Parking close to the beach is limited and may prove difficult during the busy summer season. During the summer months the beach is patrolled by lifeguards. There are several licensed bar, restaurant  concessions along the beach. there are toilet and shower facilities and there are opportunities to hire parasols and sun loungers.


Praia da Oura has a commercial area to the rear of the middle of the beach in the Rua Ramalho Ortigao. The shops and business consist of beach shops, supermarket, popular bar cafes, restaurants, and hotels, many of which have views of the beach. There is also a public telephone.


Praia de São Rafael is a beach on the Atlantic south coast of the Algarve, close to the village resort of Sesmarias which is within the Municipality of Albufeira, Portugal. This beach is located 2.5 miles (4.0 km) by road to the west of Albufeira old town centre and is 29.7 miles (47.8 km) west of the regions capital of Faro. This beach is one of sixty nine blue flag beaches (2012) in the Algarve and is accredited with good facilities for the disabled.


This small beach has fine gold sand and crystal clear water and is backed by golden limestone cliffs. On the beach itself there are many limestone rock formations which have been eroded over a long period of time to form interesting formations and shapes many of which have names such as Ninho das Andorinhas or the Swallow’s Nest and Ponte Pequena or the Small Bridge. The main beach can get very crowded during the peak summer period but there are some quieter spots around the beach amongst the rock formations a short distance from the main sandy areas. The beach has good facilities with toilets and public showers. During the summer season the beach is patrolled by lifeguards. There are Loungers, parasols and Pedalo's which can be hired. The beach has good access for the disabled having boardwalks and paved slopes running down to the beach from the car park to the rear of the beach.


To the back of the beach there is a car park of which some places there are allocated parking bays for disabled drivers displaying a European blue badge. Parking can prove very difficult during the busy summer months as numbers are restricted so as not to weaken the cliffs. From the car park there are paths and boardwalk down to, and along the beach which provides easy access for wheelchair users.


This small beach is flanked either side by the larger and busier beaches of Praia da Oura to the east and Praia dos Alemães to the west. These beaches are separated by rocky outcrops but are linked by a coast path at the base of the cliffs but the access along these paths is not suitable for people of limited physical ability. The main foot access to the beach is by means of a footpath which is located to the side of the Hotel Auramar. The path descends down steps to the rear of the beach. There is some limited vehicular access to a small parking area but it is only for local permission holders and to people with blue badges.


Pratapgad is a large, mountain fort located in Satara district, in the Western Indian state of Maharashtra. The fort is situated on a mountain 24 kilometres from the Mahabaleshwar hill station. The fort is now a popular tourist destination.
The fort's historical significance is due to the Battle of Pratapgad, which took place here on 10 November 1659, between Shivaji and Bijapur Sultanate general Afzal Khan. Chatrapati Shivaji's killing of Afzal Khan was followed by decisive Maratha victory over the Bijapur army.


The Maratha ruler Shivaji assigned  Moropant Trimbak Pingle, his prime minister, to undertake the construction of this fort in order to defend the banks of the Nira and the Koyna rivers, and to defend the Par pass. It was completed in 1656.
The Battle of Pratapgad between Shivaji and Afzal Khan, a general of Adil Shahi dynasty , was fought below the ramparts of this fort on 10 November 1659. This was the first major test of the fledgling kingdom's army, and set the stage of the establishment of the Maratha empire.
Pratapgad continued to be involved in regional politics.Sakharam Bapu Bokil, a well-known minister of Pune, was confined by his rival Nana Phadnis in Pratapgad in 1778. He was later moved from fort to fort until he died at Raigad. In 1796, Nana Phadnis, while escaping from the intrigues of Daulatrao Shinde and his minister Baloba, assembled a strong garrison in Pratapgad before heading to Mahad. In 1818, as part of the Third Anglo-Maratha War, Pratapgad surrendered by private negotiation. This was a great loss to the Maratha forces, as Pratapgad was an important stronghold, had a large garrison, and could suppress much of the country around Wai.


Pratapgad fort is located at 15 km (10 miles) from Poladpur and 23 km (15 miles) west of Mahabaleshwar, a popular hill station of Maharashtra. The fort stands 1080 metres (3543') above sea level and is built on a spur which overlooks the road between the villages of Par and Kinesvar.
The fort has a Tulja Bhawani temple from Shivaji's time. It have murti of goddess Bhawani, which have eight hands (Marathi : Ashtbhuja). Weapons of soldiers are on display near this temple.


Pratapgad is usually visited as a day-trip from the hill station of Mahabaleshwar, a popular tourist destination located 25 kilometres away. Maharashtra State Road Transport Corporation provides regular bus service. There are small shops, restaurants and a handicrafts store. Many schools also arrange educational  trips to the fort. The fort is also on many trekking routes of the area.
An bronze equestrian statue of Shivaji is present at the fort. It was unveiled by Jawaharlal Nehru, then Prime Minister of India on 30 November 1957. The same year a road was constructed by the Public Works Department from Kumbhrosi village up to fort. A guest house and a national park were built inside the fort in 1960.


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The Presbyterian Cathedral of Rio de Janeiro (Portuguese: Catedral Presbiteriana do Rio de Janeiro) is a historic congregation of the Presbyterian Church of Brazil. It was the first Presbyterian church in the country.


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Ashbel Green Simonton established the church on January 12, 1862. It used various sites until it acquired its current site in December 1870.  On March 29, 1874, the building was opened as the first church building of the Presbyterians in Brazil. During 1897–1925 Rev. Álvaro Reis was the pastor. His influence and service was recognized through the name of a middle school and a square in Rio. In August 1926 Rev. Matthias Gomes de Santos remade the project of constructing a new building. He invited the architect Ascanio Viana who redesigned the building in a Neo-Gothic style. This work lasted about 14 years.  It was several times renovated, the last was in 2002. The church celebrated its 150th anniversary on Thursday, January 12, 2012.


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Ashbel Green Simonton: 1862–67
Alexander Latimer Bradford: 1867–1874
Alvaro Reis: 1897–1925
Matthias Gomes dos Santos: 1926–47
Amantino Adorno Vassao: 1947–81
Guilhermino Cunha: 1981–2015
Jorge Patrocínio: 2015–present


Princes Bridge, originally Prince's Bridge, is a bridge in central Melbourne, Australia that spans the Yarra River. It is built on the site of one of the oldest river crossings in the city, and forms a gateway into the central city from the south. The bridge connects Swanston Street on the north bank of the Yarra River to St Kilda Road on the south bank, and carries road, tram and pedestrian traffic. The present bridge was built in 1888 and is listed on the Victorian Heritage Register.
Because of its position, Princes Bridge is often a focal point for celebratory events in Melbourne such as the Moomba Festival, New Year's Eve and many celebrations taking place on the Yarra River where it flows through the city.


The foundation stone for a new bridge was laid in 1846, and the bridge was opened in on 15 November 1850. The opening was incorporated amongst extensive celebrations for the Royal Assent to the Australian Colonies Act. This Act enabled separation from NSW of the Port Phillip District, establishing Victoria as a separate colony effective on 1 July 1851. The bridge was a single-span 150 ft (46 m) bluestone and granite arch bridge, with a rise of only 24 ft (7 m). At its building, it was one of the longest, flattest stone arch bridges in the world. Paid for with government funds, the bridge was designed by David Lennox and built by James Linacre. It was opened on 15 November without tolls.
At the foundation-laying ceremony, Superintendent La Trobe named the structure "Prince's Bridge" in honour of Albert, Prince of Wales. It seems also to have been known as "Lennox’s Bridge," after its designer.


Within a year of the bridge's opening, gold was discovered in country Victoria and Melbourne saw a massive increase in population. In addition to the increase in traffic crossing the bridge, there was also a need to handle increased shipping traffic on the Yarra River, and the river was widened to cope with this. By that time the Yarra River had been heavily modified both upstream and downstream, and the major floods of the early years were becoming less common. In the late 1870s it was decided to replace the 1850 bridge, and a competition was held in 1879. This was won by architect and engineer John Grainger, only recently arrived in Adelaide, in partnership with local architect Mr Jenkins, with a design largely as eventually built. Jenkins was likely included simply as a local representative, with the design mainly by John Grainger (1855–1917), who already had experience with bridges, and who was working alone by the time the bridge was completed. Grainger moves to Melbourne, had a long career, and is also known as the father of the Australian composer Percy Grainger. Construction was delayed over funding and other issues, and it was not until 1884 that the old bridge was disassembled and replaced by a temporary structure. The stones were lettered and numbered and neatly stacked, to allow future re-erection at another location. In the event this did not occur, as the materials were instead reused in the replacement bridge.
David Munro & Co. supplied the winning bid for the construction of £136,998 9s.9d., incorporating reused materials from the old bridge and ironwork fabricated by Langlands foundry in Melbourne. (Munro was also responsible for the construction of Queens Bridge and the nearby Sandridge Bridge.)
The foundation stone of the new bridge was laid on 7 September 1886, and a memorial stone with a suitable inscription was built in over its position in the west end of the south abutment. The new bridge was opened on 4 October 1888, in time for the second International Exhibition to be held in Melbourne. As with many historic Melburnian buildings and bridges, the bridge is built on solid bluestone and concrete bulwarks with plenty of cast iron. The abutments, piers and wing walls are built of solid bluestone.
In 1924, the bridge was reinforced to take the weight of the electric trams which were soon to replace the previous cable trams along St Kilda Road and the side-streets. The name of the bridge is now rendered as Princes Bridge, in line with the policy that possessive apostrophes are not used in place names.
Princes Bridge was also the name of a railway station located on the northern side of the river, to the east of the bridge, on the current site of Federation Square. It was linked to Flinders Street station by the railway tracks that run underneath the northern approach to the bridge.
Until about June 2013 there were two vehicle lanes and a tram lane across the bridge in each direction; the wide footpaths on each side were divided for pedestrians and bicycles. At that time the bicycle lanes were moved to the road surface and the number of vehicle lanes was reduced to a single lane in each direction - starting with the Western (in-bound) side.


Pedestrians account for the majority of traffic over the bridge, but other forms of traffic include motor vehicles, trams, buses and bicycles, as well as an occasional tourist-orientated horse-drawn carriage. The destination of pedestrian traffic is two way, with many commuters parking at the Arts Centre and going to work in the CBD, as well as visitors to the Melbourne Arts Precinct on the Southbank side.


