The Alexander Garden Obelisk is an obelisk located within the Alexander Garden, near the walls of Kremlin, in Moscow, Russia. The obelisk was initially designed by S. A. Vlasev and erected on July 10, 1914, at the entrance of the garden. It was created as a celebration of the tercentenary of the House of Romanov. The obelisk was moved closer to the center of the garden in 1966.
Soon after the revolution, by dismantling its parts, the drum was filled with reliefs and counter-reliefs that were then converted into a Monument-obelisk to commemorate the "outstanding thinkers and personalities of the struggle for the liberation of workers". It thus became the first monumental statue of the new state.
In 2013, on the 400th anniversary of the Romanov dynasty, the monument was dismantled for the sake of creating a modern replica of the original monument to the Russian rulers of the Romanov dynasty. According to specialists, the original monument was almost lost in the process.


The memorial was erected in the Upper Alexander garden near the main gate, leading from Voskresenskaya square in the Alexander garden.
The monument consists of two parts. Foursided obelisk of Finnish granite was crowned with a double-headed eagle. At the top of the obelisk sits the coat of arms of the Romanov boyars — a Griffin with sword and shield. Below were inscribed the names of the kings and emperors of the Romanov dynasty from Mikhail Fyodorovich to Nicholas II (except for Ivan VI Antonovich; after "Empress Anna Ioannovna" comes "Empress Elizabeth Petrovna"). The cubic base had a relief of Saint George and the small coats of arms of provinces and regions of Russia in shields.
"Romanovsky obelisk is erected under the project of architect S. A. Vlasiev in that part of the Alexander garden, which is next to the Voskresenskaya square. For setting the composition of the monument represents a cubic pedestal, on which stands the obelisk, ending in a gilt bronze double-headed eagle. The whole monument rests on two plateaus that are elevated at 0.60 fathoms above the surface of the earth. The monument is constructed from grey finish granite with embossed inscriptions, coats of arms and ornaments.  The upper part of the monument (obelisk) is made of seven monolithic granite pieces and the lower one of granite-faced slabs. The obelisk crowning the double-headed eagle is from cast bronze, chased and gilded. In the inscription on the obelisk are the names and patronymics of all the kings and queens throughout the tercentenary of the House of Romanov in chronological order, beginning with Tsar Mikhail Fedorovich and ending with the name of the reigning Sovereign Emperor. On the upper part of the anniversary inscription is the coat of arms of the House of Romanov, and on the pedestal is an inscription reading: "In memory of the 300th of the accession of the House of Romanov" and the coats of arms of Moscow, Kazan, Astrakhan, Poland, Siberia, Georgia; the United Coats of Arms of the Grand Duchies of Kiev, Vladimir, Novgorod, arms of the Grand Duchy of Finland"
("Moscow news", No. 90 – April 19, 1914)


Adopted after the October revolution, Lenin's plan of monumental propaganda involved the demolition of "monuments in honor of tsars and their servants" (the decree of the CPC 12.04.18 G. "On removing monuments erected in honor of tsars and their servants and the elaboration of projects of monuments of Russian Socialist Revolution") and the construction of a large number of monuments and memorial plaques in honor of the fighters of the revolution of all times and peoples. The obelisk in the Alexander garden, without being physically liquidated, embodied both sides of Lenin's plan — it was turned into a monument to the leaders of the socialist and Communist thoughts and their precursors.
During August–September 1918, according to the decision of the city Council Executive Committee, dated August 17, 1918 under the direction of architect N. A. Vsevolozhsky, the obelisk was altered:
the eagle from the peak was removed (with the help of the Latvian Riflemen)
emblems with the Foundation were removed (cartouche and shields from the coats of arms preserved)
in the central cartouche, the image of Saint George was replaced with the inscription "R. S. F. S. R." and "Proletarians of all countries, unite!")
the names of the kings of the needle of the obelisk were shot down. In their place a list was put of 19 social thinkers and political figures, approved by Lenin. The list of names was entrusted to a prominent Bolshevik, Vladimir Friche.
The order of the names is not chronological: the list begins with Marx and Engels, followed by three of the founders of the German Social Democratic Party (1860) and then the figures of the utopian socialism of the XVI and following centuries, also non-chronologically. The complete list contains five Russians — representatives of different political currents, including subsequently the opposition to Bolshevism (for example, the populist N. K. Mikhailovsky, anarchist M. A. Bakunin and Menshevik G. V. Plekhanov). There are no Bolsheviks named on the stele (the list included only deceased figures, the last of them, Plekhanov, died the same year as the alteration of the monument).
" The alteration of the monument was the actual and symbolic value: a revolution that destroyed the tsarist dynasty destroyed the obelisk that is associated with the glorification of the dynasty, and erased all the names of its rulers" (the magazine of Art, 1939) "
The opening of the monument, called "Monument obelisk outstanding thinkers and personalities of the struggle for the liberation of workers", was timed to coincide with the first anniversary of the Revolution and took place in October 1918.


