Huntington locomotive began running along the edge of the gorge near the bridge. In 1956, Murchison and his Royal Gorge Bridge Company based in Dallas agreed to pay the city a percentage of its revenue instead of the $1,000 yearly fee for the lease. The percentage arrangement has proven very favorable for the city in the ensuing years, allowing it to lower property taxes significantly. The property tax rate has since become the lowest in Colorado.


At the 2006 Open Championship and 2014 Open Championship, play started at the 17th hole (Royal) and concluded at the par-5 16th hole (Dun).