Princes Bridge is 30 metres (99 ft) wide and 120 metres (400 ft) long, with Harcourt granite squat half columns resting on the bluestone piers that support the three iron girder arch spans. The coat of arms on the bridge belong to the municipal councils who contributed towards the cost of construction. Other design features include an elaborate balustrade along the top of the bridge, and lamp standards crowning each pier.
The bridge design bears a close resemblance to the earlier Blackfriars Bridge over the River Thames in London, a resemblance which was noted at its opening. Princes Bridge is wider, 30 metres compared with 26 metres, but with 3 spans of 33 metres and an overall length of 131 metres, it is much shorter than Blackfriars Bridge's 5 spans with a central span of 61 metres. Both are excellent surviving examples of Arch Bridge design in the late 19th century.
The bridge underwent a restoration before the 2006 Commonwealth Games.


Princes Road Synagogue is a synagogue on Princes Road in the Toxteth district of Liverpool, England. It is the home of the Liverpool Old Hebrew Congregation. It was founded in the late 1860s, designed by William James Audsley and George Ashdown Audsley, and consecrated on 2 September 1874. It is widely regarded as the finest example of the Moorish Revival style of synagogue architecture in the UK, and synagogues emulating its design can be found as far away as Sydney.


Princes Road Synagogue came into existence when the Jewish community in Liverpool in the late 1860s decided to build a new synagogue, reflecting the status and wealth of the community. The Toxteth area was rapidly expanding as Liverpool's magnates built opulent mansions. The synagogue stands in a cluster of houses of worship designed to advertise the wealth and status of the local captains of industry, a group that was remarkably ethnically diverse by the standards of Victorian England; immediately adjacent to the synagogue on Princes Road are the Greek Orthodox Church of St Nicholas, the Church of England's parish of St Margaret of Antioch, and the Welsh Presbyterian Church.
The synagogue was designed by William James Audsley and George Ashdown Audsley, Scottish architect brothers from Edinburgh, and built at a cost of approximately £14,975. It was consecrated on 2 September 1874. The building has been described as "eclectic" and it has been said that the synagogue exemplifies the characteristic eclectic architecture in harmoniously blending features drawn from different styles.
The ladies of the Liverpool Old Hebrew Congregation held a bazaar and luncheon in February 1874. They invited the important dignitaries and arranged for the band of the Coldstream Guards to play. The event raised approximately £3,000 (equivalent to £346,920 in 2020) which was donated to the synagogue for the decoration of the interior. The synagogue is a testament to the wealth and social position of Liverpool's 19th-century Jewish magnates, a group with the wealth and taste to also commission Max Bruch to compose the Kol Nidre variations for cello and orchestra.
The synagogue today is attended only on Shabbat mornings and holidays, though it remains popular for weddings and b'nai mitzvah.


The synagogue is of brick construction, with bright terracotta bricks being used extensively for decoration. The façade reveals the plan of the building, a basilica with nave and aisles. The central section juts forward from the aisles. It has a large Moorish portal divided by a central column, above which is a large wheel window in the Romanesque style, both deeply recessed in arches.
The synagogue has a central nave with aisles on either side, separated by an arcade carried on slender octagonal columns, which also support galleries over the aisles. The nave has a barrel vault lit by clerestory windows. The interior is notable for its lavish decoration, including gilding and unstinting use of the finest woods and marbles. H. A. Meek was so impressed with the design that he wrote in his 1995 book The Synagogue, "He who has not seen the interior of Princes Road Synagogue in Liverpool has not beheld the glory of Israel."


In 1846, the Edinburgh and Glasgow Railway company constructed a sunken railway line along the southern edge of the Gardens to join its Haymarket terminus to a new General Station adjoining the North British Railway Company's North Bridge terminus (both stations later renamed Waverley Station). This involved constructing the Haymarket Tunnel (comprising separate north and south tunnels), 910 metres long, between the western end of the gardens and Haymarket Station. A shorter tunnel (again comprising two separate tunnels) was also dug through The Mound which separated the East and West Gardens.


East Princes Street Gardens originated after a dispute between Edinburgh Corporation (town council) and the early New Town proprietors, among whom was the philosopher David Hume who resided in St. David Street, a side street off Princes Street. In 1771 the council acquired the land as part of the First New Town development. It began feuing ground on the south side of Princes Street (on the site of the current Balmoral Hotel and Waverley Market) for the building of houses and workshops for a coach-builder and a furniture-maker. After a failed petition to the council the proprietors raised two actions in the Court of Session to halt the building and to condemn the Corporation for having contravened their feuing terms by which they had pre-supposed open ground and a vista south of the street. After the Court found in favour of the council on the first point the decision was quickly appealed to the House of Lords and overturned, but when the Court again supported the council on the second point, the matter was submitted to judicial arbitration. This resulted in a judgement that the houses could be completed which later allowed the North British Hotel (Balmoral Hotel) to be built on the site, that the adjacent furniture-maker's premises must not rise above the level of Princes Street (which is the reason the roof of Waverley Market is at street level) and that the ground westwards for half the length of Princes Street "shall be kept and preserved in perpetuity as pleasure-grounds to be dressed up at the expense of the town council as soon as may be."


West Princes Street Gardens were originally the private property of "the Princes Street Proprietors" who overlooked them from their houses on the western half of the street. This was passed to them from the council in 1816 and the gardens were opened to subscribers generally in the New Town in 1821.
Dogs, cricket, perambulators and smoking were prohibited under their rules, and people using bath-chairs had to present a doctor's certificate to the Committee of the garden attesting to their ailment not being contagious. An application by the Scottish Association for Suppressing Drunkenness that the gardens be opened during Christmas and New Year "with the object of keeping parties out of the dram shops (i.e. illegal drinking premises)" led eventually to them being opened to the general public on Christmas Day, New Year's Day and one other day in the year.


In 1876, despite much opposition from residents, the town council reacquired the ground for use as a public park. The new park was laid out by the City Architect Robert Morham including the building of a very picturesque gardeners cottage at the east end of the West Gardens. As part of a later agreement (c.1880) the council widened Princes Street (resulting in a far steeper embankment on that side). A series of statues were erected along the edge of the widened road.
Modernization of the gardens is currently under discussion with the launch of The Quaich Project fundraising campaign from the Ross Development Trust. The new design will improve accessibility and provide new pathways and connections across the city.


In 1939 four huge air-raid shelters were created within this northern embankment. The distinctive shelters now on the upper walkway date from 1950 and were designed by Alexander Garden Forgie. As with most structures in the gardens they are listed buildings.


The Ross Bandstand in the centre of the West Gardens is named after William Henry Ross, Chairman of the Distillers Company Ltd., who gifted the first bandstand on the site in 1877. The present building and terraces date from 1935.
The Princes Street proprietors contributed £500 as a goodwill gesture to the cost of the bandstand. Various concerts and other events are held at the Ross Bandstand including the Festival Fireworks Concert, Men's Health Survival of the Fittest, and during the city's Hogmanay celebrations. The Ross Development Trust proposed to rebuild the bandstand as a Ross Pavilion based on design by architects wHY following an international competition in 2017.
The Ross Fountain is the focus of the western end of the gardens. Gifted by Edinburgh gunsmith Daniel Ross, it was originally installed in 1872 and restored in 2018 with the help of the Ross Development Trust.


Along the south side of Princes Street are statues of the poet Allan Ramsay, the church reformer Thomas Guthrie, and the obstetric pioneer James Young Simpson. Other monuments are the Royal Scots Greys Memorial, the Scottish American War Memorial, the Norwegian Brigade War Memorial, and Wojtek the Bear.
The statuary group on the lower path represents The Genius of Architecture crowning the Theory and Practice of Art and is by William Brodie originally for the garden of Rockville, the home of his maverick architect son-in-law Sir James Gowans. It was moved here in the 1960s following the demolition of Rockville.
The Swedish runestone U 1173 was located beneath the Castle walls (grid reference NT25267352), however due to security concerns it was removed from its location in November 2017 and was moved to George Square, outside the school of Scandinavian studies in 2020.
At the eastern entrance to the Gardens there is the world's first floral clock dating from 1903.


The large curved monument to the Royal Scots stands slightly hidden just south of the gardener’s cottage. It was designed by Sir Frank Mears with sculpture by Pilkington Jackson. Described as a "modern henge" it dates from 1950 but was added to and "finalised" in May 2007 following the termination of the Royal Scots in 2006. This added additional Battle Honours gained since the 1950s.


A new monument, in the form of a baby elephant by sculptor Andy Scott, was added to the gardens on 2 February 2019. Located by The Genius of Architecture, this is a permanent reminder of the 250 babies and their families affected by the Mortonhall scandal, which was uncovered in 2012.


The Prinz Carl Palais in Munich is a mansion built in the style of early Neoclassicism in 1804–1806. It was also known as the Palais Salabert and the Palais Royal, after its former owners.
The Prinz-Carl-Palais was planned in 1803 by the young architect Karl von Fischer for Abbé Pierre de Salabert, a former teacher of King Maximilian I Joseph of Bavaria. On the death of the Abbé Salabert in 1807, Maximilian I Joseph acquired the building. After his death in 1825, his son, Ludwig I, gave the building to his brother Prince Carl. He ordered Jean-Baptiste Métevier and Anton Schwanthaler to decorate the rooms. After Carl's death the Palais served as Diplomatic mission for Austria-Hungary from 1876 onwards before it became a residence for the Bavarian Prime Ministers in 1924.


The Prinzipalmarkt is the historic principal marketplace of Münster, Germany. It is shaped by historic buildings with picturesque pediments attached to one another. It extends from St. Lambert's Church (Lambertikirche) in the north to the Townhouse Tower (Stadthausturm) in the south and is home to luxurious shops and cafés. The centre of the eastern side, opposite the south-eastern entrance to Cathedral Square (Domplatz), is dominated by the Historical City Hall of Münster.
Having been largely destroyed during World War II, the Prinzipalmarkt was reconstructed from 1947 to 1958, most buildings true to the original.