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The Alexander Hamilton U.S. Custom House (originally the New York Custom House) is a former custom house, a government building, and a museum at 1 Bowling Green, near the southern end of Manhattan in New York City. Designed by Cass Gilbert in the Beaux-Arts style, it was erected from 1902 to 1907 by the U.S. government as a headquarters for the Port of New York's duty collection operations. The building contains the George Gustav Heye Center museum, the United States Bankruptcy Court for the Southern District of New York, and the offices of the National Archives. The facade and part of the interior are New York City designated landmarks, and the building is a National Historic Landmark listed on the National Register of Historic Places (NRHP). It is also a contributing property to the Wall Street Historic District, listed on the NRHP.
The Custom House is a seven-story steel-framed structure with a stone facade and elaborate interiors. The exterior is decorated with nautical motifs as well as sculptures by twelve artists. The second through fourth stories contain colonnades with Corinthian columns. The main entrance consists of a grand staircase flanked by Four Continents, a set of four statues by Daniel Chester French. The second-story entrance vestibule leads to a transverse lobby, a rotunda, and offices. The rotunda includes a skylight and ceiling murals by Reginald Marsh. The George Gustav Heye Center, a branch of the National Museum of the American Indian, operates within the ground and second stories, while the upper stories contain offices for the U.S. government.
The building was proposed in 1889 as a replacement for the previous New York Custom House at 55 Wall Street. Due to various disagreements, the Bowling Green Custom House was not approved until 1899; Gilbert was selected as architect following a competition. The building opened in 1907, and the murals in the rotunda were added in 1938 during a Works Progress Administration project. The United States Customs Service moved out of the building in 1974, and it remained vacant for over a decade until renovations in the late 1980s. The Custom House was renamed in 1990 to commemorate Alexander Hamilton, one of the Founding Fathers of the United States and its first Secretary of the Treasury. The Heye Center opened in 1994.


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The Alexander Hamilton U.S. Custom House is seven stories high with a stone facade and an interior steel frame. It was designed by Cass Gilbert in the Beaux-Arts style. The design is similar to those of previous custom houses in New York City, namely Ithiel Town's Federal Hall at 26 Wall Street and Isaiah Rogers's Merchants' Exchange building at 55 Wall Street.
The building's design incorporates Beaux-Arts and City Beautiful planning principles, combining architecture, engineering, and fine arts. Gilbert had written in 1900 about his plans for a wide-ranging, site-specific decorative program, which would "illustrate the commerce of ancient and modern times, both by land and sea". Sculptures, paintings, and decorations by well-known artists of the time, such as Daniel Chester French, Karl Bitter, Louis Saint-Gaudens, and Albert Jaegers, embellish various portions of the interior and exterior.


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Unlike most custom houses, which face the waterfront, the Alexander Hamilton Custom House faces inland toward Bowling Green. Its main entrance is on the northern facade, the only side that does not overlook the Lower Manhattan waterfront. The exterior is decorated throughout with nautical motifs such as dolphins and waves, interspersed with classical icons such as acanthus leaves and urns.
The first-floor facade is composed of rusticated blocks and is 20 feet (6.1 m) tall. There are six entrances to the building. The main entrance is on the northern elevation, where a wide stairway leads to the second floor. Under the main entrance arch is a carving of the municipal arms of the city of New York. The keystone at the top of the arch depicts the head of Columbia, the female personification of the United States, and was designed by Vicenzo Albani. Andrew O'Connor created a cartouche for the space above the main entrance. The lintel above the main entrance, quarried in Maine, weighed 50 short tons (45 metric tons) and measured 30 by 8 feet (9.1 by 2.4 m).
The second through fourth stories contain engaged columns in the Corinthian style; some of these columns are paired while the others are single. There are 44 columns in total: twelve each on the north, east, and west elevations and eight on the south elevation. The second story is the piano nobile; the windows on this story are flanked by brackets and capped by enclosed pediments, with carved heads above them (see § Sculptures). The third- and fourth-story windows, conversely, are less ornately decorated; this was normal for Beaux-Arts buildings, which generally had greater detailing on the more visible lower levels. The lintels above the third-story windows are decorated with wave motifs, while those above the fourth floor depict shells. The center portion of the Bridge Street facade reaches only to the third story.
The fifth-story facade consists of a full-story entablature with a frieze and short rectangular windows. The sixth story is directly above it, while the seventh story consists of a red-slate mansard roof with dormer windows and copper cresting. The mansard roof is extremely steep, allowing the seventh-story attic to be designed as a full floor of usable space.


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The Four Continents sculptures by Daniel Chester French
Twelve sculptors were hired to create the figural groups on the exterior. The major work flanking the front steps, the Four Continents, was contracted to Daniel Chester French, who designed the sculptures with associate Adolph A. Weinman. The work was made of marble and sculpted by the Piccirilli brothers; each sculptural group cost $13,500 (equivalent to $281,003 in 2020). From east to west, the statues depict larger-than-life-size personifications of Asia, America, Europe, and Africa. The primary figure of each group is a woman and is flanked by smaller human figures. In addition, Asia's figure is paired with a tiger and Africa's figure is paired with a lion.
The capitals of each of the 44 columns are decorated with carved heads depicting Hermes, the Greek god of commerce. The windows on the main facade are topped by eight keystones, which contain carved heads with depictions of eight human races. One source described the keystones as representing "Caucasian, Hindu, Latin, Celt and Mongol, Italian, African, Eskimo, and even the Coureur de Bois".
Above the main cornice are a group of standing sculptures that personify seafaring nations. There are twelve such statues, which depict commercial hubs through both ancient and modern history. Each sculpture is 11 feet (3.4 m) tall and weighs 20 short tons (18 metric tons). These sculptures are arranged in chronological sequence from east to west, or from left to right as seen from directly in front of the building. The easternmost sculptures are of ancient Greece and Rome, while the westernmost sculptures are of the more recent French and British empires. Eight sculptors were commissioned for this work. One of these sculptures, Germania by Albert Jaegers, was modified in 1918 to display Belgian insignia rather than German insignia. Bitter created a cartouche of the United States' coat of arms for the roof.


