Above and below the windows, the facade is decorated with a row of lengthy recesses. Entry is through the open foyer, which is supported by six stone columns. The interior painting dates to 1880, but over half the walls have only plaster and whitewash on them. The linden iconostasis, from 1788, is 7 meters long. It includes 40 icons painted in red, green, black and brown, dating to the 18th century. The 1971 icons on the royal doors feature, respectively, the Madonna and Child, and the crowned Christ holding an open Gospel. The oldest icon in the iconostasis, painted on wood in 1734 by an unknown artist, depicts the Dormition; in 1806, it was encased in silvered metal. The 1791 icon of John the Baptist was done by a deacon from Mouth Athos. The style is similar, but the classical elements more pronounced. The deacon's doors show the Archangels Michael and Gabriel.
Above this row and separated by a cornice there are eight more icons, rather than the usual twelve. There is a rectangular arched space above the royal doors featuring, above, Christ on the Throne of God; and below, a western-inspired Last Supper. Elsewhere, an icon of the Virgin Mary has a cross above, the old one having disappeared. An icon of Saint Anne holding the Virgin Mary, reportedly wonderworking and dated to 1625, is painted on wood and set up in a special iconostasis.
The bell tower is located 50 meters south of the church. Built in large blocks of stone and brick, it has a roof of zinc. The tower is on two arched levels. It has a staircase and a hiding place, both carved into the walls. The large bell was donated by Barnovschi in 1628. Cast at Lviv and weighing 400 kg, it is inscribed in Old Church Slavonic and with a Latin translation of a Psalm of David. Being cracked, it is not presently in use. The small bell, of 70 kg, is carved in the Romanian Cyrillic alphabet and features a date of 1715. A third bell weighs 300 kg.
The church is listed as a historic monument by Romania's Ministry of Culture and Religious Affairs, with a date of 1628. Also listed are the 1786 basements and the 17th-century cell ruins and bell tower.


Barns Ness Lighthouse is 3.1 miles (5 km) from Dunbar and was constructed by the engineers and brothers David A. Stevenson and Charles Alexander Stevenson, cousins of the novelist Robert Louis Stevenson, between 1899 and 1901. Taking approximately 2½ years to construct, it was constructed from stone quarried from Craigree (near Cramond) and Barnton. In 1976 it was described as a tall tower, slightly tapered with a circular section having a circular lantern which has triangular panes and a domed roof. The keepers' cottages were, as is typical, one floored, flat roofed buildings which were coated with harling but had their quoins exposed. The lintel above the door to the lighthouse is dated 1901. Within the compound of the lighthouse  there was also a sundial and a flagpole.
The stone proved resilient during the Second World War, when the lighthouse was machine-gunned yet sustained no damage.
The lighthouse was staffed by two lighthouse-keepers until 1966 when it was electrified, with a backup generator and emergency battery (used if the generator failed). It remained semi-automated, requiring only a single keeper, until 1986, when it was completely automated. The power of the sealed beam light system was up to 1,300,000 candlepower.
In early 2005, the UK and Ireland lighthouse authorities issued a consultation regarding a review of lighthouses, and it was decided that the Barns Ness Lighthouse was no longer needed. It was deactivated in October 2005. It was put up for sale in 2006.


The site selected for the new building in Church Street had previously been occupied by a row of domestic properties. The foundation stone for the building was laid by Councillor Robert Plummer, a former mayor, on 21 April 1932. The facility, which was designed by Sir Arnold Thornely in the classical style and built of Portland stone at a cost of was £148,697, was officially opened by the Prince of Wales on 14 December 1933. The design included a large Corinthian distyle with pilasters on the first and second floors of the building as well as a 44 metres (144 ft) high three-stage reducing central tower.
George Orwell, in his book The Road to Wigan Pier, was highly critical of this expenditure, and said that the council should have spent the money on improving the housing and living conditions of the local miners.


Barnstaple Long Bridge is a medieval bridge linking Tawstock with Barnstaple in North Devon, England, spanning the River Taw. One of the largest medieval bridges in Britain, it is a Grade I listed building and ancient monument. Another major medieval bridge, the Bideford Long Bridge over the River Torridge, is a few miles away.


The Baronnies, in French Les Baronnies, is a historic name for the area East and North of Mont Ventoux in Southern France.
Today most of the Baronnies is part of the département Drôme (a part of the région Rhône-Alpes). Smaller areas in the East and South belong to the départements of Vaucluse, Hautes-Alpes and Alpes-de-Haute-Provence (part of the région Provence-Alpes-Côte d'Azur). The area of roughly 2,000 km² (770 sq mi) is sparsely populated; the 1999 census counted only 22,000 inhabitants. Since the 17th century les Baronnies, especially its eastern parts, suffered from land flight due to harsh economic conditions. Starting in the 1980s land flight has stopped and the population is now increasing especially in and around the towns of Nyons, Buis-les-Baronnies, Mirabel-aux-Baronnies, Faucon and Puymeras. There are plans to create the Parc Naturel Régional des Baronnies. The area is paradise for hiking, mountaineering, rock climbing, cycling, mountain biking, horse-riding, hang gliding and paragliding.


Legend has it that Hannibal, the Carthaginian leader crossed les Baronnies with his elephants during the Second Punic War (218 - 201 B.C.). Later the area retired Roman soldiers were given land here. After the Roman Empire collapsed in the 3rd century, hundreds of years of invasions by Franks, Lombards, Saracens and marauding bands followed. During this period local fiefs started to fortify villages and consolidate power. In the 11th century the area was part of the Holy Roman Empire.  During the Barons of Mévouillon consolidated their power over a large part of les Baronnies, they ruled for roughly 300 years from capital in Buis-les-Baronnies. As a result of a family feud in 1125, the western part of les Baronnies was ruled by a different line of Mévouillons. They called themselves Barons de Montauban, hence the name "les Baronnies" (plural). They established their capital in Nyons. Within a short period of time both  had to sell their possessions to the Count of Vienne, nicknamed le Dauphin (the dolphin was his coat of arms), who ceded his territory to the King of France in 1349 to pay his debts.
Similar to the Luberon, the Baronnies was a stronghold of Protestantism in the Provence. It suffered heavily during the French Wars of Religion (1562-1598). Two of the most notable military leaders came from the Baronnies: Charles Dupuy-Montbrun, the Protestant leader from Montbrun-les-Bains and Faulque Thollon de Sainte Jalle, the Catholic leader from Sainte-Jalle. After a short lived economic revival the pest struck in 1629 and then again in 1652. The population was decimated.
The period from the 18th century to modern day was marked by economic decline and land flight. Only in the 1980s were the Baronnies "discovered". Tourism started to develop and the area between Vaison-la-Romaine and Nyons started to become very popular with tourists and retirees.


The Baronnies has two historic towns, Nyons and Buis-les-Baronnies. There are many rustic ancient villages, most notable are Brantes, Faucon, Mirabel-aux-Baronnies, Mollans-sur-Ouvèze, Montbrun-les-Bains, La Motte-Chalancon, Orpierre, Puymeras, Rémuzat, Rousset-les-Vignes, Sainte-Jalle, Séderon and Venterol. Also notable is the castle of Aulan near Montbrun-les-Bains.
Main economic activity is agriculture and tourism. Nyons is the center of the local olive tree cultivation with numerous oil mills, an olive oil cooperative and an olive tree/olive oil museum. The olives grown in Nyons and les Baronnies have an AOC (Appellation d'Origine Contrôlée) quality label.
Tourism has expanded, especially in the western parts of the Baronnies. It is important that the plan to create the Parc Naturel Régional des Baronnies is approved soon. It is however strongly opposed by many landowners and the real estate developers behind them.


Barony Rosendal (Norwegian: Baroniet Rosendal) is a historic estate and manor house situated in Kvinnherad in Hordaland county, Norway. The barony was built in the 17nth century by danish noblemen on the old estate of Norwegian noble Galte family, the current barony estate making out the historical farms of Hatteberg, Mel and Eik.


The tower is a simple rectangle on plan, measuring about 7.80m east to west by 10.70m transversely, which stands to the level of the corbelling of the four angle turrets, now gone, about 12.0m high; on its south side, the chimney stack and part of the gable remain.
Externally the castle is very plain, and it depends for its appearance on its mass. The tower has walls of roughly-coursed, square-faced masonry with dressed stone corner-quoins.  The only remaining ornamental feature is the pediment above the main entrance, inscribed with the initials of Margaret Hamilton and John Wallace.
The main entrance to the castle is at ground level on the west side. This is a later alteration; the original doorway was on the first floor, reached by a stairway. Window openings survive on all four sides of the building. Also visible on the tower walls are several elements which indicate later alterations, probably in the late 17th century, when the tower was converted into a larger residence.
Little now survives of the courtyard as drawn by McGibbon & Ross in the 19th century. Extant photographs and plans indicate that the courtyard supported various subsidiary buildings, including a wing attached to the southern wall of the tower, now gone.
The ground floor was divided into two apartments, both of which had low vaulted ceilings. The entrance doorway opened into a small passage, from which the two apartments could be formally accessed and where the circular stair to the upper floor started. The kitchen possessed a large and very low arched fireplace.
The hall occupied the whole of the first floor, with light entering from the four sides. The hall differed from the great majority in Scottish castles, the ceiling having been flat and low instead of the usual loftily arched form.  It is evident from the existing plans of the second floor that it had been divided into two apartments by a light partition starting from between the doors of the two garderobes in the south wall. The two staircases would have given separate access from the hall below to each of these two rooms.  The third floor had, like the second floor, been divided into two apartments, with a garderobe for each and separate access from the hall as on the floor below. Closets are formed in the thickness of the walls.
The plan of the battlements shows the common arrangement for the protection of the walls before lead came into use. The stones overlap at the joints, and gargoyles are formed on the lower ones. Formerly stairs at the north-west angle led to the battlements as well as the main stair. There was a complete passageway round the top of the building. The corner turrets had been roofed, and checks previously existed for small doors at each, and iron crooks for the hinges. A large gutter, made of stone hollowed on the surface, formed the junction between each turret and the main roof.
Various inscriptions are carved into the fabric of Barr Castle.  These include IW and MH on the pediment above the main entrance, IH and IC 1680 above the lintel at the head of the stair, and WO 1699 on the battlements.  The carvings are the initials of various Hamilton Lairds of Barr, John Wallace and his wife Margaret Hamilton, John Hamilton and Jean Cochrane.