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Protection of the Holy Virgin Memorial Church is a Russian Orthodox Church Outside Russia (ROCOR) church in Ottawa, Ontario, Canada. Designed by Ottawa architect George M. Moiseyev, who was also project architect for the Children's Hospital of Eastern Ontario, the church is located at 99 Stonehurst Avenue in the Mechanicsville area of Ottawa. It is part of the Montreal and Canada Diocese of ROCOR.


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The first Orthodox parish to be organized in Ottawa was the Holy Trinity Bukowinian Church. It was started in 1913 by a small group of immigrants from Bukovina who, on the feast of the Dormition of the Mother of God in 1918, consecrated the first Orthodox church in Ottawa. During the 1920s and 1930s, Holy Trinity Church was a place of worship for all Orthodox Christians in the Ottawa area. In the following decades, most of the various Orthodox ethnic groups organized their own parishes in the nation’s capital. Russians, however, continued to pray at the Bukowinian church as it was a member of the Eastern Canadian Diocese of the Russian Orthodox Church Outside of Russia.
By the mid-sixties, the Russian community in Ottawa decided to organize its own Orthodox parish. With the
blessing of Archbishop Vitaly (Ustinov) of Montreal and Canada, the Protection of the Virgin Mary parish opened in Ottawa on October 21, 1965. At first this new community met in the home of Claudia P. Gitalenko, one of the founding members of the parish. Visiting priest-monks from the St. Job of Pochaev brotherhood in Montreal served at the new church several times a month. Only two years after forming, the parish was able to buy a two-story house at 10 Arthur Street. The building was converted into a church, parish hall, and apartment for the rector. Fr. Theodore, one of the monks of the St. Job of Pochaev brotherhood, was active in furnishing the new church, with the help of the diocesan administration.
In 1968, Fr. Vladimir Chikanovsky was assigned as the first rector of the Protection parish. During his short stay, a sisterhood and parish school were organized. Fr. Vladimir was replaced as rector by Archimandrite Gregory Moiseevsky in May 1969. Although Fr. Gregory stayed only one year in Ottawa, he is remembered for his love of the church services and for his care in teaching the young people of the parish reading and singing on kliros. In 1970, Fr. Michael Milonow was assigned as the new rector, but was soon transferred to London, Ontario, after which Fr. Dimitri Sever became the parish priest.
By the end of the sixties it became clear that the recently purchased house-church was not sufficient for the
needs of the community, and a search began for a building to replace it. In May 1970 the parish acquired a location at a former Protestant church at 267 Richmond Road. In the several months that followed, the interior of this building was completely rebuilt and decorated to make it suitable for Orthodox worship. Icons were painted by Kirill M. Kotkov for the newly built iconostasis. The exterior of the church was crowned with two Russian cupolas constructed and donated by the church warden from Montreal. For the next eighteen years this church was to be the centre of prayer and fellowship for the Russian Orthodox community in Ottawa. On October 18, 1970, only six months after its purchase, the church on Richmond Road was consecrated by Archbishop Vitaly. Frs. Theodore and Gregory, who had worked diligently to establish the parish, participated in the
consecration.
In the early eighties the parish began exploring the possibility of building a large Russian Orthodox church to
house the growing community. Soon it was decided to build not only a new church, but also a large senior
citizens’ residence to house elderly Orthodox Christians who wished to live close to church. This ambitious project was dedicated as a monument to the upcoming 1000-year anniversary of the baptism of Russia.
In 1986 Fr. George Skrinnikow was assigned as the assistant rector. In the same year, a large piece of land was
acquired at 89 and 99 Stonehurst Avenue for the construction of the future St. Vladimir’s Russian Seniors’
Residence and Holy Virgin Protection Church. Throughout the mid-1980s, Orthodox Christians from all over the world sent donations to help build the new church. St. Vladimir’s residence, with 65 apartments for seniors, was completed in 1987.
The newly built memorial church was consecrated on August 6, 1989, by Metropolitan Vitaly, Archbishop Laurus (Škurla) of Holy Trinity Monastery, and Archbishop Paul (Pavlov) of Australia who in the sixties, while still a priest-monk, had travelled from Montreal to serve at the newly organized Protection parish in Ottawa. In 1989 T. N. Vartanova was commissioned to paint the icons for the five-tiered iconostasis.
Fr. Dimitri was removed as the rector of the Protection of the Holy Virgin parish in September 1999. The
following years proved difficult for the parish. In 2002, after several other priests had served as rectors, Fr. George Skrinnikow was assigned as the new parish priest and life began to return to normal. In 2004 Fr. Stelian Liabotis was assigned as the assistant rector and, in 2006 replaced Fr. George, who retired, as the senior priest. Under their guidance the parish school was reestablished and classes for adults organized. People were again catechized, baptized, and married. Work on the iconostasis resumed and was finally completed in 2011.
In 2013 Archbishop Gabriel (Chemodakov), the ruling bishop of the Canadian Diocese of the Russian Orthodox Church Outside of Russia and the rector of the parish assigned Fr. Alexis Pjawka as his assistant in Ottawa. For the past half century, the Protection of the Holy Virgin parish in Ottawa has served the Russian Orthodox community in Ottawa and southeastern Ontario. Former members of the parish include a bishop, a deacon, nuns, choir conductors, and seminarians, serving God in various parts of Canada. Today the parish is a multi-ethnic community with Orthodox Greeks, Serbs, Bulgarians, Ukrainians, Arabs, Romanians and Canadian converts joining with Russians from all three immigrations and their descendants to worship God.


Providence City Hall is the center of the municipal government in Providence, Rhode Island, and is located at the southwest end of Kennedy Plaza at 25 Dorrance Street. The building was constructed between 1875 and 1878 and designed by Samuel J. F. Thayer in the Second Empire style. In 1975, the building was listed on the National Register of Historic Places; it is also a contributing structure to the broader Downtown Providence Historic District.


The city purchased several lots for the construction of a new City Hall. Construction was delayed, however, and the land was leased to C.N. Harrington, who built a wood frame theater on the site. The theater was notable for lectures, performances and readings that included writer Charles Dickens. In 1869, the building was renamed "Harrington Opera House." In 1874, the structure was closed for demolition.


"The building's construction is of iron and brick, faced with Westerly granite on the Dorrance and Washington Street sides and New Hampshire granite on the other two sides. The sidewalks are granite blocks, 5 to 6 feet wide and 18 to 20 feet long. The entire structure was built on an artificial foundation set atop 3,128 pilings driven deep into the underlying hardpan."
"Four coal-fired boilers of 50 horsepower each provided heat for the building. The boilers also supplied energy to operate a water-powered elevator, capable of carrying up to 50 passengers at one time. The elevator was built with electric bells at each landing so that it could be summoned to the desired floor."
In the pre-electricity age, "to keep clocks accurate and uniform, a central control mechanism was installed. It operated in a fashion similar to a grandfather clock, and each morning would be wound up by the janitor. It sent battery powered signals to other clocks in the building. Although the building was wired for electricity shortly after its construction, the clock mechanism remains in place and can be seen in the fifth floor Archives."
"The original main floor included a reception room and the office for the City Messenger. His office contained an elaborate array of communication devices, 50 speaking tubes, 50 electric bells and 50 annunciators which connected to all departments. Next to the Messenger's Office was an ornate reception room, 23 feet by 33 feet, with large mirrors hung at each end of the room. The walls were finished in mahogany and stamped leather."
The fifth floor living quarters for the janitor and his family included a kitchen, parlor, two bedrooms and a bath. The remainder of the fifth floor was used by the City Engineer and for storage. The upper levels of the building are within a high, convex, mansard slate roof that rises above the parallel-eaved parapet. Fashioned into the mansard dome are ornamental bulls-eye dormers.
The mansard roof area is reached by an iron stairway from the fifth floor where, originally, large batteries were stored to generate electricity for the city-wide fire alarm system and for the operation of the clocks and bells in the building. Another flight of stairs led to a higher area in the mansard dome which was also used for storage."


Because of its central location with vast open space before it, City Hall has been the scene of a number of speeches by visiting dignitaries.
One of the features of the tremendous industrial development of the last generation has been the very great increase in private, and especially in corporate, fortunes. ... It is not true that the poor have grown poorer; but some of the rich have grown so very much richer that, where multitudes of men are herded together in a limited space, the contrast strikes the onlooker as more violent than formerly.
 On the whole, our people earn more and live better than ever before, and the progress of which we are so proud could not have taken place had it not been for the up building of industrial centers, such as this in which I am speaking. But together with the good there has come a measure of evil.… Under present-day conditions it is as necessary to have corporations in the business world as it is to have organizations, unions, among wage-workers. We have a right to ask in each case only this: that good, and not harm, shall follow.
Theodore Roosevelt (Republican President) "Trust" speech from steps of Providence City Hall toward crowd assembled on Kennedy Plaza – August 23, 1902
On other occasions, in other years, this country has elected Republican Presidents and Democratic Presidents. They do it when they make a decision that that party and that candidate will serve a great national purpose. In my judgment and the responsibility ultimately is yours, in my judgment the United States will be best served by a candidate and a party who recognizes the basic issues of our time, and that is that this country has to go back to work again.
John F. Kennedy (Democratic candidate for President) speech from steps of Providence City Hall toward crowd assembled on Kennedy Plaza – November 7, 1960, Senate Speech file of the John F. Kennedy Pre-Presidential Papers, John F. Kennedy Library</ref>


In September 1881, the body of General, Governor, and Senator Ambrose Burnside lay in state before services at First Congregational Church.
In June 1886, the body of mayor Thomas Doyle lay in state before services at First Congregational Church.
In February 2016, the body of mayor Buddy Cianci lay in state for two days in half-open casket before services at the Cathedral of Saints Peter and Paul.


The Prudence Crandall Museum is a historic house museum, sometimes called the Elisha Payne House for its previous owner. It is located on the southwest corner of the junction of Connecticut Routes 14 and 169, on the Canterbury, Connecticut village green.  It is designated a U.S. National Historic Landmark as Prudence Crandall House.