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A barrel-vaulted entrance vestibule, supported by marble columns and decorated with multicolored mosaics, is just inside the entrance. Behind bronze gates is a passageway to the Great Hall. At the center of the building is a double-height rotunda, rising to the third story. Stairways, made of marble with iron handrails, connect the interior spaces. There are elevators in each corner; the southwestern and southeastern banks contain two elevators each, while the northwestern and northeastern banks have three elevators apiece. The northwestern and northeastern elevators were originally open cages but were replaced with enclosed cabs in 1935.
Because the original appropriation was limited in scope, decorative elements in the initial construction were limited to several important rooms, including the rotundas, hallways, lobby, and collector's office. These spaces have marble walls in multiple hues, while nautical motifs are placed in numerous locations.


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The second-floor ceiling is generally 23 feet (7.0 m) tall. This floor consists of the former office spaces in the front and rear, the transverse lobby, and the rotunda. Gilbert planned the Custom House's interior so "all entrances, corridors, stairways and passages [were] arranged on the most direct and simple axial lines". The second-floor space, including the former offices, is almost entirely occupied by the Heye Center of the National Museum of the American Indian.


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The collector's office is at the northwestern corner of the second floor. The office contains elaborate hardwood floors and oak wainscoting designed by Tiffany Studios. Garnsey painted ten oil paintings, which are installed above the wainscoting. Each painting contains a gold frame and depicts a Dutch or English port in the New World. The office also included a stone fireplace mantel with a plaque referencing Fort Amsterdam and the Government House. The coffered plaster ceiling has molded decorations, including a motif of the collector's monogram. Fourteen lighting fixtures, covered in gold leaf, hang from the ceiling. The room is normally closed to the public but can be rented for events.
The manager's office is next to the collector's office and is decorated with plain plaster walls, topped by a cornice in the Ionic order. The northeastern corner contained the cashier's office, which contained a white-marble countertop with a bronze screen. The southern half of the cashier's room has white-marble walls and was originally where members of the public conducted their transactions. The northern half, where the cashiers themselves worked, has plaster walls. The ornate plasterwork ceiling is decorated to resemble Renaissance "boxed beams", while the marble floor has a geometric border. The former cashier's office has been incorporated into the Heye Center's museum store.
The elliptical rotunda, within the building's interior courtyard, measures 85 by 135 feet (26 by 41 m) and rises to the third story. The walls and floors are composed of geometric marble tiles in several hues. The ceiling is self-supporting, without any interior metal structure; it uses the Guastavino tile arch system created by Spanish architect Rafael Guastavino. It consists of numerous layers of fireproof tiles, each of which measures 6 by 12 inches (15 cm × 30 cm) across and 1 inch (2.5 cm) thick. The tiles and layers are bonded using Portland cement. The center of the ceiling is occupied by a 140-short-ton (130-metric-ton) oval skylight. The underside of the ceiling contains eight trapezoidal panels, as well as eight long, narrow panels between them. The panels contain fresco-secco murals, which were painted in 1937 by Reginald Marsh and eight assistants. The larger murals portray shipping activity in the Port of New York and New Jersey, while the smaller murals depict notable explorers of the New World and the Port of New York. The rotunda can be rented for special events.


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The ground story is 20 feet (6.1 m) tall. The Bowling Green post office, operated by the United States Postal Service, was formerly near the building's south end. The post office was located around a west-east corridor accessed by both State and Whitehall Streets. There are also two ramps for delivery vehicles. The floor surface, wainscoting, and pilasters are made of marble, and the ceilings are 17 feet (5.2 m) high. When the post office was in operation, mail arrived through the delivery docks and was sorted in the basement. About 6,000 square feet (560 m²) of storage space on the ground floor, under the rotunda, was converted into the George Gustav Heye Center's Diker Pavilion for Native Arts and Cultures in 2006. This pavilion consists of a slightly-sloped circular space seating 400 people, surrounding a maple dance floor.
The upper stories contain office space. The outer portion of the fifth story was initially used for document storage; the windows are small apertures within the entablature, making that story unsuitable for office use. The ceilings of the upper stories are between 12 and 16 feet (3.7 and 4.9 m) tall.


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Architectural writer Donald Reynolds stated that the new custom house was to be as modern as possible, with "an architectural style that embodied the tradition of the customs service, the federal government, and the United States with the latest building technology". The Tarsney Act, passed in 1893, permitted the Supervising Architect to host a competition to hire private architects to design federal-government buildings. However, the act did not take effect until Treasury secretary Lyman J. Gage took office in 1897. Furthermore, it was difficult for the federal government to sell the old building for the required price of $4 million (about $106 million in 2020). The new New York Custom House was only the fourth building to be built under the Tarsney Act.
Republican Party officials wished to have complete control over spending for the new custom house building. Originally, the Chamber of Commerce and many business interests advocated for erecting a new custom house on the Wall Street site, even though it was less than half the size of the proposed Bowling Green site. In 1897, Senator Thomas C. Platt and Representative Lemuel E. Quigg, both Republicans, proposed bills in the United States Senate and House of Representatives for building a new custom house at Wall Street, with Platt's bill calling for a five-person commission to oversee the process. The bills died at the end of the 54th United States Congress in March 1897. During the 55th Congress in February 1898, legislation for the acquisition of the Bowling Green site was again proposed in the U.S. House and Senate, providing $5 million (about $136 million in 2020) for land acquisition and construction. The U.S. House and Senate passed the Bowling Green bills the next year. At the time, most of the structures on the site were three-story houses used by steamship offices; by April, agreements had been made with most of the sixteen landowners. The federal government disbursed $2.2 million (about $59 million in 2020) to landowners at the Bowling Green site that June. Two months later, the old Custom House was sold for $3.21 million (about $87 million in 2020).
Twenty firms were invited in May 1899 to submit designs to the competition under the terms of the Tarsney Act. The government stipulated that any plan include a ground-level basement and up to six stories, as well as a southward-facing light court above the third story. A committee of three men was appointed to look over the submissions. By September 1899, there were two finalists: architecture firm Carrere & Hastings and architect Cass Gilbert. After a plan for the two finalists to collaborate failed, Supervising Architect James Knox Taylor picked Gilbert, who had been his partner at the Gilbert & Taylor architecture firm in St. Paul, Minnesota. The selection of Gilbert was controversial, drawing opposition from Platt and several groups. Some of the opposition centered around the fact that Gilbert was a "westerner" who had just moved from Minnesota to New York City, and several opponents raised doubts about the jury's competence. After Gage certified Gilbert's selection in November 1899, the opposition decreased significantly.