Barrack Square is an open public square on the foreshore of Perth Water on the Swan River, located at the southern end of Barrack Street near the central business district of Perth, Western Australia.
It has also been known as Union Jack Square, Flagstaff Square and Harper Square.


The Swan Bells are located at Barrack Square, as well as cafés, restaurants and jetties.
There are six jetties (so the area is sometimes referred to as the Barrack Street Jetties), including the Barrack Street Jetty used by Transperth. Commercial companies also use the jetties for trips to Rottnest Island and river cruises.
The West Australian Rowing Club has had a presence adjacent to the square since the nineteenth century.


The Barrage Vauban, or Vauban Dam, is a bridge, weir and defensive work erected in the 17th century on the River Ill in the city of Strasbourg in France. At that time, it was known as the Great Lock (grande écluse), although it does not function as a navigation lock in the modern sense of the word. Today it serves to display sculptures and has a viewing terrace on its roof, with views of the earlier Ponts Couverts bridges and Petite France quarter. It has been classified as a Monument historique since 1971.
The barrage was constructed from 1686 to 1690 in pink Vosges sandstone by the French Engineer Jacques Tarade according to plans by Vauban. The principal defensive function of the barrage was to enable, in the event of an attack, the raising the level of the River Ill and thus the flooding of all the lands south of the city, making them impassable to the enemy. This defensive measure was deployed in 1870, when Strasbourg was besieged by Prussian forces during the Franco-Prussian War, and resulted in the complete flooding of the northern part of the suburb of Neudorf.
The barrage has 13 arches and is 120 metres (390 ft) in length. Within the structure an enclosed corridor links the two banks and a lapidarium serves to display ancient plaster casts and copies of statues and gargoyles from Strasbourg Cathedral and Palais Rohan. Three of the arches are raised to permit navigation, and the corridor is carried across these by drawbridges. The roof was rebuilt in 1965-66 in order to construct the panoramic terrace. Admission to the barrage and terrace is free, and they are open daily from 09:00 to 19:30.
The Strasbourg Museum of Modern and Contemporary Art and the Commanderie Saint-Jean, now home to the prestigious École Nationale d'Administration, are both adjacent to the northern end of the barrage. The headquarters (Hôtel du Département) of the Bas-Rhin department is by the southern end.


Czech film history is closely connected with that of Prague's entrepreneurial Havel family, and especially with the activities of the brothers Miloš Havel (1899–1968) and Václav Maria Havel (1897–1979) (Václav was the father of the Czech President of the same name).
In 1921, Miloš Havel created the A-B Joint Stock Company by merging his own American Film distribution company with the Biografia film distributors. At first, A-B studios were located in the garden of a Vinohrady brewery. However, with the emerging sound film, new modern stages equipped for sound recording had to be built. At the beginning of the 1930s, Miloš's brother Václav planned to build a luxurious residential complex on a hill on what were then the outskirts of Prague. Miloš Havel had suggested that he include a modern film studio in the development. The area was to be called Barrandov after Joachim Barrande, the French geologist who had worked at the fossil-rich site in the 19th century. Still to this day, the Barrandov Rock displays a plaque with Barrande's name.
Construction of the studio, based on designs by Max Urban, began on 28 November 1931 and was completed in 1933. Fourteen months later, Barrandov's first Czech film, Murder on Ostrovni Street, was shot there. The volume of films shot at the studio increased rapidly. Barrandov had three hundred permanent employees, was making up to eighty films a year, and had begun to attract foreign producers. It was the best-equipped studio in Central Europe and in the early years, foreign production companies such as UFA, MGM, and Paramount developed their own distribution systems in Czechoslovakia because of it.
During the occupation of Czechoslovakia by Nazi Germany during World War II (1940–1945), major additions were made to the studio's facilities. Seeking to make Barrandov an equal to the major film studios in Berlin and Munich, the Nazis drew up plans for three large interconnecting stages. Construction work started in 1941 but the final stage was not completed until early 1945. These three huge stages (with more than 37,000 square feet (3,400 m²) of shooting space) still form the main attraction of the studios to filmmakers throughout the world.
Shortly after the war, Barrandov and its smaller sister, Hostivař Studios, were nationalized and remained under state ownership until the beginning of the 1990s. During this time, Barrandov's new film laboratories were constructed, as was a special effects stage with a back projection tunnel and a water tank equipped for underwater shooting.


Shortly after the Velvet Revolution in 1989, Barrandov was privatized. The studio almost closed down in 2000. However, the decline in local films was balanced out by an increase in foreign productions, particularly feature films made by US producers. Czech television stations and producers of commercials for television also made extensive use of the facility. Barrandov Studios now provides complete production services for feature film producers and for the increasing volume of local audio-visual productions.
On December 2006, Barrandov Studios opened a massive new soundstage aimed at attracting bigger productions. According to studio representatives, in terms of size, the new facility is now the largest in Europe, at 4,000 square metres.
Barrandov Studios are owned by investment company Moravia Steel.


Context
The headland projects out into Broken Bay forming its southern entrance. To the north is Bouddi National Park along the Central Coast. Lion Island and the northern shore of Broken Bay present a natural backdrop. Ku-ring-gai Chase National Park defines the western side of Pittwater, with West Head as the most prominent topographical feature. In Broken Bay are three island nature reserves; Lion Island, located just inside the entrance to Broken Bay and visible from Barrenjoey, was classified as a nature reserve under the National Parks and Wildlife Act 1967; Long Island and Spectacle Island reserves, dedicated in 1972, are located further inland and are important for their natural and cultural values. Palm Beach sweeps south of the Barrenjoey Headland. Further south, stretches of beach are framed by the various points and headlands.
Setting
Barrenjoey Lightstation is located on the Barrenjoey Head at the southern entrance to Broken Bay. The headland was once an island joined to the mainland through the formation of a tombolo (Palm Beach) at the end of the last ice age (approximately 10,000 years ago). The lighthouse reserve is about 10 hectares (25 acres) in area, the remainder of the headland being part of Ku-ring-gai Chase National Park. The Barrenjoey Headland is located at the northern end of Palm Beach, separated from the Sydney suburbs of Whale Beach and Palm Beach by a spit, with the lighthouse as the focal point on the headland. The natural character of the headland, curving into Broken Bay and Pittwater, contrasts with the heavily urbanised backdrop of Palm Beach and similar areas to the south of Pittwater.
Natural attributes
Barrenjoey Headland itself retains plant associations typical of other headlands in the Sydney region before clearing occurred. Black she-oak scrub covers the more exposed areas, with Bangalay forest and small rainforest patches in more sheltered parts. Ocean rock platforms are inaccessible and less subject to scavenging than other Sydney platforms. These, together with associated rocky reefs and the seagrass beds in the sheltered bay, form a valuable littoral and sub-littoral environment.
The Littoral rainforest at the base of the headland, includes two species considered significant, as they are uncommon in the Sydney Region – Pararchidendron pruinosum (snow wood) and Flagellaria indica (twining bamboo). Two fauna (bird) species listed on the schedules of the Threatened Species Conservation Act 1995 have been recorded at Barrenjoey Headland. They are Pandion haliaetus (the osprey) and Sterna fuscata (sooty tern).
Littoral Rainforest in the NSW North Coast, Sydney Basin and South East Corner Bioregions have been listed as an endangered ecological community. The Barrenjoey Headland community occurs as a low closed forest with the canopy generally being 4-8m high throughout the type. The rainforest occupies only a small area of the headland (approx. 1 ha). The canopy is composed of a number of species, which include Guioa semiglauca, Acmena smithii (lily pilly), Pittosporum undulatum (sweet pittosporum), Syzygium oleosum (brush cherry), Parachidendron pruinosum (snow wood), Rhodomyrtus psidioides and Cassine australis. Vines are also present, the most common being Cissus antarctica (kangaroo vine), but others include Cissus hypoglauca (water vine), Parsonsia sp. (native jasmine), Marsdenia rostrata, Hibbertia dentata (golden guinea flower) and Hibbertia scandens (snake vine). The climber Flagellaria indica and epiphytic orchids (Dendrobium linguiforme) can be located in the rainforest. The cabbage palm species Livistonia australis is a conspicuous canopy emergent.
Aboriginal values
Barrenjoey Headland (part of Ku-ring-gai Chase National Park) occurs in the country of the Guringai people (Garigal Clan) who utilised the bushland, headland and shoreline for different purposes.
Eight recorded Aboriginal sites appear on the NPWS Register for Barrenjoey Headland and Palm Beach. These sites include middens on the spit, sheltered campsites, and engravings. There are no known sites within the immediate vicinity of the lighthouse precinct, or proposed construction zones. A potential archaeological deposit (PAD) has been recorded at the top of the Smugglers Track.
Buildings and structures
The principal buildings are the Lighthouse tower, Head Keeper's cottage, and Assistant Keepers' duplex with two semi-detached dwellings, associated outbuildings, boatshed and other site features. The three cottages are cut into the ridge behind the tower, giving protection against the prevailing north easterlies. This composition utilises a strong pattern of sandstone retaining walls to define the front yards of the cottages and to link the main house to the tower. Barrenjoey is the only face sandstone tower in the NPWS collection. The tower is 19.5 metres (64 ft) high and the focal plane of the light is 112 metres (367 ft) above high water. It has a range of 40 kilometres (22 nmi). The tower base is octagonal in plan to a height of 4 metres (13 ft) and circular above. It is divided into three storeys with iron floors and staircases. The walls are 900 millimetres (35 in) thick at the base tapering to 600 millimetres (24 in) at the top. The gallery around the lantern is cantilevered on massive stone brackets capped with elegant gunmetal balustrade. A square oil room at the base of the tower is connected to the head keeper's cottage by a covered stair with a windbreak wall integral with both buildings. The Head Keeper's Quarters is constructed in sandstone, with timber floors and a pyramidal pitched roof of corrugated steel. The northwestern facade has a bay window flanked by verandahs which return along to the southern facade. The bay looks into a courtyard enclosed by sandstone walling. A covered way to the tower joins the verandah at the northeastern corner. The house is on two levels, with kitchen and service areas below and six rooms arranged around a central hallway above. The six rooms are currently set out as four bedrooms, storeroom and sitting room containing the north-facing bay window. Five fireplaces remain. A privy is also located at the southeastern corner of the lower level. The Assistant keepers' duplex is also of sandstone with timber floors. Each has four rooms about a hallway and the pair is symmetrical about a central party wall. Each cottage has a verandah, reached by stair on the north and connected by another stair to a service building at its rear. The main section features four rooms about a central hallway of sandstone, with timber floors. A single hipped roof clad in corrugated steel spans both dwellings. This building has been substantially rebuilt after being burnt. The internal walls have been completely stripped of their internal finishes. Joinery has been reconstructed and the rooms adapted to suit the occupants' lifestyle. A sandstone kitchen, store room and separate privy occupy the rear yard enclosed by a sandstone wall. Two underground water tanks are located in the space between the main building and the service structure. The timber-framed and weatherboard clad Customs Station cottage has four main rooms about an open, west-facing verandah with several other rooms to their rear. It is built with a timber floor and colorbond corrugated roof.
Lighthouse equipment
The tower contains the 3.7-metre (12 ft) diameter Chance Bros cast-iron-and-copper lantern house of segmental cast iron, copper-clad dome and precast internal and external catwalks. It has diagonal pattern glazing system associated with fixed optics. The optic does not rotate on a chariot but sits on its original cast-iron main pedestal. The optic glass is horizontally banded in "belts" and the centrally light is mounted on a smaller cast-iron pedestal. The Barrenjoey lens and pedestal are rare in Australia as being a 700-millimetre (28 in) Chance Bros fixed optic light. Disused 1932 acetylene sun valve and flasher associated with the place are present in a stored condition. The light was converted to electricity in 1972. The light is still operational and is maintained as a navigational aid by the NSW State Government serving recreational boating in Pittwater.
A disused 1932 acetylene sun valve and flasher associated with the place are present in a stored condition.
Cultural landscape
The foreground to the headland, when approached from Palm Beach, is the extensive Council car park. Access to the lightstation is by 4-wheel-drive road, by walking along Pittwater Beach and up the rough stone-flagged road to the summit or by walking the "smugglers trail". The summit forms a cultural precinct with the buildings nestled behind the trees on the rear face of the ridge. The timber cottage and boat shed are located south west of the lighthouse complex, on Barrenjoey beach facing Pittwater. The cottage is associated with the Customs Station. A vegetable garden is believed to have been located to the rear of the timber cottages. A number of Coral trees presently surround this cottage and the boatshed adjacent. Lantana and privet also attest to European occupation. Otherwise, the vegetation is coastal heath, modified in the vicinity of the lightstation. A man-proof fence as protection against vandalism presently surrounds the lighthouse tower. The location of a flagstaff blown down about 1950 is indicated by eyebolts near the Trig Station. An earlier flagstaff (probably associated with the Stewart Tower) is shown on Barnet's 1877 plan and on a c. 1885 photograph. A memorial cairn/obelisk was unveiled in 1935 on the site of the Stewart Towers and named after P. W. Gledhill, a noted local historian. The two graves to the east of the tower are those of the first lightkeeper, George Mulhall, who apparently died when struck by lightning in June 1885, and of his wife Mary, who died the following year. The Gledhill Lookout Cairn is built from stone taken from the first lighthouse. Other features on the headland summit include the quarry, lookout markers and water tanks. At the rear of the houses and in front of the tower, random stone terracing was constructed. Remnants of a World War 2 concrete searchlight mount adjoin the Trig Station. Other defence-related features might be present.