The house is notable for having been the site of Prudence Crandall's Canterbury Female Boarding School.
The house was empty and for sale in 1831, and Crandall purchased the house for a $500 down payment plus a $1500 mortgage. The school operated from 1831 to 1833 for white students, but the admission of one black student, by all reports highly qualified, caused parents of the white students to withdraw their daughters, threatening the school's survival. Crandall closed the school and reopened it in 1833 for African-American students, whom she called "young Ladies and little Misses of color". The school was vigorously opposed by the residents of Canterbury, who feared an African-American migration. When their attempts to close it through legal methods were not immediately successful, they resorted to violence, forcing Crandall to close the school in 1834 out of concern for the students' safety. Crandall left Connecticut, never to return. For her vision and brave actions at this school, Prudence Crandall is Connecticut's official state heroine. The house was designated a National Historic Landmark in 1991.


The house was built in 1805, and "is a notable example of what has been termed the 'Canterbury type' because of several similar examples in the vicinity. It shows the peculiar roof form of gable on hip with twin chimneys, a triangular pediment at the eaves above a projecting pavilion at center of the facade, which carries a Palladian window lighting the stair hall at second floor level and an elaborate entrance doorway."
The main cornice around the entire house includes modillion blocks just above a Greek fret. The two front corners of the house sport "fluted pilasters on high bases", which "also flank the central pavilion, framing also in miniature the elements of the Palladian window, which exhibits keystone arches and Gothic arch muntins in the large section." The Gothic pattern is "repeated in the lunette occupying the tympanum of the roof-line pediment above, which also has modillions and Greek fret under the raking cornice." The Palladian window is the combination window on the 2nd story, including a central large window with over-window plus two narrow side windows, separated by pilasters.
The foundation is of dressed stone blocks.
Inside, the ornamental fireplace mantel is original, as is the stairway and almost all moldings and other interior elements.


The house was surveyed in 1940 by the Historic American Buildings Survey, which termed it the "Elisha Payne House" and also the "Prudence Crandall School for Negro Girls", a name the school never had when open.
It was listed on the National Register of Historic Places in 1970.
The house was studied in depth in 1981.  The study "concluded that there had been only minor changes to the house since the occupancy of Prudence Crandall and that approximately 95% of the structure is unaltered."
The building was declared a National Historic Landmark in 1991.
It is located within the Canterbury Center Historic District, another listing on the National Register of Historic Places. The house is a museum and includes period rooms, changing exhibits, a small research library (available for in-house study) and a gift shop.


Sullivan's design for the building was based on his belief that "form follows function".  He and Adler divided the building into four zones.  The basement was the mechanical and utility area; since this level was below ground, it did not show on the face of the building.  The next zone was the ground-floor zone which was the public areas for street-facing shops, public entrances and lobbies.  The third zone was the office floors with identical office cells clustered around the central  elevator shafts.  The final zone was the terminating zone, consisting of elevator equipment, utilities and a few offices.
The supporting steel structure of the building was embellished with terra cotta blocks.  Different styles of block delineated the three visible zones of the building. Writing in his Kindergarten Chats, Sullivan said that a tall building "must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line."
While the exterior skin of the Guaranty expresses a new form for the steel skyscraper, its plan indicates those hard realities of function necessary to construct such a building and to sell it. The building is essentially a U-shaped plan stacked upon a rectangular solid. The interstitial spaces between wings of the "U" create opportunities to introduce skylights to the lobby below, and to cover the ceilings with stained glass.  The plan contained a single vertical circulation core with four elevators, a mail slot, and staircase. No fire-stair was provided or necessary. The internal portion of the "U" faces south so as to collect light for the interior recesses of the building- light being a necessary commodity to attract good tenants. Sullivan spared nothing to accomplish this end for: "In order to increase the amount of light to the interior, the stairwell and the light slit facing the inner courtyard were lined with white glazed terra-cotta that was more costly than normal tiles."
The first and second floors are united both spatially and visually through additional staircases and the intention of retail occupation. Mechanical systems were relegated to the basement, including the motors for the elevators, boilers, and electrical "dynamos." Entrances were provided on both Church and Pearl Streets. A concierge desk offered services to tenants and guests including mail delivery.
Above the "base" of the building a series of office floors of identical plan were placed.  These floors featured private lavatories in reconfigurable office spaces. The halls were defined by wood and glass partition walls, intended to give the interior a bright and "club" like feeling. The elevators and staircases were enclosed not by walls, but metal cages permitting southern light to penetrate through the circulatory systems and into the hallways.
The only exception to the rise of offices was the seventh floor with lavatories and a barbershop, and the top floor with a US Weather Service Bureau office and spaces for building attendants.


Comparisons with the firm's first major success in tall buildings, the Wainwright are instructive insofar as the refinements of the Guaranty are more evident. "Although this building [the Guaranty] is considered by critics to be the "twin" of the Wainwright Building, the elegance of the underlying steel-frame construction behind the red terra-cotta tiles is more apparent here than in the Wainwright." Unlike its predecessor, the entirety of street facades on the Guaranty are shrouded with the same material- red terracotta. Gone are the heavy corner piers of the Wainwright and in their place a constant rhythm of equal bays echoing the steel frame underneath. The two do share many traits: Simplicity of form, richness of detail. Red color not chaste white of renaissance typical buildings characterises both buildings. The site for the Guaranty building is smaller than the Wainwright, yet called for an equivalent number of offices, resulting in an additional three stories. Both the Guaranty and the Wainwright occupy corner lots. "The Wainwright may indeed represent the single episode of most aesthetic consequence in the shift from the tall office building in masonry to its skeletal predecessor; yet not only does the masonry tradition persist in the Wainwright, ornament also assumes a traditional, even if exceptionally conspicuous, role in its design." It is an explainable transition piece. The Guaranty Building is a radical departure however from the masonry prototype. Ornament and "cladding" cover the surface of the Guaranty's steel frame, a thin covering over a flexible skeleton.
Critical reception of the Guaranty Building was quite strong upon its opening. The critic Barr Ferree in 1895 opined: "though possibly the most richly decorated commercial building in America, the skill of the artist has produced a design of structural sobriety with great richness of effect.' This unity of structure and aesthetics 'has been attained' he diagnosed, 'by the long unbroken vertical lines of the superstructure.' Montgomery Schuyler knew of 'no steel-framed building in which the metallic construction is more palpably felt through the envelope of baked clay.'"
The Wainwright building may fairly be said to have revolutionised the emergent form of the skyscraper, with ramifications felt for the next hundred years. The Guaranty Building is a refinement and perfection of the form which the Wainwright found and its transfiguration into a spirit of design.


The building was declared a National Historic Landmark in 1975.


The first cathedral of the Diocese was a wooden church which existed from 1375 to 1412, standing in the square beside the present church of the Sacred Heart of Jesus. From 1412 - 1460 a Ruthenian Orthodox cathedral built of stone stood in the courtyard of Przemyśl Castle which it was strongly associated with.
Construction of the present cathedral in the Gothic style began with the Chapter of Bishop Nicholas Błażejowski in 1495. Only the walls and pillars remain from this building. The reconstruction was completed in the first decades of the sixteenth century. In 1578 the mayor of Przemysl, Secretary of the Crown - Jan Tomasz Drohojowski (d. 1605), founded the present chapel of the Blessed Sacrament. Founded on the site earlier rotunda St. Nicholas. Because of the continuous threat of incursions of the Tartars and Wallachians, it is a fortified church, surrounded by a wall and is equipped with a cannon. It is currently the seat of Archbishop Adam Szal.


In the chancel are the stone foundations of the late Romanesque rotunda of the first half of the thirteenth century cathedral. The seventeenth-century Gothic cathedral served the bishops of Przemysl to the beginning of the eighteenth century. Bishop Aleksander Antoni Fredro decided to rebuild in the Baroque style, these works were performed in the years 1724–1744. In the chancel of the Great Altar was placed huge baroque and new stalls. There are two domed chapels. One of them is Drohojowski chapel of 1578, and the other one is the late baroque Fredro chapel built in 1724. Bishop of Przemysl Aleksander Antoni Fredro (coat of arms Bończa)(1674-1734) influenced the last one.
In 1733 the roof collapsed, destroying part of church and was rebuilt afterwards and completed in 1744. At the turn of the 19th century there was another rebuilding, restoring the oldest parts of the church, in a Gothic style.


WikiWeb_Puukohola Heiau National Historic Site_3

John Young was to act as interpreter and negotiator for several more important visitors.
The British explorer George Vancouver arrived here in 1793 during his Vancouver Expedition, and left cattle to start the ranching industry.


WikiWeb_Puukohola Heiau National Historic Site_4

A visitor center operated by the National Park Service is located at the site. An interpretive trail begins at the visitor center and leads to Puʻukoholā.
Entry to the public is not allowed, since there are believed to still be bones buried in the site.
About 170 feet west of Puʻukoholā is the ruin of the earlier Mailekini Heiau. John Young later converted it into a fort to protect the harbor.
Just offshore is Hale o Kapuni, an underwater structure dedicated to sharks. A pōhaku (stone post) marks a spot where the feeding of the sharks could be viewed.
Across the bay is the modern Kawaihae harbor.
On December 29, 1962, the site was made a National Historic Landmark, and on October 15, 1966, listed in the National Register of Historic Places as site 66000105. In 2000 the name was changed by the Hawaiian National Park Language Correction Act of 2000 observing the Hawaiian spelling.


WikiWeb_Public School 9 and Public School 9 Annex_0

Public School 9 and Public School 9 Annex are two historic school buildings located at 249 and 251 Sterling Place, respectively, at Vanderbilt Avenue in the Prospect Heights neighborhood of Brooklyn, New York City.
Public School 9 consists of a central, two-story gabled section flanked by two-story wings.  The central section dates to 1867–68 and was designed by Samuel B. Leonard in the Early Romanesque Revival style.  The two wings were added in 1887 and were designed by James W. Naughton.  The school was originally Public School 9, later becoming Public School 111, and currently P.S. 340.
Public School 9 Annex was necessitated by the continued population growth of Prospect Heights, which caused overcrowding in the original school.  It was designed by James W. Naughton and built in 1895. It is a three-story, H-shaped, brick building crowned by gable dormer windows. The Romanesque Revival building incorporates Renaissance Revival style details.  The building has been converted into condominium apartments under the name "P.S. 9".
Both buildings were separately designated New York City Landmarks in 1978, as "Public School 9" and "Public School 9 Annex" and were listed together on the National Register of Historic Places in 1981, as "Public School 111 and Public School 9 Annex"


The gateway has also been known as the Puerta de la Judería or the Puerta del Socorro, and it is located on the south side of the walls of Segovia. It has two towers, one square and one polygonal, an arch, a gallery of irregular windows, loopholes, cornices, pyramidal battlements and heraldic shields. It is located in a strategic position overlooking the Río Clamores. It has been speculated that its construction could have been carried out by the master stonemason Juan Guas.
By the end of the 19th century, the polygonal wall tower had deteriorated and part of it had collapsed, and it was still in ruins as of 1947. It was later restored back to its original appearance.
On 3 June 1931 it was declared a Monumento Histórico-Artístico, through a decree published in the Gaceta de Madrid signed by the President of the Provisional Government of the Second Spanish Republic, Niceto Alcalá-Zamora, and the Minister of Public Instruction and Fine Arts, Marcelino Domingo. It is currently classified as a Bien de Interés Cultural.