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Gilbert stated that during the design process, a tall dome was suggested in order to make the building into a "landmark" but that "this would wholly destroy the proportions of the building per se, and as a matter of plan, seriously impair its practical usefulness". Gilbert suggested that a 400-foot (120 m) storage tower would be more appropriate if a "landmark" was necessitated, but that such a tower "would add considerably to the cost".
From the start, the Alexander Hamilton Custom House was architecturally distinguished from other buildings in the area. The New York Times said in 1906 that "it is the unity of idea embodied in the new Custom House and enforced by the wealth of sculpture with which it is embellished, more than its mere costliness, that gives to the edifice its unique value". A Times editorial the same year said that, despite the federal government's initial reluctance to decorate the Custom House lavishly, "few recall the money sunk into stone, bricks and mortar; they enjoy the final touches inside on which millions were not squandered". The Wall Street Journal wrote in 1914 that the Custom House "represents the national Government in its economic bases and financial life".
Critical acclaim for the building continued in the decades after its completion. Architectural writer Henry Hope Reed Jr. regarded the Custom House in 1964 as "the finest public building in New York". When the U.S. Customs Service relocated in 1973, Ada Louise Huxtable wrote that 6 World Trade Center's "functional, featureless grid" contrasted with the "splendor" of the Alexander Hamilton Custom House. Architectural writer Robert A. M. Stern stated in his 1983 book New York 1900 that the Custom House and the Ellis Island immigration station were the two structures that reinforced New York City's role as "the leading American metropolis, representative of America's role in the world".
The Custom House was one of the earliest designations of the New York City Landmarks Preservation Commission, becoming an official exterior landmark in October 1965, six months after the commission's founding. At the time of the exterior designation, the commission said that "At some time in the future this building may be in jeopardy", since the federal government had doubted whether the Custom House should be made a city landmark. The Custom House's interior was also designated an official city landmark in January 1979. The building was listed on the National Register of Historic Places in 1972, the designation covering both its exterior and public interior spaces. The site was also declared a National Historic Landmark in 1976. In 2007, it was designated as a contributing property to the Wall Street Historic District, a NRHP district.


Alexander I Palace in Taganrog is a one-story stone building in Russian classicism style on Grecheskaya Street, 40 where Russian emperor Alexander I died in 1825.
The mansion was built in 1806 and belonged to different owners. The most significant of them was the Governor of Taganrog Pyotr Papkov. Emperor Alexander I of Russia stayed there twice – in 1818 and 1825. After his death the building was bought by his widow empress consort Elizabeth Alexeievna (Louise of Baden) and the first memorial museum in Russia dedicated to the Emperor was established there. Among the visitors to the palace of Alexander I were the Russian emperors Alexander II of Russia and Alexander III, poets Alexander Pushkin and Vasily Zhukovsky, artist Ivan Aivazovsky, People’s commissar of enlightenment Anatoly Lunacharsky, and many others.
For 12 years beginning in 1864 an amateur choir conducted by Pavel Chekhov (Anton Chekhov's father) sang in the Church of Exaltation of the Cross, which was established within the mansion to honor the emperor. At the end of 1860s – beginning of 1870s Alexander, Nicolas and Anton Chekhov sang there in choral parts of descant and alto. In 1928 the memorial museum was closed and some of the exhibits were moved into the Alferaki Palace.
The building of the Palace of Alexander I houses a children’s sanatorium called “Beryozka”.


WikiWeb_Alexander Nevsky Cathedral, Howell_1

The Saint Alexander Nevsky Church was established in 1936 by Archbishop Vitaly (Maximenko) (Russian: Виталий (Максименко)) on a tract of land donated by Yulia Martinovna Plavskaya. The initial chapel, dedicated to the memory of the great prince St. Alexander Nevsky (1220–1263), was blessed in May, 1936. The church building was subsequently expanded three times.
In 1987, ground was cleared for the construction of the new church and on September 12, 1989, on the Feast Day of St. Alexander Nevsky, the cornerstone was laid and the relics of St. Herman of Alaska placed in the foundation. The imposing edifice, completed in 1997, is the work of Nikolaus Karsanov, architect and Protopresbyter Valery Lukianov, engineer. Funds were raised through donations.
The Great blessing of the cathedral took place on October 18, 1997, with seven bishops, headed by Metropolitan Vitaly Ustinov, and 36 priests and deacons officiating, some 800 faithful attended the festivity. The old church was rededicated to Our Lady of Tikhvin.
Metropolitan Hilarion (Kapral) announced, that cathedral will officially become the episcopal See of the Ruling Bishop of the Russian Orthodox Eparchy of Eastern America and New York and the administrative center of the Diocese on September 12, 2014.