Barrenjoey Lightstation and its setting are highly significant as one of a collection of lighthouses which combine the natural values of a rugged coastal environment with the cultural values of a prominent landmark. Built as an isolated outpost of European settlement it demonstrates the development of coastal shipping in the late 19th century. The light tower retains its original function today using recent technology to allow for automated operation. It is a notable work of NSW Colonial Architect James Barnet which retains components of 19th-century lighthouse technologies. This site retains evidence of cultural values, both Aboriginal and European, legible in the landscape which demonstrates the changing uses of the site, against a constant of natural values.
Barrenjoey Head Lighthouse was listed on the New South Wales State Heritage Register on 2 April 1999 having satisfied the following criteria.
The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales.
Barrenjoey Lightstation is a significant intact example of a late Victorian lightstation designed by James Barnet, the NSW Colonial Architect in the period 1862–90. The complex of buildings at the Barrenjoey Lightstation are the oldest remaining structures in Pittwater and remain as evidence of the earlier coastal shipping use of the Bay and Hawkesbury River.
The place is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in New South Wales.
The light tower is perhaps the finest of Barnet's towers because of its attractive sandstone construction. Barnet can also be said to have reintroduced pavilion entrances to the lighthouse design in NSW. It is a substantial and relatively intact 19th-century lightstation of outstanding architectural quality. The headland is a dramatic landform of great natural beauty. The construction of the lightstation provides a counterpoint and human scale. While the vegetation has been modified over the 100 years it contributes to the evocative nature and character of the place. The lantern is an example of the 19th-century industrial technology and is intact apart from some modernisation of the light source. The cast-iron stair in the lighthouse is a very good example of its type. Barrenjoey retains it distinctive gunmetal balustrade which is a mark of Barnet towers. The houses are constructed in ashlar stonework of considerable quality, with high stone garden walls and substantial retaining walls which also distinguish them from other comparable designs. However, virtually none of the internal finishes have survived.
The place has a strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons.
The lightstation is significant as an important element in the establishment of navigational aids along the NSW coast which reflects the economic development of the surrounding region. The various remains, earlier and associated features are significant for the role they played in the early navigation and coastal shipping network, commercial shipping and network and by their association with the functioning and role of the lighthouse complex. The lightstation and the Mulhall Graves are significant for providing evidence of the changing living and working conditions of the lighthouse keepers and their families
The place has potential to yield information that will contribute to an understanding of the cultural or natural history of New South Wales.
The lighthouse retains the original Chance Bros. cast-iron-and-copper lantern house. Barrenjoey has an unusual fixed optic, rare in Australia, that is fixed and sits on its original cast-iron main pedestal. The place retains its disused 1932 acetylene sun valve and flasher. The tower is of considerable industrial archaeological significance in its ability to demonstrate the evolution of lighthouse technology. The headland itself potentially has great archaeological significance, retaining elements with various associations that demonstrate the former uses and evolution of the place.
The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales.
Chance Brothers lantern house and rare fixed optic, together with disused 1932 acetylene sun valve and flasher.
The place is important in demonstrating the principal characteristics of a class of cultural or natural places/environments in New South Wales.
Prominent landmark with integrated natural and cultural values, with the tower being a fine example in sandstone of a James Barnet lighthouse design.


Barrington Court is a Tudor manor house begun around 1538 and completed in the late 1550s, with a vernacular stable court (1675), situated in Barrington, near Ilminster, Somerset, England.
The house was owned by several families by 1745 after which it fell into disrepair and was used as a tenant farm. After repair by architect Alfred Hoare Powell (1865–1960), it was acquired by the National Trust in 1907, on the recommendation of the antiquarian Canon Hardwicke Rawnsley (1851–1920).
It has been described as the first house acquired by the National Trust, although Alfriston Clergy House, a more modest property, was acquired earlier.
In the 1920s the house was renovated after Colonel Lyle and his wife 'Ronnie' agreed to take on a ninety-nine year repairing lease from the Trust, and work began in 1921. The stable block turned into a residence and several outbuildings, gardens and gateways were constructed.
The house was originally surrounded by a medieval deer park and in the 17th century a formal garden was constructed. This had largely disappeared until a new garden was laid out by garden designer Gertrude Jekyll (1843–1932) in an Arts and Crafts-style. It now contains walled kitchen gardens, fruit orchards and ornamental gardens.


The estate had been occupied since the 11th century and by the 14th century included a substantial house to the north east of the present building, where traces of a moat can still be seen. In 1446 the owner, Giles Daubeney, 6th Baron Daubeney, died at Barrington and left it to his son, another Giles Daubeney, Giles Daubeney, 1st Baron Daubeney who was a courtier, diplomat and military commander under Edward IV and Henry VII.
The manor was inherited in 1514 by Henry Daubeney, created Earl of Bridgewater for his services to Henry VIII. He spent much of his time in France and little time in Somerset. He may have begun the new house, but he went bankrupt and was involved in the disgrace of Catherine Howard, Henry VIII's fifth wife. It is unlikely that much, if any, of the current building was his work. The house was forfeit to the crown and then had various owners including Henry Grey, 1st Duke of Suffolk, who in 1552 sold it to William Clifton, a London merchant who had been assembling a Somerset estate. Clifton or his son John Clifton are thought to be responsible for most of the building at Barrington, possibly modeled on earlier work at Kirby Hall or East Anglian manors close to their roots at Kentwell Hall, Hengrave Hall or Channons Hall at Tibenham.
It passed down in the Clifton family including Gervase Clifton, who in 1605 sold it to his brother-in-law Sir Thomas Phelips of Montacute House. The house was then mortgaged and, in 1625, sold to Colonel William Strode, Jr. The house and estate were owned by the Strode family from 1625 until 1745 after which it was bought by several different owners but poorly maintained, becoming known as Court Farm.
The interior of the house suffered from its demotion to a tenant farm and from a fire in the early 19th century; after being almost derelict it was repaired under the supervision of Alfred Hoare Powell. Barrington Court was acquired by the National Trust in 1907 and was leased to Col. Abram Arthur Lyle of Tate & Lyle in the 1920s. Abram Lyle and his wife, Elsie Ronalds Lyle (née. Crowdy and known as 'Ronnie') turned the house around and refurbished the court house and renovated Strode House (built by Colonel Strode's son, William III, in 1674) which was originally a stable and coach block. It was at this time that the Lyles contracted Gertrude Jekyll to design the three formal gardens on the property that are maintained by the head gardener.
The house was one of the first large properties acquired by the National Trust; it was not anticipated just how expensive repairs and maintenance would be, and even thirty years later it was still used as an example of why the Trust should be wary of taking on other country houses.
Barrington Court was occupied by a tenant, Stuart Interiors, that took the lease in 1986 from Andrew Lyle, grandson of Col. Lyle. The company sold reproduction furniture. Stuart Interiors left Barrington Court in December 2008, and although the building has no furniture, it is open to visitors.
In 2014 it was the site of filming for the BBC's Tudor-era historical TV serial Wolf Hall. In May 2015 the house was the venue for the BBC programme Antiques Roadshow.