The Puerta del Cambrón is a gate located in the west sector of the Spanish city of Toledo, in Castile-La Mancha. Also called previously "Gate of the Jews" or "Gate of Saint Leocadia", has been speculated The possibility that the name of the gate, del Cambrón, had its origin in the growth of a thorn bush or plant at the top of the ruins of one of the towers, before the last reconstruction of the gate, In 1576. It has the cataloging of Bien de Interés Cultural.


Of Renaissance style, has two pairs of towers and two arches, being built of stone and brick. It underwent two renovations in the early-1570s and in 1576. Hernán González, Diego de Velasco and Juan Bautista Monegro would sculpt a figure of Leocadia in the gate. The gate was little damaged during the Spanish Civil War.


According to Hunan Yongding Records (湖南永定乡土志), the temple was first built by a military official Yong Jian (雍简) in 1413, under the Ming dynasty (1368–1644).
In 1733, in the reign of Yongzheng Emperor in the Qing dynasty (1644–1911), a local official named Shi Cheng renovated and refurbished the temple.


The extant structure is based on the Ming and Qing dynasties building principles and retains the traditional architectural style. The complex include the following halls: Shanmen, Mahavira Hall, Hall of Four Heavenly Kings, Hall of Guanyin, Bell tower, Drum tower, Hall of Arhats, Dharma Hall, Dining Room, etc.


Statues of Heng and Ha sitting on the seats before both sides of the Shanmen.


Under the eaves is a plaque with the Chinese characters "Mahavira Hall" written by former Venerable Master of the Buddhist Association of China Zhao Puchu. It went through more than 10 rebuilds. The latest maintenance was in 1989. The Mahavira Hall enshrining the statues of Guanyin, Manjushri and Samantabhadra.


The Hall of Arhats houses statues of lifelike Eighteen Arhats with different looks and manners.


A statue of Guanyin is enshrined in the Hall of Guanyin.


Pulpit Rock is a coastal feature at Portland Bill, the southern tip of the Isle of Portland, Dorset, England. Representing an open bible leaning on a pulpit, Pulpit Rock was formed in the 1870s after a natural arch was cut away by quarrymen at Bill Quarry. As a quarrying relic, the rock is similar to that of Nicodemus Knob, another quarrying landmark on the island.
Pulpit Rock has become a popular tourist attraction on the island and is often photographed. Despite the danger, for many decades it has been a popular place for tombstoning. Pulpit Rock is also a popular point for wrasse anglers. The British record Ballan wrasse was caught there in 1998 by Pete Hegg.
The geological succession up from sea level is: Portland Cherty Series (up to the level of the neighbouring quarried platform), then Portland Freestone (the oolitic limestone quarried inland of Pulpit Rock), then a cap of thin-bedded limestones which are part of the basal Purbeck Formation.


The Pundarikakshan Perumal Temple or Thiruvellarai Temple in Thiruvellarai, a village in the outskirts of Tiruchirappalli in the South Indian state of Tamil Nadu, is dedicated to the Hindu god Vishnu. Constructed in the Dravidian style of architecture, the temple is glorified in the Divya Prabandha, the early medieval Tamil canon of the Azhwar saints from the 6th–9th centuries AD. It is one of the 108 Divyadesam dedicated to Vishnu, who is worshipped as Pundarikakshan and his consort Lakshmi as Pankajavalli.
According to legends, the temple is said to have been built by Sibi Chakravarthy, king of Ayodhya in Treta Yuga 15 lakh years ago. This temple is older than Srirangam temple. The temple has three inscriptions in its two rock-cut caves, two dating from the period of Nandivarman II (732–796 AD) and the other to that of Dantivarman (796–847). It also has Pallava sculptural depictions of Narasimha and Varaha, two of the ten avatarss of Vishnu.
A granite wall surrounds the temple, enclosing all its shrines and six of its seven bodies of water. The rajagopuram, the temple's gateway tower, is unfinished. A swastika shaped temple tank built in 800 AD by Kamban Araiyan during the reign of Dantivarman is outside the temple complex. The Vijayanagar and Nayak kings commissioned paintings on the walls of the shrine of Pudarikakshan, some of which are still present.
Pundarikakshan is believed to have appeared to Garuda (vahana of Vishnu), Sibi Chakravarthy, sage Markandeya and Hindu gods Bhoomadevi, Brahma and Shiva. Six daily rituals and three yearly festivals are held at the temple, of which the chariot festival, celebrated during the Tamil month of Chaitra (March–April), is the most prominent. The festival is unique in the state as a community feast is offered, a custom stretching back many centuries. The temple is maintained and administered by the Hindu Religious and Endowment Board of the Government of Tamil Nadu.


Pundarikakshan Perumal temple is believed to have been built by the Pallavas, as seen from the three inscriptions in its two rock-cut caves. Two of the inscriptions are dated from the period of Nandivarman II (732–796 AD) and the other from the period of Dantivarman (796–847 AD). The temple construction completed presumably during the time of Dantivarman.  The influence of Azhwars, the Vaishanva saints of the 7th–9th centuries helped spread Vaishnavism to a greater extent among the public and the ruling Pallava kings, who became temple patrons.
A Chola inscription indicates an endowment to the shrines of Krishna (an avatar of Vishnu) and his consort Rukmini inside the temple by King Parakesarivarman (907–955 AD). The temple had later additions from the subsequent Chola, later Pandyas, Hoysala and the Vijayanagara kings. The temple suffered extensive damage during a flood and was repaired by a merchant around 1262–63.
In modern times, the temple is maintained and administered by the Hindu Religious and Endowment Board of the Government of Tamil Nadu. An Executive officer appointed by the Board manages the temple along with Srirangam Ranganathaswamy temple, Sri Azhagiya Manavala Perumal Temple at Woraiyur, Sri Vadivazhagiya Nambi Perumal Temple and Mariamman Temple at Anbil. Annadhanam scheme, which provides free food to devotees, is implemented in the temple by the Board. Under the scheme, free food is offered to  hundred devotees every day in the temple and the expenditure is fully funded by the contributions from devotees.


Pundarikakshan Perumal temple is located in Thiruvellarai, a village 27 km (17 mi) from Tiruchirappalli, on the Thuraiyur road. The shrine of Pundarikakshan is built on a 50 ft (15 m) tall artificial hill. There are two stepped entrances to the sanctum, Utharayana Vaasal and Dhakshanayana Vaasal, each open for a six-month period. From 15 January to 15 June, Utharayanya Vaasal is opened, Dhakshanaya Vaasal is for the other six-month period. Pundarikakshan, the presiding deity of the temple is named "Maayavan" during Dakshinayanam and "Thai Maatha Naayagan" during Uttarayanam. The two gates in the temple are believed to represent the continuous cycle of entering into life and getting out of it. An image of the presiding deity, Pundarikakshan, is seen in a standing posture facing east. He is believed to have appeared to Garuda, Sibi Chakravarthy, Bhoomadevi, sage Markandeya, Brahma and Shiva, all of whose images are housed inside the sanctum. The consort of Pundarikakshan, Shenbagavalli, (also called "Peri Pirattiyaar Lakshmi Devi") has a separate shrine. The Utsavar (festival image) of Pankajavalli is called Shenbagavalli and is housed inside the same shrine. The temple has Pallava sculptural depictions of Narasimha and Varaha, two of the ten avatars of Vishnu. Narasimha is depicted holding a demon in one panel, the other shows him tearing the demon.
The rectangular walls around the temple enclose all the eight shrines and six of the seven water bodies associated with the temple. Besides the main shrine for Pundarikakshan and Pangayavalli, the temple has shrines for Azhwars, Garuda, Ramanujar and Uyyakondar. The seven water bodies are Divya Theertham, Kanda Kshree Theertham, Theertham, Chakkara Theertham, Pushkala Theertham, Padma Theertham and Varaaha Manikarnika Theertham. The vimanam (structure over the sanctum) is called Vimalaakkruthi Vimaanam. There are various sculptural depictions of Krishna on the pillars of the temple, in the most notable of which he is depicted dancing on a pot. He is seen dancing in Swastika posture with his buns like hair-do, ornaments and anklet. In another sculpture, he is seen slaying the demon Bhagasura. The Vijayanagar and Nayak kings commissioned the Krishna paintings on the exterior walls of the shrine of Pundarikakshan; they have clear Telugu language labels. Paintings with some of the popular themes from the epic Ramayana were also commissioned by the Nayak kings in the temple.
The rajagopuram, the main gateway tower, is an unfinished structure. An initiative to complete the estimated 72 ft (22 m) has been mooted by the Hindu Religious and Endowment Board in 2017. A swastika-shaped temple tank built during 800 AD is present in the south-western corner of the street around the temple. It has four stepped gateways, each having 51 steps. The tank is believed to have been built by Kamban Araiyan during the reign of Dantivarman. In modern times, it is maintained by the Department of Archaeology of the Government of Tamil Nadu. The temple complex covers an area of 2.62 ha (6.5 acres), while the tank covers an area of 0.1256 ha (0.310 acres).
An archaeological study in 2010 revealed that the layout of the rock-cut caves in the temple is similar to that of other rock-cut temples such as the Rockfort and Pechipalai cave temple. The unfinished caves in the temple, along with the lower cave temples in Tiruchirappalli and Tiruparankunram, each have a shrine for Shiva in the east and Vishnu in the west, separated by a central bay between them.