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The cathedral is richly decorated and has eleven bells cast in Saint Petersburg, the largest of which weighs about 16 tons, more than the other ten combined. It has three altars, with the northern altar dedicated to Vladimir I and the southern to St. Sergius of Radonezh.
The base of the building is Finnish granite. In the five onion domes, gilded iron crosses are seen. Inside are three gilded, carved wooden iconostases, along with four icon boxes. The icons of the iconostasis and icon boxes were painted in St. Petersburg on copper and zinc plates. The windows are decorated with stained glass.


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From the middle of the 18th century, the Russian delegation held services in Copenhagen, first in a small chapel in Laksegade and later in Store Kongensgade. The Alexander Nevsky Church was built from 1881 to 1883 by the Russian government; Tsar Alexander III personally provided funds for the construction, a project prompted by his Danish-born wife Maria Feodorovna, a daughter of Christian IX of Denmark. The acquisition of the site on Bredgade (Broad Street) was arranged by Carl Frederik Tietgen and it has been reported that the Tsar disapproved of the selected location for religious reasons, since tradition called for a free-standing building.
The church was designed by Russian architect David Ivanovich Grimm who was a professor at the Imperial Academy of Arts in Saint Petersburg. His project had previously been chosen among 15 entries in architectural competition. The Danish architect Albert Nielsen was charged with the practical execution of the building under supervision of Ferdinand Meldahl.
In September 1883 Provost Yanysev, Chancellor of the Theological Academy in St. Petersburg, came to Copenhagen to consecrate the church, assisted by the congregation's priest and a monk from Alexander Nevsky Lavra in St. Petersburg. Representatives of the Danish,  Russian and Greek Royal families were present at the ceremony.


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The exterior of the church is dominated by the three onion domes which top the gable facing the street. The design takes its inspiration from 17th century Muscovite architecture. The facade is executed in red and grey bricks with sandstone ornamentations. High on the facade, in a niche above the bells, is an icon of Alexander Nevsky, the church's patron saint, painted by Fyodor Bronnikov.


The Alexander Ramsey House is a historic house museum in Saint Paul, Minnesota, United States; the former residence of Alexander Ramsey, who served as the first governor of Minnesota Territory and the second governor of the state of Minnesota. It was listed on the National Register of Historic Places in 1969. It is also a contributing property to the Irvine Park Historic District.
It is located at 265 Exchange Street South in the Irvine Park area, which was one of the first trendy neighborhoods in Minnesota. Designed by noted early Minnesota architect Monroe Sheire, the house is one of the nation's best-preserved Victorian homes, featuring carved walnut woodwork, marble fireplaces, crystal chandeliers, and many original furnishings.
The Ramsey family began building the house in 1868, including innovations like hot water radiators, gas lights and hot and cold running water, and when it was completed in 1872, the total cost of construction was nearly $41,000. To furnish the house, Ramsey's wife Anna filled two boxcars with fashionable and expensive Renaissance-revival furniture from the A.T. Stewart Company Store in New York to bring home to Minnesota.
The Ramseys' daughter Marion married Charles Furness in a lavish wedding in the parlor in 1875.
The 15-room house remained in the Ramsey family until the death of Alexander Ramsey's last surviving granddaughter Anita in 1964.  The house and its contents were left to the Minnesota Historical Society, which now operates it as a museum with tours offered year-round. They offer special programs such as "A Victorian Christmas at the Ramsey House" in which the house is decorated for the holidays and visitors can discover how the Ramseys would have prepared for and celebrated Christmas. Tours show the dining table set with the family's china and crystal, with a Christmas tree decorated with the family's own ornaments.


In the summer of 1875, then Governor-General of Russian Finland (1866-1881) Count Nikolay Adlerberg (of Swedish noble descent), a frequent theatregoer, received Alexander II of Russia's permission to build a Russian theatre for Russians living in Helsinki. The building was designed by the engineer Colonel Pjotr Petrovitš Benard, though probably on the basis of standardized drawings. The auditorium of the theatre was decorated by the Saint Petersburg architect Jeronim Osuhovsky, and the Finnish artist Severin Falkman decorated the ceiling paintings, which contain twelve cupids reminiscent of the Mariinsky Theatre in Saint Petersburg. The theatre's technology was designed by Iosif Vorontsov; the theatre itself was completed in October 1879, and in February 1880 it was named after Russian Tsar Alexander II.
The grand opening occurred on 30 March 1880 with Charles Gounod's Faust.
In 1918 the Finnish National Opera and Ballet moved to the Alexander Theatre, and remained in the premises until 1993. After the Finnish National Opera and Ballet moved to their newly built house, the Alexander Theatre  got back its historical name and once again became a theatre venue.
Since 1993, the theatre has been used for guest stage performances of various genres. The complex also houses different offices, rehearsal facilities, dance studios and different companies.
The Alexander Theatre is reportedly haunted by the ghost of a dead officer. It is assumed that he died during the Crimea War and moved to Helsinki, as the tiles of Alexander Theatre were moved there from Åland.