Like many Elizabethan mansions, Barrington is built in an 'E' shape with large projecting wings with square projections that contain staircases. The house is not truly symmetrical as the hall has two lights and the buttery one. The south front has seven gables supported by octagonal buttresses and decorated with twisted finials with ogee scale-work caps and English Crockets.
Its central entry porch leads into a screens passage with the hall on the left and, an innovation, a service passage leading to the kitchen wing that occupies the right wing. A long gallery stretches the entire length of the house on the upper floor.


In the 1920s a "motorhouse" was constructed in a Tudor style to match the other buildings. It is a single-storey building with an attic. The front of the building is decorate with heraldic lions.
The two-storey agent's house, known as Beechams, was also built in the 1920s. There are also row of six thatched cottages in Tudor style, a farmhouse and a barn dating from the same period.


In the 16th century the house was surrounded by a deer park. In the 1550s William Clifton took action, in the Star Chamber court, against local poachers who hunted deer in the park while he was away.
The remains of the original gardens include a rectangular raised area or parterre 70 metres (230 ft) by 50 metres (160 ft) near a liner pond or canal which is 12 metres (39 ft) by 110 metres (360 ft). There is also geophysical evidence of a further 17th-century formal garden.
Barrington Court is noted for its Arts and Crafts-style gardens for which garden designer Gertrude Jekyll provided planting plans. The gardens were laid out in 1917 by J. E. Forbes, of the partnership Forbes & Tate, for Lieut-Col. A. Arthur Lyle. There are a series of walled areas that include a white garden, a rose and iris garden and a lily garden. The original plans are being used to restore the gardens; however, the planting scheme has been changed from that designed by Jekyll to that designed by Mrs Lyle in the 1960s.
The walls of the kitchen garden were built in the 1920s and include two gateways with neoclassical architraves. The gravel paths are laid out in a square with a cross at the centre enhanced by a fountain surrounded by fruit trees, vegetable plots and soft fruits. There are carriage openings with wrought-iron gates.
The kitchen garden provides produce for the property's restaurant located in the adjacent Strode House; this includes many types of fruit and vegetables. The local St Mary & St Peter's CE VC Primary School, which has bases at Barrington and Ilton, has a vegetable plot where the children plant, tend and cook the produce; the walls are also strewn with apple, pear and plum trees. Attached to the garden is a squash court.
About 20 metres (66 ft) south west of the house is an unusual multi-faced sundial. It was built of stone and bronze, on a stone column. It is a dodecahedron surmounted by a heraldic lion. It was imported from California by Colonel Lyle in 1920.
The gardens are Grade II* listed on the National Register of Historic Parks and Gardens.


Barrio Concha y Toro is a barrio located in Santiago, Chile. The neighborhood has a medieval-like street plan, whose design was influenced by the ideas of Camillo Sitte. The houses are built on the former site of the Díaz Gana Palace's park, which was divided into lots in 1915. The district's boundaries are defined by Brasil Avenue, Avenida Libertador General Bernardo O'Higgins, Cumming Avenue, Romero Street, Maturana Street and Erasmo Escala Street.


Barrio Lastarria (Lastarria Neighborhood) is an historical neighborhood in the center of Santiago, Chile. Now a popular tourist hub, Barrio Lastarria is a center for cultural activity, with cinemas, theaters, museums, restaurants and bars. Activities such as festivals and live performances are commonly held throughout the streets of Lastarria given its strong cultural flavor, particularly in J.V. Lastarria street and Parque Forestal.
Barrio Lastarria is bordered by the Alameda and Centro Cultural Gabriela Mistral to the south, Santa Lucía Hill to the west, Parque Forestal to the north and Plaza Baquedano to the east. Metro stations Universidad Católica and Bellas Artes provide direct access.


Following the Conquest of Chile by Pedro de Valdivia, this area was left under the control of Bartolomé Blumenthal, a German migrant to Chile, who built a mill on the site. As with many neighborhoods in Santiago’s center, Barrio Lastarria was built around a church: in this case, the Iglesia de la Veracruz. Houses were built between the winding streets, notably the house at Plaza Mulato Gil de Castro, built in the beginning of the 19th century. Despite the neighborhood’s early origins, the plaza was only built in 1981 due to interest in preserving a series of facades beginning at the historic house of Gil de Castro.
During the 1990s, the neighborhood began a process of restoration with care not to alter its bohemian and intellectual flavor, with a number of cafés, bars and cultural centers appearing towards the end of the decade and the restoration of facades of the Iglesia de la Veracruz in 2001 and 2002. Since then, as an historic area in Santiago, it has been able to maintain its traditional character despite new development. Barrio Lastarria was declared an official Zona Típica by Chile in 1997.
Due to both the number of visitors and LGBT residents, on 5 November 2006, the Movement for Homosexual Integration and Liberation (Movilh) held an act in Parque Forestal to declare the sector as the first gay-friendly neighborhood in Santiago.


Cafés, cinemas and museums in J.V. Lastarria street.
Plaza Mulato Gil de Castro.
Cafés, theaters and cultural centers in Monjitas and Merced streets, including Teatro Ictus and Teatro Lastarria 90.
Bars, cafés and florists in the area of José Miguel de la Barra-Victoria Subercaseaux, including Mosqueto street.
Area between Parque Forestal and Chilean National Museum of Fine Arts.
Santa Lucía Hill.
Palacio Bruna and Iglesia de la Veracruz.
Hotels and hostels on the streets Victoria Subercaseaux and Rosal.
The Centro Cultural Gabriela Mistral, the first building which can be seen when entering Barrio Lastarria from the Alameda, opened in 2010.


Barrio París-Londres is a barrio located in Santiago, Chile. The neighborhood intersects at Calle Londres and Calle París, located behind the San Francisco Church, in its former orchard. Barrio París-Londres features shops, hostels, hotels and cobble stone streets with renovated mansions, reminiscent of the Latin Quarter in Paris, France. The barrio was developed in 1923 by a group of architects, and consists of only two streets. The building at Calle Londres 38/40 is a former jail and torture facility, used during the Pinochet regime. Tiles in front of the building depict the names of former political prisoners who were held there.


The name of the town of Barrow-in-Furness is believed to derive from the Norse word Barrae, meaning Bare Island, which actually referred to Barrow Island. Since the 1860s the island has been connected to the mainland as its channel was modified to form two docks, the Buccleuch Dock and the Devonshire Dock. The remainder of its channel has also now been developed as part of the dock system. The island is also known as 'Old Barrow'.
The Second World War defences constructed around Barrow Island have been documented by William Foot. They included a number of pillboxes to defend the docks. The principal threat was seizure of the docks by airborne troops; a seaborne landing was thought to be highly unlikely unless Ireland was occupied first.
During the late 19th century when most of Barrow Island's tenement housing was constructed the majority quickly became occupied by Scottish and Irish working class immigrants who worked at the town's shipyard, steelworks and jute mill.
Still classed as one of the Islands of Furness, Barrow Island is characterised by densely constructed tenement housing alongside huge industrial buildings. The area is home to the vast majority of Barrow's shipyard including the Devonshire Dock Hall complex - the main occupier of the reclaimed land from Walney Channel. In 2011, the ward's population stood at 2,616 which although relatively small compared to Barrow's other wards equates to a higher population density, and twice the national average. The island has become notorious for its high unemployment rate and a number of other social issues which saw it feature in a 2009 episode of The Secret Millionaire.
Barrow Island, which is nicknamed 'Baz I' locally, is served by a primary school, nursery school, two churches, several pubs, post office, pharmacy and a number of small supermarkets. Work is currently underway to convert a former shipyard canteen/arts centre into two new retail units with office space.
With a previous unoccupancy rate of 80%, 320 of the apartments have been converted into serviced accommodation called 'The Maritime Apartments', costing around £5 million to refurbish. These are popular with contracted BAE workers, offshore wind farm and rig engineers and those in the construction industry. The land surrounding the apartments and along the main roads has benefited from a £1 million landscaping project to create parks, open spaces and growing areas. These are now known as the 'Maritime Streets'.
Barrow Island is also home to a large business park currently under construction as part of the £200 million Waterfront Barrow-in-Furness project. The business park will be built over a period of 15 years and once complete, it is expected to have created between 1,200 and 1,600 highly skilled jobs.
In 2018 Barrow Island featured in news stories when it was revealed that over a 12-month period no books were loaned from its library, based in Barrow Island Primary School.


According to the 2011 census, males outnumbered females in Barrow Island to significant degree which is in contrast to the Barrow and national averages. The central and western areas of Barrow Island are within the 3% most deprived nationwide, while the more modern eastern areas are within the 20% most deprived. Deprivation is measured in Barrow Island by its high percentage of individuals with long-term illnesses, an unemployment rate almost twice as high as England's average, low levels of the overall degradation of the living environment.


The A590 trunk road runs across the northern edge of Barrow Island before crossing Walney Bridge and terminating on Walney Island. To the south of Barrow Island, Michaelson Road Bridge is another vehicle and foot bridge that crosses Buccleuch Dock into Central Barrow. Island Road is a wide tree-lined boulevard that acts as the primary artery through Barrow Island's eastern residential areas.
Historically Barrow Island was served by two railways stations, Ramsden Dock and Shipyard Junction as well as the Barrow-in-Furness Tramway. Although all evidence of the railway has gone, tramlines of the tramway are preserved across the island, most noticeably on Island Road and Michaelson Road.