The word Vellarai means white rock. Owing to the presence of white rocks in the region, the place is historically referred to as Thiru Vellara. As per Hindu legend, when Sibi Chakravarthi stayed there with his warriors, a white boar crossed his path. He chased it and the boar hid inside a hole. Markandeya, a sage, was doing penance there and the king narrated the incident to him. The sage asked the king to fill the hole with milk. While doing so, Hindu god Vishnu appeared before them. The sage asked the king to bring 3700 Vaishnavites from the north and build a temple on the site for Vishnu. As requested, the king took 3700 Vaishnavites and started building the temple. While doing so, one of the Vaishnavites was killed in transit and the king was concerned by the accident. Vishnu appeared incognito as Pundarikakshan, a Vaishnavite, and requested to be counted among the 3700. According to another legend Lakshmi, the consort of Vishnu, performed penance at the temple, and Vishnu appeared before her as Sengamalakannan. The presiding deity has since been called "Thamarai Kannan", meaning the one who has eyes resembling lotus; his consort is called "Pankajha-Valli". The Hindu god Shiva in form of Neelivaneswarar is believed to have worshipped Pundarikakshan to absolve himself from the sin of holding Brahma's severed head. Vishnu appeared to both Shiva and Brahma, adhering to their prayers.


The temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon, by Periazhwar in eleven hymns and Thirumangai Azhwar in thirteen hymns. The temple is classified as a Divyadesam, one of the 108 Vishnu temples that are mentioned in the book. Some of the ancient Sanskrit books consider the temple as an uthamakshetram, meaning the place that gives the best to its devotees. The sculptures on the pillars of the temple reveal the earliest practice of Krishna worship in Tamil Nadu.Vedantha Desikar (1269–1370) has revered the temple in his work Hamsa Sandesam. As per Hindu legend, the eighteen steps in the temple represent the eighteen chapters of the Hindu scripture Bhagawad Gita and the last four steps represent the four vedas, the sacred Hindu religious texts. The sound made in front of some of the big pillars of the temple echoes around the temple. Some of the sacred verses are recited more than once in front of these pillars during worship. Thiruvellarai is the birthplace of Uyyakondar , a disciple of Nathamunigal . Also, Thiruvellarai is the birthplace of Engalazhwan (Vishnuchitthar) is believed to have taught Sri Bhasyam to Nadadhoor Ammal in the temple.
According to Hindu legend Ramanuja (1017–1137), the leading expounder of Vishishtadvaita philosophy, visited the temple. One of his disciples placed Ramanuja's sandals along with the image of Varadarajan. Ramanujar became furious at this, for which the disciple explained that for Ramanuja Varadarajar is god, but for him, Ramanuja is supreme. Thiruvellarai is the birthplace of Uyyakondar, a disciple of Nathamuni. Swami Engalazhwan is believed to have taught Sri Bhasyam to Nadadhoor Ammal in the temple. The Jiyar of the temple, the head of the temple, is named Pankaya Selvi Jiyar after the name of the Thayar of the temple.


The temple priests perform the pooja (rituals) during festivals and on a daily basis. As at other Vishnu temples of Tamil Nadu, the priests belong to the Vaishnavaite community, a Brahmin sub-caste. The temple rituals are performed six times a day: Ushathkalam at 7 a.m., Kalasanthi at 8:00 a.m., Uchikalam at 12:00 p.m., Sayarakshai at 6:00 p.m., Irandamkalam at 7:00 p.m. and Ardha Jamam at 10:00 p.m. Each ritual has three steps: alangaram (decoration), neivethanam (food offering) and deepa aradanai (waving of lamps) for both Pundarikakshan and Pankajavalli. During the last step of worship, nagaswaram (pipe instrument) and tavil (percussion instrument) are played, religious instructions in the Vedas (sacred text) are recited by priests, and worshippers prostrate themselves in front of the temple mast. There are weekly, monthly and fortnightly rituals performed in the temple.
The Chariot festival is the most prominent festival of the temple, and for the surrounding villages. It is celebrated during the Tamil month of Chittirai (March–April) when devotees pull the chariot around the streets of Tirvellarai. Verses from Nalayira Divya Prabandham are recited by a group of temple priests amidst music with nagaswaram (pipe instrument) and tavil (percussion instrument). The chariot festival is unique in the state as a community feast is offered by several individuals and committees, a custom many centuries old. The processional idols of Pundarikakshan and Pankajavalli are brought to the temple car early in the morning amidst religious chanting. Ratharohanam, the rituals associated with taking the idols to the temple car, is performed at an auspicious time before commencing the procession.


The Punta de Teno Lighthouse (Spanish: Faro de Punta de Teno) is an active lighthouse in the municipality of Buenavista del Norte on the Canary Island of Tenerife. The current lighthouse was the second to be constructed on the narrow rocky headland of Punta de Teno, which is the most westerly point on the island. It is one of seven lighthouses which mark the coastline of Tenerife, and lies between the Punta Rasca Lighthouse to the southeast, and the modern lighthouse of Buenavista to the northeast.


The first lighthouse was completed in 1897, as part of the first maritime lighting plan for the Canaries. Built in a similar style to other Canarian 19th century lights, it consists of a white washed single storey building, with dark volcanic rock used for the masonry detailing. The light was shown from a lantern room at the top of an eight-metre high masonry tower, attached to the seaward side of the house, overlooking the Atlantic Ocean. It remained in service until it was replaced in the 1970s by the new modern tower.
The new lighthouse, which was built adjacent to the original building first entered service in 1978. It consists of a 20 m high cylinder-shaped tower, which is white with red bands, that supports twin galleries and a lantern with a white cupola. The design is similar to the new tower of Fuencaliente Lighthouse on La Palma.
With a focal height of 60 m above sea level, the light can be seen for 18 nautical miles. Its light characteristic is made up of a pattern of three flashes of white light every twenty seconds.
The lighthouse is maintained by the Port authority of the Province of Santa Cruz de Tenerife. It is registered under the international Admiralty number D2832 and has the NGA identifier of 113-23840.


Pura Ulun Danu Beratan, or Pura Bratan, is a major Hindu Shaivite temple in Bali, Indonesia. The temple complex is on the shores of Lake Bratan in the mountains near Bedugul. The water from the lake serves the entire region in the outflow area; downstream there are many smaller water temples that are specific to each irrigation association (subak).


In Bali, Hindu temples are known as "pura", being designed as open-air places of worship in walled compounds. The compound walls have a series of intricately decorated gates without doors for the devotee to enter. The design and plan of the holy pura follows a square layout. A typical temple is laid out according to ancient Lontar texts with three courtyards separated by low walls pierced by ornate gateways. The outer courtyard is for secular pursuits, with pavilions used for meetings, resting performers and musicians at festivals. Food stalls are set up here during festivals. The middle courtyard is a transition zone between the human and divine sections; here offerings are prepared and temple paraphernalia are stored. The inner courtyard is the site of the shrines and religious ceremonies. The shrines are known as merus and are square structures with brick bases and multiple pagoda-style thatched roofs; the number of roofs reflects the status of the deity, and is always an odd number. Pura Ulun Danu Beratan is one of the nine 'Kahyangan Jagat' temples on Bali. The temple complex consists of five various shrines dedicated to other Hindu gods as well.
Built in 1633, the temple is used for offerings and ceremonies dedicated to the Balinese water, lake and river goddess Dewi Danu, due to the importance of Lake Bratan as a main source of irrigation in central Bali. The 11-storey pelinggih meru in the complex is dedicated to Shiva and his consort Parvathi. Buddha's statue is also enshrined in this temple. This temple is also called the "Bali temple on the Lake" because it looks as if it is floating when the Bratan River rises.


The Buddhist stupa of Beratan is a place of worship for Buddhists located at the tourist complex of Pura Ulun Danu Beratan. Its existence is quite unique and interesting considering its location in close proximity to the sites of worship belonging to Hindus.
This stupa signifies religious harmony. It faces south and is located outside the main area of the Ulun Danu Beratan Temple complex.


The pyramid of Sahure (Ancient Egyptian: Ḫꜥỉ-bꜣ Sꜣḥw-Rꜥ, lit. 'Rising of the ba of Sahure') is a pyramid complex built in the late 26th to 25th century BC for the Egyptian pharaoh Sahure of the Fifth Dynasty. It introduced a period of pyramid building by Sahure's successors in Abusir, on a location earlier used by Userkaf for his sun temple. The site was first thoroughly excavated by Ludwig Borchardt between March 1907 and 1908, who wrote the standard work Das Grabdenkmal des Königs Sahu-Re (English: The Funerary Monument of King Sahure) between 1910 and 1913.
The pyramid complex's layout was adopted by succeeding kings of the Fifth and Sixth Dynasties, marking a milestone in pyramid complex construction. Compared to the preceding Fourth Dynasty, the immensity of the constructions was dramatically reduced but, in tandem, the decorative programme proliferated and temples were augmented by enlarged storeroom complexes. The complex is estimated to have had 10,000 m² (110,000 sq ft) of finely carved relief adorning its walls, of which 150 m² (1,600 sq ft) has been preserved. Some of these reliefs are considered unparalleled in Egyptian art, such as the 8 m (26 ft) by 3 m (9.8 ft) (4.2 × 1.6 royal cubits) hunting scene from the mortuary temple. For comparison, Sahure's temple contained 370 running metres (1,214 running feet) of such relief decoration, while the temple of Khufu's Great Pyramid contained 100 running metres (328 running feet). The complex is also remarkable for the array of valuable materials – such as granite, alabaster and basalt – used extensively in its construction.
The main pyramid was built from roughly hewn limestone blocks bound with mud mortar and encased with fine white Tura limestone. It had a base of about 78.5 m (258 ft; 149.8 cu) to 78.75 m (258.4 ft; 150.29 cu) long converging at either 50°11′40″ or 50°30′ towards the apex between 47 m (154 ft; 90 cu) and 48 m (157 ft; 92 cu) high. The architects made an error in demarcating the pyramid base, extending it too far east. The pyramid's internal chambers were devastated by stone thieves, rendering an accurate reconstruction impossible. Stone fragments believed to belong to the king's basalt sarcophagus are the only remains of the burial that have been found. The mortuary temple adjacent to the pyramid's east face comprises an entrance hall, an open courtyard, a five-niche statue chapel, an offering hall, and storerooms. These elements had appeared in mortuary temples since the reign of Khafre. South of the temple is the enclosure with the cult pyramid, employing the same construction method used in the main pyramid but on a reduced scale, with a base length of 15.7 m (52 ft; 30.0 cu) converging at 56° to a peak 11.6 m (38 ft; 22.1 cu) high. The complex's two temples are linked by a 235 m (771 ft; 448 cu) long intricately decorated and well-illuminated causeway. The valley temple is situated on Abusir lake and is unusual for having two entrances: the main on its east side, and a secondary one on its south. It remains unclear why a second entry point was built, though it may have been connected to a pyramid town to its south.
Sahure's mortuary temple became the object of a cult of Sekhmet around the Eighteenth Dynasty. The cult was active through to the Ptolemaic Kingdom, though its influence began to wane following the reign of Ramesses II. This period heralded the first wave of destruction on the Abusir monuments, whilst Sahure's escaped the dismantlement, possibly as a result of the cult's presence. The monuments stirred interest again in the Twenty-Fifth to Twenty-Sixth Dynasties, which is shown by the copying of reliefs from the mortuary temples of Sahure, Nyuserre and Pepi II by the pharaoh Taharqa for the temple of Kawa in Nubia. A second wave of destruction of the Abusir monuments took place in the Twenty-Seventh Dynasty, but Sahure's temple was spared again, the cult still being present. With the onset of the Roman period, the Abusir monuments, including Sahure's, were subjected to a third wave of destruction. At the beginning of the Christian era, Sahure's temple became the site of a Coptic shrine, as evidenced by the recovery of pottery and graffiti dating to between the 4th and 7th century AD. Thereafter, until the late 19th century, the monuments were periodically quarried for limestone.