The bridge now provides an important commuter link between Ottawa and Gatineau. The roadways for vehicles are located on the centre and east decks. Centre deck road surface is paved while the east deck is a metal steel grating.
The west deck provides a panorama of the Ottawa-Gatineau skyline, the Ottawa River and Parliament Buildings. That deck is used by rollerbladers, cyclists, and pedestrians, and is on the official route of the Trans Canada Trail. The bike lane of the bridge links to two major cross-town bike paths. In Gatineau, there is the Voyageur Pathway that links the Aylmer and Gatineau sectors, while in Ottawa there is the Ottawa River Pathway's western section that links downtown to Carling Avenue. A third pathway, De l'Île, travels through the Old Hull section beside Boulevard des Allumettières (formerly called Boulevard Saint-Laurent), the road that continues after the bridge on the Gatineau side making a single stretch of road from Eardley Road to the former CFB Rockcliffe.
At both ends of the bridge are two major museums. In the Gatineau side of the river is the Canadian Museum of History while on the Ottawa side is the National Art Gallery while the Canadian Mint Museum and the former Canadian War Museum was located beside the Gallery. Also, on each end of the bridge are two major parks: Major's Hill Park (Ottawa) and Jacques Cartier Park (Gatineau) two major venues of the Canadian Tulip Festival and the Canada Day festivities.
Each day the bridge carries roughly 15,000 vehicles, 2000 pedestrians and 1300 cyclists, as of 2009. A two-year rehabilitation project which began in 2009, included various structural improvements and replacements of the centre concrete deck, the wood boardwalk and guardrails.
Nepean Point overlooks the bridge from the Ottawa side. The Rideau Canal meets the Ottawa River immediately upriver of the bridge's Ottawa abutment.
On July 16, 2011, the bridge was closed to public traffic so that an episode of the television series Michael: Tuesdays and Thursdays could be filmed.


The Alexandra Falls (Slavey: Hatto deh Naili) is a 32 m (105 ft) waterfall located on the Hay River in the Northwest Territories. The falls, the third highest in the NWT, form part of the Twin Falls Gorge Territorial Park and has its own day use area with a 3 km (1.9 mi) trail to the main campsite at Louise Falls (15 m drop), the second of the Twin Falls. Situated on the Mackenzie Highway the falls are about 10 km (6.2 mi) southwest of Enterprise and 43 km (27 mi) southwest of Hay River.
Both Ed Lucero and Tyler Bradt, whitewater kayakers, have successfully gone over the falls in kayaks. Traditional Dene lore says that the two falls are two spirits, Grandmother and Grandfather, who protect the area.


Alexandra Park is an 80–hectare, Green Flag Award, and Green Heritage winning, diverse-landscape park, in the Borough of Haringey in north London adjacent to Hornsey, Muswell Hill and Wood Green.
Laid out on the site of Tottenham Wood and the later Tottenham Wood Farm, the park and palace were named in 1863, the year of the marriage of Alexandra of Denmark to the Prince of Wales who became King Edward VII.
Alexandra Park is split between hilly and flat ground. The tree-lined hill has wide views from slopes and many areas of the relatively large hilltop. Of note is the view from Alexandra Palace which dominates the park, particularly its Panorama Room. On most days the Crystal Palace Transmitter and/or the North Downs in Surrey are visible. From 1936 to 1981, the BBC transmitted TV programmes from a tall mast built onto one of the towers of the palace. In 1980, most of the palace was gutted by a huge fire. The building has since been restored and is now a conference and exhibition centre.


An Act of Parliament in 1900 changed the status of the park from private ownership to a public trust. The first company was set up in the 1850s to build an educational, recreation and events venue to rival south London's Crystal Palace which took the main structure of the Great Exhibition, 1851 from Hyde Park, London. The Act created the Alexandra Palace and Park Trust, by which the Trustees were bound to maintain the Palace and Park and make them available for the free use and recreation of the public forever.
Until September 1970, the park hosted horse racing, including many evening meetings that were televised by the BBC. The Alexandra Park Racecourse on the plain below the palace was nicknamed "the Frying Pan" owing to its shape, featuring an ornate Victorian grandstand and cast-iron railings. For eight decades the whole venue had up to three stations, one of which was a tram station, to enable more visitors — for more details see Alexandra Palace railway station (1873–1954). Its most prestigious race was the London Cup. Alexandra Park Cricket Club and Football Club occupy most of the former site, sporting facilities for the local community.
A medium-sized lake attracts a variety of waterfowl in all seasons, and used to have a large enclosure housing a small herd of fallow deer. The deer were moved to Devon in early 2016. The Park was declared a Local Nature Reserve in 2013, and is also a Site of Borough Importance for Nature Conservation, Grade 1.


The Park hosts a variety of events throughout the year; food, craft and beer festivals, a summer festival, a fireworks festival in November and a weekly Parkrun each Saturday morning.
The Friends of Alexandra Park organise walks, such as fungi, tree, wild flower, history and bat.
At the foot of Muswell Hill, the park is host to a farmers market most weeks.