Barry Island (Welsh: Ynys y Barri) is a district, peninsula and seaside resort, forming part of the town of Barry in the Vale of Glamorgan, South Wales. It is named after the 6th century Saint Baruc. Barry's stretch of coast, on the Bristol Channel, has the world's second highest tidal range of 15 metres (49 ft), second only to the Bay of Fundy in Nova Scotia, Atlantic Canada.
The peninsula was an island until the 1880s when it was linked to the mainland as the town of Barry expanded. This was partly due to the opening of Barry Docks by the Barry Railway Company. Established by David Davies, the docks now link up the gap which used to isolate Barry Island.
Although Barry Island used to be home to a Butlins Holiday Camp, it is now known more for its beach and Barry Island Pleasure Park. It was used as a setting of the BBC TV shows Gavin & Stacey and Being Human.


The area around Barry Island shows extensive evidence of human occupation. Mesolithic or Middle Stone Age microlith flint tools have been found at Friars Point on Barry Island and near Wenvoe, and Neolithic or New Stone Age polished stone axe-heads were discovered in St. Andrews Major. As the area was heavily wooded and movement would have been restricted, it is likely that people also came to what was to become Wales by boat, apparently from the Iberian Peninsula. They cleared the forests to establish pasture and to cultivate the land.
These neolithic colonists, who integrated with the indigenous people, gradually changed from being hunter-gatherers to settled farmers. They built the long barrows at St Lythans and Tinkinswood, which date to around 6,000 BP, only 3 miles (4.8 km)  and 4 miles (6.4 km) to the north of Barry Island, respectively.
In common with the people living all over Great Britain, over the following centuries the local population assimilated immigrants and exchanged ideas of the Bronze Age and Iron Age Celtic cultures. Together with much of South Wales, Barry Island was settled by a Celtic British tribe called the Silures. There have been five Bronze Age burial mounds, or cairns, recorded on Friars Point.


Although the Roman occupation saw significant Romano-British settlements at both Barry and Llandough, there is little physical evidence of Roman activity on Barry Island itself. However the island would flourish as a religious community, following the end of Roman rule.
In the Post-Roman era, the Glamorgan coast became an important centre of early Celtic Christianity. Indeed, the Book of Llandaff defined the ancient diocese of Llandaff as stretching "as far as the island Terthi" (with Terthi being an earlier name for Barry island).
The island is said to have got its current name in the 6th century when Cattwg Ddoeth (Saint Cadoc, an important tutor of many Welsh saints including Illtud) spent seven years living as a hermit on the nearby Ynys Echni (Flat Holm). Upon arrival at Ynys Echni, it was discovered that one of Cattwg's disciples had not brought all the texts that Cattwg required for his stay. Cattwg requested that this disciple travel back to the mainland to fetch them. The disciple, Barrwg drowned on this return journey, and was buried on the island that would become known as Ynys y Barri.
The Vikings launched raids in the area and Barry Island was known to be a raider base in 1087.


The Norman/Welsh chronicler Father Gerallt Gymro (c.1146 – c.1223) described the origin of his family name in his The Itinerary of Archbishop Baldwin through Wales (also known as The Journey through Wales). Gerallt Gymro, also known in French: Gerald de Barri, Latin: Giraldus Cambrensis and Gerald of Wales, wrote "Not far from Caerdyf (sic) is a small island situated near the shore of the Severn, called Barri, from St. Baroc, who formerly lived there, and whose remains are deposited in a chapel overgrown with ivy, having been transferred to a coffin. From hence a noble family, of the maritime parts of South Wales, who owned this island and the adjoining estates, received the name of de Barri." Going on to describe the island's well, he wrote: "It is remarkable that, in a rock near the entrance of the island, there is a small cavity, to which, if the ear is applied, a noise is heard like that of smiths at work, the blowing of bellows, strokes of hammers, grinding of tools, and roaring of furnaces ; and it might easily be imagined that such noises, which are continued at the ebb and flow of the tides, were occasioned by the influx of the sea under the cavities of the rocks.
Many locals believe it instead to be the ghost of a local hero they call Benedict y Diffoddwr or in English 'Benedict the Fighter'. It is said that when his ship, the Tam Lyn, was overrun by pirating Spaniards he almost single-handedly fought and killed the entire body of pirates even after they had slaughtered his entire crew. He then managed to sail his ship back to port on his own where he was heralded as a hero. They say after many other voyages during which it is rumoured he fought off many other pirates (source unverifiable), he eventually died when he was caught in a great storm on the coast, during which his ship was irreparably damaged and sank to the bottom of the ocean.
The locals who believe the legend of Benedict claim that their defender still lingers in the rocky areas on the South coast, protecting the inhabitants from foreign invaders.   "
The 1908 Everyman edition contains a brief description of Barry Island by the Benedictine monk Hugh Paulinus de Cressy (c.1605–1674): "Barri Island is situated on the coast of Glamorganshire; and, according to Cressy, took its name from St. Baruc, the hermit, who resided, and was buried there. The Barrys in Ireland, as well as the family of Giraldus, who were lords of it, are said to have derived their names from this island. John Leland, in speaking of this island, says, 'The passage into Barrey isle at ful se is a flite shot over, as much as the Tamise is above the bridge. At low water, there is a broken causey to go over, or els over the shalow streamelet of Barrey-brook on the sands. The isle is about a mile in cumpace, and hath very good corne, grasse, and sum wood; the ferme of it worth aio a yere. There ys no dwelling in the isle, but there is in the middle of it a fair little chapel of St Barrok, where much pilgrimage was usid.'" Ernest Rhys, the Editor, adds in 1908: "The 'fair little chapel' has disappeared, and 'Barry Island' is now, since the construction of the great dock, connected with the mainland, it is covered with houses, and its estimated capital value is now £250,000."


The holiday camp was used to film scenes in the "Shangri-La" holiday camp in the Doctor Who serial Delta and the Bannermen. The island was also a location for Doctor Who in the 2005 series episodes "The Empty Child" and "The Doctor Dances", standing in for a bomb site in 1941 London and the 2014 series episode "Flatline".
The 1987 horror film Bloody New Year filmed its fun fair scenes in the area.
The BBC television series Gavin & Stacey is partly set and filmed in Barry.
The Island also served as the setting for Pleasure Park on ITV Wales as part of the It's My Shout short film series. Part of the Island including the Pleasure Park was used in the serial The Mad Woman in the Attic, part of the third series of the Sarah Jane Adventures.
The third, fourth and fifth series of the BBC supernatural drama Being Human were set and filmed in Barry (the series being originally set in Bristol until the central characters had to relocate after the second series), and were aired in early 2011, 2012 and 2013 respectively.
The film Submarine was partly filmed in Barry.
"Warship Class" from the 2008 debut album by Silvery is set in Woodham Brothers scrapyard and mentions Barry Island.


When in operation, the mill processes oats into oatmeal. (Oatmeal being a staple foodstuff, that in the past commonly formed part of the basic diet in Scotland.) Originally, the oats arrived in sacks from the neighbouring farms and had already been threshed. (There is an example of traditional threshing machine on display at the mill.) The oats were then dried in the mill's peat-fired kiln and then sent down a chute to the meal floor to be collected in sacks again. Today the oats arrive already processed, but the rest of the milling continues in the traditional style.
The oats are hoisted to the bin floor at the top of the mill, from where they are emptied into a hopper that feeds one of the mill's two pairs of millstones situated on the mill floor. This pair of sandstone millstones shells the grain, and the output is then sent down a chute to the basement where the shelled oats ("groats") are separated from the husks using a fan. The groats are then hoisted back to the top floor and fed through the second pair of millstones (made of French burr stone). This produces the oatmeal, which descends to the basement for bagging.
The mill is powered by the Barry Burn: there is a working dam and lade half a mile upstream, which channel water to the mill wheel. The wheel is 15 feet 6 inches (4.72 m) diameter, and is powered by the water dropping down from the lade on downstream side of the overshot waterwheel . The mill's power is controlled by a series of levers, cogs and gears in the basement. These supply power to the millstones, to the hoists, and to a fan that is used to separate the groats from the chaff.


In 2009, the mill was one of the least visited of the Trust's properties, attracting about 2,000 annual visitors. In March 2009, the Trust, facing financial difficulties, listed the loss-making Barry Mill as one of 11 of its properties threatened with immediate closure, unless external sponsorship could be found. The intention was to "moth-ball" the mill until financial circumstances were better. On 25 March, at a public meeting, "Friends of Barry Mill" was formed in an attempt to raise funds and to campaign to save the mill. In July 2009, the Trust announced that the property would continue to operate "for the foreseeable future" and that this was made possible due to support pledged by Angus Council and the Gibson Graham Charitable Trust.


Barstow Harvey House, also known as Harvey House Railroad Depot and Barstow station, is a historic building in Barstow, California. Originally built in 1911 as Casa del Desierto, a Harvey House hotel and Santa Fe Railroad depot, it currently serves as an Amtrak station and government building housing city offices, the Barstow Chamber of Commerce and Visitor Center, and two museums.


Bartolomé Island (Spanish: Isla Bartolomé) is a volcanic islet in the Galápagos Islands group, just off the east coast of Santiago Island. It is one of the "younger" islands in the Galápagos archipelago. This island, and Sulivan Bay on Santiago island, are named after naturalist and lifelong friend of Charles Darwin, Sir Bartholomew James Sulivan, who was a lieutenant aboard HMS Beagle.
With a total land area of just 1.2 square kilometres (0.5 square miles), this island offers some of the most beautiful landscapes in the archipelago. The island consists of an extinct volcano and a variety of red, orange, green, and glistening black volcanic formations.
Bartolomé has a volcanic cone that is easy to climb and provides great views of the other islands.  Bartolomé is famous for its Pinnacle Rock, which is a distinctive characteristic of this island.
It has two visitor sites. At the first one, one  may swim and snorkel around Pinnacle Rock; the underwater world there is really impressive. Snorkelers are in the water with the penguins, marine turtles, white-tipped reef sharks, and other tropical fish. The bay is also an excellent place to go swimming. The twin bays are separated by a narrow isthmus.
Galápagos penguins are frequently seen, and a small cave behind Pinnacle Rock houses a breeding colony.
Seasonally, Bartolomé is the mating and nesting site for the green turtles. With herons, they make use of the gentler beaches.
The Galápagos lava cacti colonize the new lava fields.


WikiWeb_Bartolomeu Dias Museum Complex_0

The Bartolomeu Dias Museum Complex (also spelled "Bartholomeu") is the second biggest provincial museum affiliated to the Western Cape Department of Cultural Affairs and Sport in South Africa. It is located at Mossel Bay.