Sahure chose a site near Abusir for his funerary monument, thus constructing the first pyramid in the region. Earlier, Userkaf, founder of the Fifth Dynasty, chose Abusir for his sun temple. It is unclear why Userkaf sought such a remote site. It may have been significant for the nearby cult of Ra, or, in the opinion of the Egyptologist Werner Kaiser, the southernmost point from which the gilded pyramidion of the pillar-like structure in the temple of Ra in Heliopolis could be seen. It is clear, however, that his decision influenced the history of Abusir, including Sahure's decision to build his monument there. Three of the Abusir pyramids–Sahure, Neferirkare and Neferefre– are linked at the northwest corners by an imaginary line running to Heliopolis (Iunu). The diagonal was broken by Nyuserre, who positioned his complex between those of Neferirkare and Sahure.
Early excavators did not perform thorough investigations of Sahure's monument, perhaps discouraged by its ruined state. In 1838, John Shae Perring, an engineer working under Colonel Howard Vyse, cleared the entrances to the Sahure, Neferirkare and Nyuserre pyramids. Perring was the first to enter the substructure of Sahure's pyramid in modern times. Five years later, Karl Richard Lepsius, sponsored by King Frederick William IV of Prussia, explored the Abusir necropolis and catalogued Sahure's pyramid as XVIII. The pyramid was also re-entered by Jacques de Morgan, but he too did not explore further. No further investigations were performed for the next fifty years until the Egyptologist Ludwig Borchardt visited the site.
From 1902 to 1908, Borchardt, working for the Deutsche Orient-Gesellschaft (German Oriental Society), had the Abusir pyramids resurveyed and their adjoining temples and causeways excavated. From March 1907 to March 1908, Borchardt had Sahure's pyramid thoroughly investigated, and had trial digs conducted at nearby sites, including Neferefre's unfinished pyramid. He published his findings in the two-volume study Das Grabdenkmal des Königs Sahu-re (1910–13), which remains the standard work on the complex.
In 1994, the Egyptian Supreme Council of Antiquities opened the Abusir necropolis to tourism. In preparation, restorative works were conducted at Sahure's pyramid. The archeologist Zahi Hawass had a segment of Sahure's causeway cleaned and reconstructed, during which large relief-decorated limestone blocks that had been buried in the sand were uncovered. The reliefs found on these blocks were thematically and artistically unique and shed new light on the decorative programme of the complex.


Sahure's pyramid is situated upon a hill elevated 20 m (66 ft) above the Nile valley. Although the subsoil of the area has never been investigated, evidence from the nearby mastaba of Ptahshepses suggests that the pyramid was not embedded into bedrock, but on a platform constructed from at least two layers of limestone. The pyramid had a core comprising six ascending steps, five of which remain. The steps were probably built from horizontally laid courses of limestone. The core consisted of low-grade roughly cut limestone bound with mud mortar, and was encased by fine white limestone.
The pyramid was constructed in a drastically different manner to those of the preceding dynasty. Its outer faces were framed using massive, roughly dressed grey limestone blocks well joined with mortar. The inner chambers were similarly framed, but using considerably smaller blocks. The core of the pyramid, between the two frames, was then packed with a rubble fill of limestone chips, pottery shards, and sand, with clay mortaring. This method, while less time- and resource-consuming, was careless and unstable, and meant that only the outer casing was constructed using high-quality limestone.
Owing to the poor condition of the monument, information about its dimensions and appearance contains a degree of imprecision. The pyramid had a base length of about 78.5 m (258 ft; 149.8 cu) to 78.75 m (258.4 ft; 150.29 cu) converging at either 50° 11′ 40′′ or 50°30′ towards the apex between 47 m (154 ft; 90 cu) and 48 m (157 ft; 92 cu) high. The architects made a notable error in demarcating the base, causing the southeast corner to extend 1.58 m (5.2 ft) too far east. Consequently, it is not square. A ditch was left in the pyramid's north face during construction, which allowed workers to build the inner corridor and chambers while the core was being erected around it, before filling it in with rubble.
The pyramid is surrounded by a limestone paved courtyard, except where the mortuary temple sits, and is accessed from the temple's north and south wings. Enclosing the courtyard is a tall, rounded enclosure wall 3.15 m (10.3 ft; 6.01 cu) at its thickest.


The substructure access is located slightly above ground on the pyramid's north face. A short descending corridor – lined with granite – leads into a vestibule, beyond which the route is guarded by a pink granite portcullis, with granite-lined walls on either side. The corridor is 4.25 m (14 ft) long sloped at 24° 48′, with a passage 1.27 m (4.2 ft) wide and 1.87 m (6.1 ft) high. The corridor following – lined with limestone – begins with a slight ascent becoming horizontal – lined with granite – just before its terminus. The ascending portion is 22.3 m (73 ft) long with a slope of 5°, while the horizontal section is 3.1 m (10 ft) long.
Precise reconstruction of the substructure plan has been rendered impossible by the extensive damage that stone thieves wrought on the chambers. Until 2019, sources differed as to whether the funerary apartment – estimated to be 12.6 m (41 ft) east-west by 3.15 m (10.3 ft) north-south – consisted of a single or twin chambers. Clearance of the substructure in 2019 confirmed that the funerary apartment consisted of two rooms, with the burial chamber still to be investigated.
The antechamber lies on the vertical axis of the pyramid, occupying 14.9 m² (160 sq ft) of space, with the burial chamber to its west. The chambers had a ceiling constructed from three gabled layers of limestone blocks, which dispersed the weight from the superstructure onto either side of the passageway preventing collapse. Perring estimated the largest blocks to be 10.6 m (35 ft; 20.2 cu) long, 3 m (9.8 ft; 5.7 cu) wide and 4 m (13 ft; 7.6 cu) thick. Despite their size and weight, all but two have been broken. Inside the apartment's ruins, Perring found stone fragments – the only discovered remains of the burial – which he believed belonged to the king's basalt sarcophagus.


A 235 m (771 ft; 448 cu) long, slightly inclined limestone causeway connected the valley temple to the mortuary temple. The causeway was roofed, with narrow slits left in the ceiling slabs allowing light to enter, illuminating its walls covered in polychromatic bas-relief. These included scenes with seemingly apotropaic functions, such as a scene of the king represented as a sphinx crushing Egypt's enemies under his paw. Other scenes presented include offering bearers, animal slaughter, and the transport of the gilded pyramidion to the construction site. Only the base of the causeway, made of large limestone blocks, has been preserved.
The scene depicting emaciated nomads, reduced through starvation, to skin and bone – had important historical implications. The scene was thought only to exist in Unas' causeway, and was thus believed to be unique eyewitness testimony to the declining living standards of Saharan nomads brought about by the end of the Sahara wet phase in the middle of the 3rd millennium BC. The discovery of an identical scene in Sahure's causeway casts doubt onto this hypothesis. Instead, Miroslav Verner suggests that the nomads might have been brought into the pyramid town to demonstrate the hardships faced by builders bringing higher-quality stone from remote mountain areas.
A second discovered scene has implications for Fifth Dynasty genealogy. In this scene, Sahure is surrounded by his family in the palace garden Wtỉs-nfrw-Sꜣhw-rꜥ (Extolled is Sahure's beauty). The image confirms the identity of Sahure's consort, Meretnebty, and his twin sons, Ranefer and Netjerirenre. Ranefer, who is depicted closer to Sahure and bears the titles "king's son" and "chief lector-priest", may have been Sahure's eldest son, ascending to the throne as Neferirkare Kakai. Netjerirenre may be the ephemeral ruler Shepseskare, who took the throne after Neferefre's early death.
Another important relief discovered depicts a procession of ships, led by the king, being moored at an unidentified location. The relief originated on the causeway south wall, and although the location depicted cannot be identified, a corresponding relief on the same wall depicts the king, his mother and wife, awaiting the arrival of ships carrying myriad goods from the land of Punt – particular emphasis was placed on the Commiphora myrrha trees (nht n ꜥntw). Sahure's is the earliest recorded voyage taken by the Egyptians to Punt acquiring myrrh, electrum and wood from there.
Sahure is further depicted extracting myrrh with an adze from the tree in one scene, and banqueting with his family, including his sons, and officials near the tree in another. The trees depicted may not be Commiphora myrrha, as the use of an adze to extract resin was typically reserved for the Boswellia tree, and moreover the colour of the resin in Sahure's scene was identified by the Egyptologist Tarek El-Awady as yellowish brown, like Boswellia frankincense, and not red, like myrrh.