Three means of access exist:
the frequent W3 bus (connections at Wood Green and Finsbury Park tube stations)
a relatively brisk 8–10 minutes walk uphill from Alexandra Palace railway station
Car/motorbike/cycle parking, with motor parking limited by reservation for events


WikiWeb_Alfréd Hajós National Swimming Stadium_0

The Alfréd Hajós National Swimming Stadium is an aquatics complex located on Margaret Island in Budapest, Hungary.The facility has four floors, covers an area of about 80,000 square meters and has eight indoor and outdoor pools, including training pools, diving pools and competitive swimming pools both for short course and long course.
The indoor swimming pool was built in 1930, off the plans of the renowned Hungarian swimmer and architect Alfréd Hajós, of whom the centre takes its name after. Eszter Pécsi, Hungary's first female architect and structural engineer, designing the articulated reinforced concrete arches. The outdoor swimming pool and the diving facility were completed in 1937, since then they have expanded and improved several times.
Recently the facility was renovated before the 2006 European Championship, with an additional outdoor 50-meter pool and diving pool, named after Tamás Széchy. This brought the total number of indoor and outdoor pools up to 8 including an international standard diving platform for professional and amateur athletes.
The Hajós Alfréd National Sports Club has hosted many world competitions and regularly hosts international water polo tournaments.
The venue was the home of the European Aquatics Championships in 2006 and 2010 and the 2014 Men's European Water Polo Championship and 2014 Women's European Water Polo Championship competitions.


The Alfred E. Smith  Building, known officially as the Alfred E. Smith State Office Building and sometimes called simply the Smith Building, is a structure located in downtown Albany, New York across the street from the New York State Capitol and One Commerce Plaza. The building's namesake, Alfred Emmanuel Smith, was a four-term governor of New York and the Democratic Party's nomination for the 1928 presidential election. The Art Deco skyscraper has 34 stories and at 388 feet (118 m) is Albany's second tallest structure (after the Erastus Corning Tower). Completed in 1928, it houses offices of the New York State government. Built originally with an observation deck on the 31st floor, the 350-foot-high (110 m) open-air deck was closed in 1976 when the 589-foot-tall (180 m) 42nd floor enclosed Corning Tower Observation Deck was opened. An extensive renovation of the building began in 2002. This modernization, which cost at least $103 million, is now finished.
Prior to reconstruction, the building was home to the state Comptroller's Office.  With the renovation complete, the new tenants include the New York State Department of Civil Service, Department of State, New York State Banking Department, New York State Liquor Authority, and Division of the Budget.
The Alfred E. Smith Building has several distinctive features. These include the engraving of the names of all 62 New York State counties around the street-level facade and an Art Deco lobby with a mural depicting famous New Yorkers. A tunnel connects the building to the Capitol. The skyscraper is constructed of limestone and granite, and has views of Albany and the nearby landscape.


The house is a 14th-century Wealden hall house. Although the name reflects the fact that the parish priest and his housekeeper used it, the house was originally built as a farmer's house. It is a very modest property — not at all like the grand rectories that many Church of England clergy occupied by the 19th century. It is a low-ceilinged, two-storey, timber-framed building with a thatched roof. Part of the house was rebuilt in the 17th century.

It is commonly said that a detail on a cornice wood carving of an oak leaf, may have inspired the National Trust's emblem, but there is no evidence to prove that claim. It has a rare chalk and sour milk floor which resembled an early form of cement. Outside there is a small but well-planted cottage garden, which was designed by Graham Stuart Thomas.


Alger Falls is a waterfall located along highway M-28 (Michigan highway) in Alger County, Michigan near Munising at the junction with M-94.  The falls consist of a series of drops, the highest of which is about 15 feet (4.6 m).  The falls can be seen from the highway. The level of water coming over the falls can vary greatly depending on snow melt or rainfall.


The Algeti National Park (Georgian: ალგეთის ეროვნული პარკი, algetis erovnuli parki) is a protected area in Georgia, in the southeast of the country.
It lies in the region of Kvemo Kartli, within the Municipality of Tetritsqaro, some 60 km southwest of the nation's capital, Tbilisi.
The Algeti National Park stretches along the upper Algeti valley at the woody southern slopes of the eastern Trialeti Range, with the highest point being Mount Kldekari at 2,000 m above sea level. The park was founded under the Soviet government in 1965 as a state reserve to protect the easternmost limits of the Caucasian Spruce and Nordmann Fir. In 2007, it was reorganized into a national park.


Alghero Cathedral, otherwise the Cathedral of St. Mary the Immaculate (Italian: Duomo di Alghero; Cattedrale di Santa Maria Immacolata Catalan: Catedral de l'Alguer; Catedral de Santa Maria Immaculada), is a Roman Catholic cathedral in Alghero in the province of Sassari, Sardinia, Italy. It is located in the historic center of the city. It was the seat of the Bishop of Alghero from 1503 to 1986, and since 1986 has been that of the Bishop of Alghero-Bosa.
Alghero was designated as a diocesan seat in 1503 but construction work on the cathedral did not begin until 1567. It was inaugurated in 1593 but was not finished. After several restorations it was consecrated in 1730.

The church was originally in Catalan-Gothic style, as can be seen in the five chapels and ambulatory of the presbytery, which also includes the octagonal base of the bell tower. The nave and the two aisles are however in Late Renaissance style. The main altar was designed by the Genovese artist Giuseppe Massetti (1727): the sculpture shows Mary the Immaculate flanked by angels.  He also designed the ambulatory and the pulpit. In 1862 a Neo-Classical narthex was added to the façade, which dramatically changed its appearance.
The first chapel on the right side is dedicated to the Blessed Sacrament. Its imposing, marble altar was inaugurated in 1824. It is located inside a circular temple, reminding the Temple of Vesta in Rome.
The cathedral is the burial site of the Italian-born Duke of Montferrat (1762-1799) and his brother Count of Asti (1766-1802) who died on the island having caught malaria. The marble mausoleum was sculpted by Felice Festa in the early 19th century.