WikiWeb_Bartolomeu Dias Museum Complex_1

The Bartolomeu Dias Museum is a multi-disciplinary government institution which is mandated to preserve and conserve the local cultural and natural heritage resources for education and enjoyment of both local and foreign visitors. It is also required to contribute to the economic growth of the area by attracting visitors from various parts of the world who end up spending their money in the local businesses. Since its inception the Dias Museum has been a cornerstone of the tourism industry in Mossel Bay.  Many people who travel via Garden Route from Cape Town to Port Elizabeth and vice versa come to Mossel Bay to see the museum. Museum facilities are used by various local organisations and individuals for cultural events, meetings, workshops and conferences. Bartolomeu Dias landing in Mossel Bay in 1488. The whole museum site is a provincial heritage site.
The museum's scope is multidisciplinary in nature as it covers both cultural and natural history of Mossel Bay.  The site's botanical garden is vegetated by indigenous plants and trees which were used as herbs by the early inhabitants of the area. In the site there is a grave of the Malay slave which is presently used as a place of worship by the local Muslim community. The museum is called a "complex" because it consists of three buildings, namely the Maritime Museum, Shell Museum, and the Granary.  Within the museum site there are also two 19th-century edifices called Munro cottages.


Barton Broad is a  164-hectare (410-acre) nature reserve north-east of Norwich in Norfolk. It is owned and managed by the Norfolk Wildlife Trust. It is part of the Ant Broads and Marshes Site of Special Scientific Interest and National Nature Reserve, and part of it is in the Ant Marshes Nature Conservation Review site, Grade I. It is part of the Broadland Ramsar site and Special Protection Area, and The Broads Special Area of Conservation.
The Broad was created in the Middle Ages by digging for peat and the River Ant was later diverted through it, which allowed navigation. It has diverse aquatic plants and fish, and the surrounding fens have nationally rare plants and invertebrates.
There is public access to the reserve.


In 1976, the area around the bridge was designated a conservation area, with responsibility shared between Salford City and Trafford. The bridge and the aqueduct both became Grade II listed structures. Salford City Council have been concerned about the poor quality of pedestrian access across the bridge, which, as well as being potentially unsafe, detracts from the development of tourism in the area. The council aims to refurbish the area around the bridge and aqueduct so it meets the status of a World Heritage Site.
The council are also concerned about wear and tear on the bridge as, although no longer on a major road, it still carries significant traffic. In August 2008, the bridge was temporarily closed to enable the replacement of electrical supply cabling, while in April, 2013, Salford City Council announced the bridge could be closed for up to six weeks to install pipes to prevent sewer flooding.


The pool has been closed to the public a number of times since the 1980s due to unsafe levels of fecal coliform (E. coli) bacteria in its waters.  The source of contamination is still undetermined: many point to upstream urban development as the cause, although others note that high bacteria levels were seen in the 1950s, when development was less pervasive. Contamination is usually worse after heavy rains due to the flushing of the effluent of upstream subdivisions into the Edwards Aquifer recharge zone which feeds the springs.
The environmental conditions of the springs gave birth to a local political movement called the Save Our Springs Alliance (SOS).  SOS became a force in Austin municipal politics, leading to many "green" initiatives involving environmental issues in addition to those of the springs.
Robert Redford, who first learned to swim at Barton Springs Pool, has also been an outspoken ally. In 2007 he and Terrence Malick co-produced The Unforeseen, a documentary highlighting environmental impact to the Edwards aquifer from the surrounding real estate subdivision.
Another environmental issue involving the springs and the pool emerged with the discovery of the Barton Springs salamander, a federally listed endangered or threatened species which only exists in the pool and a few surrounding environs. After some debate, and studies by the city of Austin, Texas state agencies, and the U.S. Fish and Wildlife Service, it was determined that swimmers and salamanders could co-exist (as they had probably been doing for some time).


The Barton Swing Aqueduct is a moveable navigable aqueduct in Barton upon Irwell, Greater Manchester, England.  It carries the Bridgewater Canal across the Manchester Ship Canal. The swinging action allows large vessels using the ship canal to pass through and smaller craft, both narrowboats and broad-beam barges, to cross over the top. The aqueduct, the first and only swing aqueduct in the world, is a Grade II* listed building, and considered a major feat of Victorian civil engineering. Designed by Sir Edward Leader Williams and built by Andrew Handyside and Company of Derby, the swing bridge opened in 1894 and remains in regular use.


About 1,000 trains depart from the station daily. Nearly every 90 seconds, a passenger train leaves or stops at the station. Additionally, freight trains still use the through tracks, and post office trains enter and exit the underground postal station.


The station entrance and a platform is seen in the film The Cassandra Crossing (1976) which passes as the "Geneva railway station".


The first floor was designed to be a piano nobile (meaning literally a "noble floor"); as its name suggests, it contains the principal rooms of the house. During the 1770s, when Basildon was built, a domestic and architectural movement from formality towards informality was in progress. Thus, while the exterior of Basildon is pure symmetry, this symmetry is not reflected in the interior layout of the rooms as would have been the case just a few years earlier. In any case, the builder of Basildon was not eminent enough to require a suite of state apartments on the piano nobile in permanent expectation of a royal visit. Thus, in keeping with this newly found spirit of informality Basildon has no formal and symmetrical enfilade of rooms of increasing splendour, but two separate first floor suites, one feminine and one masculine, were placed on either side of the hall. The library (10 on plan), considered a masculine room, was placed next to the owner Sir Francis Sykes' dressing room (9) while on the opposite side of the hall (11 and 12) were the bedroom and dressing room of Lady Sykes. Sir Francis appears not to have had a bedroom on this floor, an arrangement not uncommon in the 18th century, when a dressing room served as a study and reception room combined—the owner would descend from his bedroom above to the dressing room and receive business callers while the finishing touches were made to his dressing by a servant. Lady Sykes' dressing room or boudoir (11 on first floor plan), also used as private sitting room by the late Lady Iliffe, is now known as the Sutherland Room; it is currently used to display some of the studies by the 20th-century artist Graham Sutherland for his tapestry "Christ in Glory" at Coventry Cathedral.
The principal receptions are a communicating circuit of rooms designed for entertaining. This was a late 18th-century feature, first introduced by the architect Matthew Brettingham in 1750.
The Hall is the principal entrance to the house which would have been used by any eminent guests; entering the house by climbing the double staircase beneath the portico the guest immediately sees, through a gilded doorcase, a short enfilade through the staircase hall to the Octagon drawing room. While the hall in its use was not comparable with the Great Hall of earlier manor houses, it was still more than a mere entrance vestibule; in the 18th century, it was considered that any house of note required three principal reception rooms when entertaining: one for dancing, one for supper and one for cards. Thus, the hall, dining room and Octagon Drawing Room would fulfil those roles.
The hall retains more of its original neoclassical decorative features than many other rooms in the house; the walls' plasterwork panels and ceiling are all original, as are the Spanish mahogany doors (these had been removed during the 1920s, but were returned to the house in 1954). Only the white marble fireplace is not original to the house, but salvaged from the now demolished Panton Hall. The furniture in the room, against the walls in 18th-century fashion, is in the style of William Kent.
The Staircase Hall is at the centre of the house and is considered to be one of Carr's "most monumental interiors." Typically of this period, the double height room is lit by a clerestory while the wide cantilevered staircase, the Great Staircase, rises in flights around three of the four walls, to a gallery. The balustrading of the staircase and landing is of gilded wrought iron adorned with medallions with classical motifs which were heavily restored in 1952. The groundfloor walls beneath the gallery are decorated with some of Carr's neoclassical plasterwork depicted in white against the eau de nil colour of the walls. Recent analysis of the paint has shown that the walls were originally a pale stone colour and the staircase balustrade was painted blue with gilded figures on the (blue) plaques.
The Great Staircase, which rises only between the first and second floors, is just one of three staircases all within metres of the other at the centre of the house. A narrow spiral stair, concealed in one of the cut off corners of the Octagon Drawing Room rises from the ground floor to the roof, while "the backstairs" is another large staircase lit by the same clerestory as the Great Staircase; this rises from the ground floor to the second floor.
The Octagon Drawing Room (7 on first floor plan) completes the short enfilade beginning at the front door. It is the principal room of the house. Unfinished by Carr, the room has an ornate gilded ceiling with recessed panels in the Italian Renaissance style, installed in 1840. Of the room's eight sides, three have windows forming a large bay, at the centre of which is a large Venetian window echoing the Palladian inspiration of the mansion. Throughout the 19th and 20th centuries this room was used to display the finest art its owners possessed. Today, hung with red felt, it contains works by Pompeo Batoni and Giambattista Pittoni. The room contains fine neoclassical furniture, including items made to designs by Robert Adam, and curtains originally made for the state rooms of Blenheim Palace.
The Dining Room (marked 8 on first floor plan) is one of the rooms most frequently changed since the completion of the mansion. Yet today it closely resembles its original form. Sited on the first floor of the corps de logis, some distance from the original kitchen (on the ground floor of the North Pavilion), the Dining Room is decorated in a neoclassical style inspired by the work of Robert Adam. The ceiling is divided into geometric panels by ornate plasterwork. Each panel originally contained a painted lunette or medallion by Theodore de Bruyn, depicting a classical scene in grisaille. The walls too have plaster panels which contained medallions, matching those of the ceiling.
In 1845, the room was redecorated by the architect David Brandon, who replaced Bruyn's paintings with polychrome depictions of Dante's Divine Comedy. The walls to which Brandon added mirrors, however, retained much of their 18th-century plasterwork. In 1929, the owner, George Ferdinando, stripped the dining room of its painted panels, mirrors, fireplace and doors and sold them to a firm of architectural antique dealers, Crowther's. The Dining Room's former decorations then crossed the Atlantic. Today, they form the Basildon Room of New York's Waldorf Astoria Hotel.
In 1952, the new owners, Lord and Lady Iliffe, had the now bare room painted by the decorator John Fowler and transformed it to a drawing room. During the late 20th century, the artist Alec Cobbe was employed to redecorate the room in a style similar to the original scheme by de Bruyn. Much of Carr's "loops and bows" plasterwork had survived, and this, coupled with a fireplace and doors salvaged from Panton Hall and very similar to those which crossed the Atlantic, allowed the room to return to its original neoclassical form.
The Kitchen was originally in the North pavilion. The concept of placing kitchens in a separate block to the house (and dining room) was a practice which had begun in the 1680s to prevent kitchen smells pervading the main house. Thus, Palladio's idea of a villa flanked by pavilions (intended to house farm animals) suited this practice admirably. However, the need for symmetry meant a balancing second pavilion was required. Therefore, it was common, as at Blenheim Palace, for the kitchen to be balanced by a chapel or an orangery, or for the less spiritual, a brewery or, as at a Basildon, a laundry. This meant that at Basildon, hot food "en route" to the dining room had to cross an open courtyard in all weathers, be taken through the ground floor of the mansion up the back stairs, cross the second floor and then be laid behind a colonnaded screen in the dining room before being finally served. During the modernisations at Basildon in the 1950s, Lady Iliffe had a new and state of the art kitchen installed on the piano nobile in the former bedroom allotted to former ladies of the house (12 on first floor plan). This solved the problem of hot food. The new kitchen is now open to the public as a nostalgic 1950s set museum piece, containing kitchen appliances and food stuffs and packaging contemporary to the mid 20th century. This is shown in the same fashion as the remainder of the house.
The Green Drawing Room is between the Octagon Drawing room and the new kitchen. It had always previously been used as a breakfast room or small dining room, less formal than the Dining Room itself. When the National Trust took over management of the house, the room was refurnished and displayed as a drawing room. The room has a moulded plaster neoclassical ceiling and is hung with green silk which was formerly curtains at Englefield House, Berkshire. The white marble fireplace in this room is one of the few original to the house.