The transition between causeway and temple was marked by a large granite gate leading into the mortuary temple's entrance hall. In the Fifth Dynasty, it was of the standard size of 21 m (69 ft; 40 cu) long, 5.25 m (17.2 ft; 10.02 cu) wide, and 6.8 m (22 ft; 13.0 cu) tall. The hall has suffered considerably, rendering a precise reconstruction impracticable. It had a limestone floor, its walls had red granite dado above which was, probably, limestone decorated with painted bas-relief scenes, and it was covered by a stone barrel vault ceiling which had slits in its tympanum allowing the enclosure to be dimly lit. Contemporary sources identify this room as the pr-wrw meaning "House of the Great Ones", and it may be a replica of the hall of the royal palace, where nobles were received and certain rituals performed. At its end, a granite doorway led to a closed corridor surrounding an open courtyard.


The corridor was paved with basalt, and its walls had a 1.57 m (5.2 ft; 3.00 cu) granite dado, above which they were decorated with colourful relief. On its north wall, scenes depict the king fishing and hunting wildfowl, while on the south wall the king is depicted hunting – antelopes, gazelles, deer and other horned animals are shepherded into an enclosure for the king to shoot with his bow and arrow, after which hound dogs seize and kill the animals, elsewhere hyenas are observed poaching, and hedgehogs and jerboa scatter into their holes – whilst his courtiers observe. A masterful depth of detail has been incorporated into the latter scene, which measured 8 m (26 ft) long by 3 m (9.8 ft) high. The sedate posture of the king's courtiers, representing order, is juxtaposed against the mass of wounded and frightened animals depicted in a variety of postures and facing various directions, representing chaos. The imposing figure that is Sahure is unrivalled in any other example, and the gruesome detail of the injured animals is unreplicated. The figure of a hyena, pawing at an arrow in its jaw, reappears frequently in the Middle and New Kingdom, an homage to the relief from Sahure's temple. Ptahhotep's tomb in Saqqara contains an abridged, and slightly less skilfully executed, copy of this hunting scene.
The Egyptologist Mark Lehner suggests that the corridor represented the untamed wilderness, surrounding a clearing – the open courtyard – of which the king was guarantor. From the reliefs depicting ships on the east-corridor west-wall and west-corridor (transverse corridor) east-wall, the Egyptologist Dorothea Arnold contends that the courtyard and corridor form an architectural unit analogous to the Egyptian benben myth. The other reliefs present symbolize the king's role as guarantor of order and prosperity on the sacred island. Among the reliefs of this room an important discovery was made. One of the individuals present has been modified to include a brief inscription identifying them as "Neferirkare King of Upper and Lower Egypt" (nsw-bỉt Nfr-ỉrỉ-kꜣ-rꜥ). From this detail, Kurt Sethe, who was responsible for compiling and preparing the scenes for publication, developed the hypothesis that Neferirkare Kakai and Sahure were brothers, and that Neferirkare had had the relief corrected after ascending to the throne.
The open courtyard was paved with polished basalt and lined with sixteen red granite columns, supporting the roof of an ambulatory. Aside from an alabaster altar in the north-west corner decorated with scenes of sacrifice, the open courtyard is bare, though it originally had statues of the pharaoh placed between the columns, and may once also have contained statues of kneeling captives. Eleven of the original sixteen granite columns were found in the temple. Each was 6.4 m (21 ft) tall, and carved into the form of date palms, symbolising fertility and immortality, upon which the king's name and titulary was inscribed and painted in green. The Two Ladies appear on these columns as well: Nekhbet, the vulture goddess, in the south half representing Upper Egypt, and Wadjet, the cobra goddess, in the north half representing Lower Egypt. Above, a red granite architrave bore the royal titulary, and further supported the limestone ceiling. The ambulatory's blue painted ceiling was decorated with yellow stars, whilst its limestone walls were decorated with polychrome bas-reliefs, fragments of which have been preserved, depicting the king's victory over his enemies – on the north wall Near Eastern peoples, on the south Libyans – and the acquired spoils. In a particular scene, showing the capture of animals, supplementary inscriptions identify the quantities seized: "123,440 head of cattle, 223,400 asses, 232,413 deer, and 243,688 sheep". In another scene, the family of a Libyan chief beg for his life to be spared whilst the king prepares to execute him. Under the northern ambulatory, a relief of exemplary craftsmanship depicting precious oil vases and Syrian brown bears was found. The figures were given rounded edges so that they simultaneously blend in with the background and stand out clearly. Much of the paint used has been preserved: a dark red-brown colour was used for the vase and a yellow-brown for the bear's fur. Up to a further eleven scenes remain too fragmentary to be reconstructed.


Beyond the courtyard is a transverse (north-south) corridor which separates the public outer from the private inner temple, which only priests were allowed to access. The corridor further served as an intersection connecting the outer and inner temples, the courtyard surrounding the pyramid, and the cult pyramid. At its northern end was a staircase up to the roof terrace. Its floor was paved with basalt, as the courtyard was, and its walls had a granite dado, above which was limestone decorated with bas-relief. On the north half of the corridor's east wall is a relief, considered by the Egyptologist Iorwerth Eiddon Stephen Edwards to be amongst the most interesting in the temple, that depicts the king and his court observing the departure of twelve sea-going vessels, probably on expedition to Syria or Palestine. In the south-half, a similar scene depicts the king and his court awaiting the arrival of ships laden with cargo and several Near Eastern peoples, who do not appear to be prisoners, indicating either a commercial or, perhaps, diplomatic mission. In the centre of the west wall of the corridor was an alabaster staircase that led into the five-niche statue chapel.
Flanking the staircase were two deep niches, each containing two granite papyriform columns 3.65 m (12 ft) high. The columns supported an architrave, a fragment of which has been found in the oil press of St. Jeremiah monastery in Saqqara. The niche's walls were decorated with reliefs depicting processions of offering bearers, and they had recessed side doors leading to two-story storage galleries. The northern gallery consisted of ten rooms arranged in two rows, each outfitted with its own staircase – cut directly into the limestone walls – leading to the second story. These held cult objects used for the temple rituals. The southern gallery consisted of sixteen or seventeen rooms, also arranged in two rows and outfitted with staircases, that probably held sacrificial offerings. Reliefs in the corridors leading to the galleries even included ritual instructions, such as "presentation of gold" or "sealing a box containing incense" found in the north and south corridors respectively.


The transverse corridor staircase leads into the five-niche statue chapel, a room with considerable religious importance. Accessed through a double-door, it had a floor paved with white alabaster, red granite sheathing in the niches and dado, fine white limestone sheathed walls elsewhere which was lavishly decorated in relief, and a limestone ceiling decorated with stars evoking the night sky of the Duat. A small staircase stood before each niche, which was once occupied by a statue, none of which have been preserved. It was originally assumed that each statue represented one of the king's five names, but the Abusir Papyri, discovered in the nearby pyramid of Neferirkare, indicate otherwise. The papyri identify that the central statue represented the king as Osiris, while the two outermost ones represented him as the king of Upper Egypt, and the king of Lower Egypt. The remaining two are not identified. Exiting the chapel to the south is a path leading through two rooms – including a rectangular vestibule that appears to be a predecessor of the antichambre carrée, first found in Nyuserre's mortuary temple – passing around a great stone massif and into the westernmost room of the temple, the offering hall.


Sahure's temple had an elaborate drainage system including more than 380 m (1,247 ft) of copper piping. Rainfall captured on the roof was funnelled out through stone lion-head spouts fit onto the tops of the outer walls. The choice of the lion-head may relate to the ancient Egyptian belief that Set and other inimical deities could manifest themselves in rain. The lion, a symbolic protector of sacred ground, consumed the harmful spirits and ejected harmless water. Where no roof existed, gaps around the base of the outer walls collected the water, conducting it out using channels cut into the paving. Water and other liquids used in rituals and ceremonies, which had become impure and thus dangerous to touch, were removed using the drainage system. Five stone and copper-plated basins, each with a lead plug to fit the vent, were placed around the inner temple. The first was found in the offering hall, two more were in the auxiliary rooms beyond it, a fourth in the corridor leading up to the offering hall, and the fifth in the northern magazine gallery. These were connected via an intricate network of copper pipes laid beneath the temple, which led down the length of the causeway before terminating at an outlet on its southern side.


By the main pyramid's south-east corner, confined to a separate enclosure, lies a cult pyramid. The enclosure is accessed from either the southern end of the transverse corridor, or through a portico – the side entrance to Sahure's mortuary temple – flanked by two granite columns bearing Sahure's royal titulary. The portico floor was paved with basalt, as were the dado of its walls, above which the walls were built of limestone and decorated with polychromatic relief. The reliefs portrayed rows of deities, nome and estate personifications, and fertility figures – all clutching was-sceptres and ankh signs – marching into the temple. An accompanying inscription bears their message to the king: "We give you all life, stability, and dominion, all joy, all offerings, all perfect things that are in Upper Egypt, since you have appeared as king of Upper and Lower Egypt alive forever". Beyond the portico, a room with two exits gives access to the transverse corridor in the north or to an oblong room preceding the cult pyramid in the south.
The cult pyramid had a core ascending in two or three steps, composed primarily of limestone block debris framed by yellow limestone blocks, and then encased with white limestone blocks – the same method of construction as used in the main pyramid. It had a base length of 15.7 m (52 ft; 30.0 cu) converging at 56° towards the apex 11.6 m (38 ft; 22.1 cu) high. From the north face, a bent corridor – initially descending, then switching to an ascent – leads into the miniature pyramid's sole chamber: an east–west oriented burial room slightly below ground level. The chamber was found void of any content, and its walls had been severely damaged by stone thieves.
The purpose of the cult pyramid remains unclear. Its burial chamber was not used for burials, but instead appears to have been a purely symbolic structure. It may have hosted the pharaoh's ka (spirit), or a miniature statue of the king. It may have been used for ritual performances centring on the burial and resurrection of the ka spirit during the Sed festival.


There is a largely unexplored necropolis found through the side-entrance on the transverse corridor's southern end. It is thought to be the burial ground of Sahure's consort, Meretnebty, and son, Netjerirenre.