At the time of its building, the design of Basildon was already old-fashioned. From 1750s onwards large houses were being built without a rustic, and having the principal floor on the ground was becoming commonplace. Basildon, with its piano nobile, large portico denoting status, and main facade falsely elongated by fenestrated walls, was never innovative architecture, but, like many other houses, was built to bolster the status of its owner, the newly rich Sir Francis Sykes, keen for a political career.
Basildon is not one of the great houses of Britain; houses of similar style and size exist the length of the country. Neither is the mansion of great architectural importance. Its architect, described as "one of the most prolific of the 18th century" is far better known for his works elsewhere. Neither is Basildon remarkable for its contents. While it has some fine plasterwork, its contents, though high quality antiques, are not of the finest museum quality and its art collection consists mostly of mediocre paintings of the 17th and 18th century Italian schools, bought for their size and suitability for the decoration of the interiors rather than for their quality.
Instead, Basildon is remarkable and notable for its survival against all odds in the 20th century. At a time when it was near ruin and its destruction seemed inevitable, it was saved. Since 1900, over 1,000 country houses, many of far greater architectural importance than Basildon, have been demolished. The destruction of many of these houses began as a trickle just prior to World War I, but became a tidal wave in 1955, when one house was demolished every five days. The destruction did not halt until 1975, by which time the Iliffe's restoration work at Basildon was almost completed.
In 1978, the Iliffes gave the house, together with its park and a large endowment for its upkeep, to the National Trust, enabling the house to provide a paying public with not only an insight to the interior of a grand house during both the 18th and 19th centuries, but also a rare view of how such houses were adapted to suit a more modern life-style during the last half of the 20th century. It was Lord and Lady Iliffe's wish that "The National Trust will protect it and its park for future generations to enjoy."


In addition to being open to the public, the house has also served as a filming set. It was used as the location for Netherfield Park in the 2005 film Pride & Prejudice, and more recently the 2016 film "Pride and Prejudice and Zombies," as a location for the 2006 movie Marie-Antoinette, and as Lord and Lady Radley's house in the 2009 film Dorian Gray. As well as appeared in the movie The Gentlemen in 2019. The interiors of Basildon stood in for the Crawley family's London mansion, Grantham House, on the series Downton Abbey. The garden room and parterre were used as the location for an evening party scene in the second season of Bridgerton.


The Basilica Julia (Italian: Basilica Giulia) was a structure that once stood in the Roman Forum. It was a large, ornate, public building used for meetings and other official business during the Roman Empire. Its ruins have been excavated. What is left from its classical period are mostly foundations, floors, a small back corner wall with a few arches that are part of both the original building and later Imperial reconstructions and a single column from its first building phase.
The Basilica Julia was built on the site of the earlier Basilica Sempronia (170 BC) along the south side of the Forum, opposite the Basilica Aemilia. It was initially dedicated in 46 BC by Julius Caesar, with building costs paid from the spoils of the Gallic War, and was completed by Augustus, who named the building after his adoptive father. The ruins which have been excavated date to a reconstruction of the Basilica by the Emperor Diocletian, after a fire in 283 AD destroyed the earlier structure.


The first iteration of the Basilica Julia was begun around 54 BC by Julius Caesar, though it was left to his heir Augustus to complete the construction and name it in honor of his adoptive father. The basilica was built over the remains of two important Republican structures: the Basilica Sempronia, which was demolished by Caesar to make way for the new basilica, and pre-dating both, the house of Scipio Africanus, Rome's legendary general. The Basilica Sempronia was built in 169 BC by Tiberius Sempronius Gracchus and required the demolition of the house of Africanus and a number of shops to make room.
The first Basilica Julia burned in 9 AD, shortly after completion, but it was reconstructed, enlarged, and rededicated to Augustus' adoptive sons Gaius and Lucius in 12 AD. The Basilica was restored after a fire in 199 AD by Septimius Severus, and later reconstructed by the Emperor Diocletian after another fire in 283 AD.
The Basilica is bordered on its short sides by two important ancient roads which led from the Tiber to the Forum: the Vicus Jugarius to the west, and the Vicus Tuscus to the east. The ground floor was divided into five east–west aisles inside, with the central aisle forming a large hall that measured 82x18 meters, sheltered by a three-story high roof. The adjoining aisles to the north and south of the central hall were divided by marble-faced brick columns which supported concrete arcades; the columns in turn supported the upper level of the basilica, which was used as a public gallery. The floor of the central hall was paved in colorful polychrome marble slabs, contrasting with the plain white marble of the adjoining aisles. The Basilica's façade as it appeared after the Augustan restoration was two stories high and arcaded, with engaged Carrara marble columns decorating the piers between the arches on both levels.
The Basilica housed the civil law courts and tabernae (shops), and provided space for government offices and banking. In the 1st century, it also was used for sessions of the Centumviri (Court of the Hundred), who presided over matters of inheritance. In his Epistles, Pliny the Younger describes the scene as he pleaded for a senatorial lady whose 80-year-old father had disinherited her ten days after taking a new wife. Suetonius states that Caligula greatly enjoyed showering the crowd in the forum below with money while standing on the roof of the Basilica Julia.
It was the favorite meeting place of the Roman people. This basilica housed public meeting places and shops, but it was mainly used as a law court.  On the pavement of the portico, there are diagrams of games scratched into the white marble. One stone, on the upper tier of the side facing the Curia, is marked with an eight by eight square grid on which games similar to chess or checkers could have been played. The last recorded restoration of the Basilica Julia was undertaken by the Urban Prefect Gabinius Vettius Probianus in 416 AD, who also relocated several Greek statues by the sculptors Polykleitos and Timarchus for display near the center of the façade. The inscribed bases of these statues recording the restoration still survive.


The earliest excavations of the Basilica Julia in the late 15th and 16th centuries were destructive, their main purpose being to recover valuable travertine and marble for re-use. In 1496, travertine was mined from the ruins to build the façade of the Palazzo Torlonia, the Roman palace of Cardinal Adriano Castellesi. There were also excavations in 1500, 1511–12, and 1514, as well as a destructive excavation in 1742 which uncovered the portion of the Cloaca Maxima which runs underneath the basilica. In the process the giallo antico yellow marble which covered the floor was stripped and sold to a stone-cutter.
The Chevalier Frédenheim also undertook excavations between November, 1788 and March, 1789; Frédenheim dismantled much of the remaining colored marble pavement and removed many architectural fragments. The site was excavated by Pietro Rosa in 1850 who reconstructed a single marble column and travertine supports. In 1852 segments of concrete vaulting with stuccowork coffering was unearthed but later destroyed in 1872.


WikiWeb_Basilica Minore of Our Lady of Charity_1

The parish was founded in 1578 by Franciscan friars John Baptist Lucarelli of Pesaro, Italy and Sebastián de San Francisco of Baesa, Spain. The original church was constructed with native materials, nipa and bamboo (in Barangay Nagreban or Nagrugcan) under its patron saint Francis of Assisi. In 1598, Saturmino Franco, Casimiro Melgosa and Aquilino García finished a 3-tiered bell tower for the church. In the same year, the Augustinians named Saint Monica as the town's new patron saint.
On March 16, 1892, a massive earthquake destroyed the church, paving the way for reconstruction of the shrine of "Nuestra Señora de Caridad" in 1893. It was later demolished and replaced with the present church in 1975.


WikiWeb_Basilica and Convent of San Francisco, Lima_17

In the library, there are approximately 25,000 volumes, some dating to the 16th century. There are very rare editions, incunabulas and Franciscan chronicles from the 15th to the 18th century, as well as some volumes published in the early days of printing in Peru, as well as more than six thousand parchments, numerous works by Jesuits, Augustinians, Benedictines, etc. There are also books on theology, philosophy, history, literature, music, canon law, ecclesiastical law; Bibles written in Latin, Spanish, French, Portuguese, Italian and some written in very rare languages.


The Basílica Menor del Santo Niño de Cebú (Minor Basilica of the Holy Child of Cebú), commonly known as Santo Niño Basilica, is a basilica in Cebu City in the Philippines that was founded in 1565 by Fray Andrés de Urdaneta and Fray Diego de Herrera. It is the oldest Roman Catholic church in the country, allegedly built on the spot where the image of the Santo Niño de Cebú was found during the expedition of Miguel López de Legazpi.
This image of the Child Jesus is the same presented by Ferdinand Magellan to the chief consort of Rajah Humabon on the occasion of their royal Baptism to Roman Catholicism on 14 April 1521. The image was found by a soldier named Juan de Camuz forty years later, preserved in a wooden box, after Legazpi had razed a local village.  When Pope Paul VI made the church a basilica in 1965, he declared it to be "the symbol of the birth and growth of Christianity in the Philippines."
The present building was completed from 1739–1740, and was designated by the Holy See as the "Mother and Head of all Churches in the Philippines".


The museum was first established in the year 1965 by Fr. Ambrosio Galindez, O.S.A. for the purpose of the commemoration of the Fourth Centennial of the Christianization of the Philippines. It was then located at a certain room in the convent. Old church documents dating back to the 17th century, antique church furniture, antique church things (i.e. Chalice, Altar Table, Thurible, etc.), and antique vestments of the priests are in display. The old vestments of the Sto. Niño de Cebu dating back to the 17th century are also in display. The relics and statues of the different saints are also in exhibit. The replicas of the Sto. Niño used in different pilgrimages in the Philippines and abroad are displayed. Some donated jewelleries and gift toys to the Sto. Niño are in display also.
The Basilica del Sto. Niño Museum is currently located at the basement of the Pilgrim Center.


The Basílica Menor del Santo Niño de Cebu Basilica Complex is located in city block bordered by Osmeña Boulevard, D. Jakosalem St, P. Burgos St. and the Plaza Sugbo where the Magellan's Cross is located.  The main entrance is on Osmeña Boulevard.  Two blocks north of the basilica is the Cebu Metropolitan Cathedral, the seat of the Roman Catholic Archdiocese of Cebu.


The basilica's nave and aisles are covered with groin vaults. It is possible to see the two matronei in the aisles: they can be reached from two spiral staircases inside the two small bell towers flanking the façade.
Many of other the architectonical elements are due to the renovation of the 17th to 18th century: the building of an inner nartex connecting the two matronei and the construction of the crypt (1697), with three little aisles preserving the remains of Saint Julius. The crypt is reachable thanks to two stairs aside the above-ground presbytery.
The Baroque look is due to the decorations in the apse semi-dome and in the central aisle vaults: there are frescos by Carlo Borsetti representing the Trinity, the Ascent and glory of Saint Julius with Elijah, Demetrius, Philibert of Jumièges and Audenzio, all buried in the church together with the patron saint. In the left chapel (so called Assumption chapel) there is a painting by Francesco del Cairo of the Assumption of Mary; in the transept there is the great canvas Saint Julius meets Saint Audenzio by Giuseppe Zanatta and Saint Julius subjugating the wolf by Giorgio Bonola.
More ancient art pieces are represented by the Romanesque ambon and by the frescos on the lateral aisles' walls and on the church's pillars, dating back to 14th to 16th century.
In the chapel at the bottom of the left aisle, above the altar there is the beautiful wooden group representing the Calvary with the statues of the Virgin Mary, John the Apostle and the crucifix.


On the walls of the aisles there are many frescos painted as thanksgiving by the commissioners: these paintings were made between the second half of the 14th century and the early 16th century.
The most ancient painting is probably the Martyr of Saint Laurence on the second left pillar. On the pillars there are also Anthony the Great, Martin of Tours, Domninus of Fidenza, Saint Christopher, Julius of Novara, Audenzio, Dorothea of Caesarea, Fermo, Saint Apollonia, Saint Nicholas, Leonard of Noblac. The two frescos Saint Fermo and Saint Apollonia and Saint Julius hugging Saint Audenzio are clearly inspired by the style of Gaudenzio Ferraris.
In the second and third bay of the right aisle there are frescos made by painters from Novara in the late 15th or early 16th century.
In the second right bay: in the rib vaults Doctors of the Church with the Evangelists' symbols; on the wall Virgin Mary in throne with baby Jesus among Saint Sebastian, Saint James, Saint Julius, Saint Roch and a devotee.
In the third bay there are frescos dating back to the 15th century. In the rib vaults Doctors of the Church; on the wall Nativity of Jesus, Saint Cosmas and Damian, Saint Sebastian, Saint Roch, Saint James, Catherine of Alexandria ad Saint Blaise
On the left nave's wall there is a big fresco representing in the upper part the Trinity and, in the lower part Stories of Saint Julius.


The basilica was built between 1087 and 1197, during the Italo-Norman domination of Apulia, the area previously occupied by the Byzantine Catapan of which Bari was the seat. Its foundation is related to the recovery of some of the relics of Saint Nicholas from the saint's original shrine in Myra, in what is now Turkey.  When Myra passed into the hands of the Saracens, some saw it as an opportunity to move the saint's relics to a safer location.  According to the justifying legend, the saint, passing by the city on his way to Rome, had chosen Bari as his burial place.  There was great competition for the relics between Venice and Bari. The latter won, the relics were carried off under the noses of the lawful Greek custodians and their Muslim masters, and on May 9, 1087, were safely landed at Bari.  A new church was built to shelter Nicholas' remains and Pope Urban II was present at the consecration of the crypt in 1089.  The edifice was officially consecrated in 1197, in the presence of the Imperial Vicar, Bishop Conrad of Hildesheim, and of numerous bishops, prelates and noblemen.  Elias, abbot of the nearby monastery of Saint Benedict, was named as first archbishop. His cathedra (bishop's throne) still stands in the church.


WikiWeb_Basilica di Santa Maria di Nazareth, Sestri Levante_2

The interior has a three naves separated by square pillars with pilasters which rest on rounded arches. The interior was decorated in the 18th and 19th centuries. The nave has a barrel vault with lunettes, a deep chancel raised and a semicircular apse. The altar (1762) with polychrome marble contains a sculptural group by Francesco Maria Schiaffino depicting the Virgin Mary with cherubs holding up the Holy House of Nazareth.
The previous original facade of the 17th century, remain the two towers on either side that have decorations but also the 19th century, the portal is a marble statue of the Madonna and Child.


WikiWeb_Basilica di Santa Maria di Nazareth, Sestri Levante_3

In the nave the largest frescoes (1893) are the work of the painter Lazzaro De Maestri, in the second altar of the right aisle of the painting The Martyrdom of Saint Catherine of Alexandria by Castellino Castello, in the presbytery and in the apse are works by Rocco Costa and Giuseppe Galeotti; in the chapel to the left of the nave there is a 12th=century crucifix from the former parish church of St. Nicolò.
In the left aisle where the wooden sculptural group representing the Deposition from the 18th century, a Pentecost by Domenico Fiasella, a Transit of St. Joseph (1654) by Orazio De Ferrari, a Madonna del Carmine and a Saints Lawrence and John the Baptist by Lazzaro Tavarone.


WikiWeb_Basilica of Holy Trinity, Kraków_0

The Basilica of Holy Trinity (Polish: Bazylika Świętej Trójcy) in Kraków, Poland, is a Catholic basilica. Built in a gothic style, it also houses a monastery of the Order of Preachers (Dominicans). Its history dates from the year 1223.
Hyacinth, a Catholic saint, is buried in the church, as well as Polish monarch Leszek II the Black and Renaissance humanist Filippo Buonaccorsi.


WikiWeb_Basilica of Our Lady, Maastricht_5

The Basilica of our Lady possesses an important historical church treasure consisting of relics, reliquaries, textiles and liturgical objects. From the 14th century onwards it had a separate treasury room (Dutch: schatkamer), which at one point was located in the Tower of Saint Barbara (also the church's archives). It is believed that the choir gallery of Our Lady's was specifically built in the 12th century for the public showing of the recently acquired relics from Constantinople. During the Middle Ages great rivalry existed between Maastricht's two religious chapters. At several occasions the chapter of Saint Servatius complained about the fact that the canons at Our Lady's showed their relics in the open air, which only St Servatius' was allowed to do. The relics display, especially at the time of the Septennial Pilgrimage (Dutch: Heiligdomsvaart), drew large numbers of pilgrims from all over Europe, bringing in revenue for the churches.
Today the church treasure is only a fraction of what it once was. Many gold and silver objects were melted down in order to pay for war taxes during the tumultuous period after the French conquest of Maastricht in 1794. Other pieces were sold for personal gain or given away. Even as late as 1837, the church lost two of its most precious possessions out of ignorance. A 10th-century reliquary in the shape of a patriarchal cross, allegedly containing the largest particle of the True Cross, and the so-called "pectoral cross of Constantine" (both originating from Constantinople and probably taken to Maastricht by crusaders) were given away by a former canon and are now in the treasury of the St. Peter's Basilica in Vatican City. Two copper-gilt reliefs depicting angels are now in the Treasury of the Basilica of Saint Servatius. In some cases the reliquaries were lost but the content (the relics) was saved. This is the case with the so-called "Virgin's Girdle". Of the original silver statues of the Virgin and two angels only a silver tube with the girdle survived.
The treasure of the basilica of Our Lady as it is today consists of reliquary boxes, cases or busts made of (gilded) silver or copper, silvered lead, brass, ivory, horn, bone and wood; chalices, patens, monstrances and other liturgical implements made of silver, silver-gilt, brass or tin; ecclesiastical vestments and ancient fabrics used for wrapping relics; antique books and manuscripts; paintings, prints and sculptures; and some archeological finds. The highlights are:
Silver reliquary for the "girdle of the Virgin Mary" (Maastricht?, 14th century, incomplete)
Tower belonging to a silver statue of Saint Barbara (Maastricht?, 16th century, the statue was melted down in 1795)
Three ivory reliquary chests (southern Italy or Spain, 12th or 13th century)
Three reliquary horns: one made of cattle horn with silvered lead furnishings (Scandinavia, 10th century), one of ivory with red copper furnishings (Southern Europe, 14th or 15th century) and one made of wood (Germany, 15th century)
Two silver ostensoria (Meuse-Rhine, 14th and 15th centuries)
Red velvet bursa or reliquary purse (France, 15th century). In 1913 there were 8 textile bursas in the treasury (some 13th century); all but one lost.
So-called "Robe of Saint Lambert" (Central Asia, 10th-13th centuries?)
Furthermore, the treasury is home to a collection of devotional objects (crucifixes, statuettes, rosaries, scapulars, pilgrim badges, and In memoriam cards) belonging to the foundation "Santjes en Kantjes".