River Algibre (Portuguese pronunciation: [aɫˈʒiβɾɨ]) is a small river in the Portuguese region of the Algarve. The Algibre River is formed by the confluence of the Mercês (Ribeira das Mercês) and Benémola (Ribeira da Benémola) rivers close to the village of Querença in a small fertile valley. The area is characterized by many derelict sluices and dams that date back to the period of Arab occupation, during which the whole area was irrigated and agriculture was the predominating activity of this land. The river along with the Alte River, another tributary, becomes the River Quarteira after the two rivers conflux. The river runs eastwards for 21.7 kilometres (13.5 mi) from its start at the confluence of.


The neighborhood near the point described above came to be called Algiers Point beginning in the 1970s. At that time a community movement began to emphasize the historic and aesthetic aspects of the neighborhood's houses and other assets, as contrasted to other sections of Algiers, especially newer, post-World War II residential areas.
The size and boundaries of the neighborhood depend on colloquial or legal context, but a conservative description is the approximately 50 city blocks bounded by Opelousas Avenue, Atlantic Avenue and the river. The Algiers Point National Historic District is bounded on the south by Slidell Avenue instead of Opelousas Avenue. The southern boundary of the city-regulated Algiers Point Historic District, as defined by the New Orleans Historic District Landmarks Commission, is Newton Street.
Some of the houses and other structures in Algiers Point predate the American Civil War, but most were built in the period immediately after a catastrophic 1895 fire which destroyed hundreds of structures in the area.
Numerous small businesses such as bars, restaurants, coffee shops, and professional services are located here, creating a mixed use neighborhood.


The Grain Exchange is an example of Neoclassical ideas. The original design was drafted in 1796 by Josė Alejandro Durán y Villaseñor, who was the master of public works. Josė de Mazo y Avilés modified the plans later.
It measures 72 by 68 metres, with a height of 23 metres, and occupies an area of 4,828 square metres. It is constructed on the side of a hill and two of its sides are surrounded by elevations. There are no ornamental facets on the exterior, except for a few windows at the top of each storage room. It has cornices built in a Doric style, constructed with two types of regional stone—reddish and greenish. This gives it a curious appearance, resembling a stronghold or a castle, which it has come to be called by the people of Guanajuato. In the interior, there is a porch that leads to a spacious central patio. The porch contains Tuscan columns and adornments. There are two staircases that lead to the upper floor. The Grain Exchange building has only two access doors, a small one facing the east, adorned by two columns, and a large door of the same basic style, facing the north. The edifice was used for the buying and selling of wheat, corn, and other grains. Prior to the Mexican independence from Spain, it was used as a warehouse, military barracks, and prison. Currently it serves as a regional museum.


Alhamra Arts Council (also known as the Alhamra Hall, Alhamra Cultural Complex, Alhamra Art Gallery and Lahore Arts Council) was designed by Nayyar Ali Dada and completed in 1992.
The Alhamra Arts Council is located on a colonial-period road in Lahore, Pakistan, that was formerly known as Mall Road and has been renamed as Shahrah Quaid-e-Azam. The origins of the arts complex lie in an initial commission of Nayyar Ali Dada to design a 1000-seat auditorium for the Alhamra Arts Council (AAC), of which he was a member. The AAC had been given the site by the government in the years immediately following independence but had generally staged its performances outdoors. The auditorium was completed in 1979 and replaced some temporary buildings.
A further three phases of construction followed that of the auditorium. There were commissioned from Dada by the Lahore Arts Council, a government agency that took over the project from the non-governmental Alhamra Arts Council following a dispute concerning ownership of the land. The first of these phases was completed in 1984 and consisted of offices and art galleries housed in four octagonal structures. In the following year, a 450-seat theatre in hexagonal form was added to the existing auditorium and, in 1992, an octagonal 250-seat facility for lectures and recitals was completed. The buildings are placed in a manner that creates semi-enclosed courtyards and the various polygonal shapes in their design are intended to enhance acoustics when used for performances.
The structures are influenced by Mughal architecture and are constructed using a veneer of handmade red bricks overlaying a concrete form. The bricks are bonded with a local mortar and reflect the construction of the historic Lahore Fort and Badshahi Mosque, as well as the red sandstone that was favoured by the Mughals.
The design was a winner of the Aga Khan Award for Architecture in 1998, when the jury described it as "a rare example of flexible spaces that has enabled several additions to be made over time, each of which has in turn enhanced, rather than detracted from, its overall architectural value.


The Alhorines Valley (Spanish: Valle de los Alhorines) is a valley and a major grain producing area of the provinces of Albacete, Alicante and Valencia in Spain. Historically it was long disputed between the towns of Caudete and Villena. A large solar thermal power plant has recently been built in the valley. The lesser kestrel was re-introduced in 1997. Conservation measures have been taken to minimize impact of the power plant on the birds.


The Aliʻiōlani Hale was designed by Australian Thomas Rowe in an Italian Renaissance Revival  as the royal palace for King Kamehameha V. In the Hawaiian language, Aliʻiōlani Hale means "House of Heavenly Kings". The name "Aliʻiōlani" was also one of the given names of Kamehameha V.
Although the building was designed to be a palace, Kamehameha V realized that the Hawaiian government desperately needed a government building. At that time, the several buildings in Honolulu used by the government were very small and cramped, clearly inadequate for the growing Hawaiian government. Thus, when Kamehameha V ordered construction of Aliʻiōlani Hale, he commissioned it as a government office building instead of a palace.
Kamehameha V laid the cornerstone for the building on February 19, 1872. He died before the building was completed, and it was dedicated in 1874 by one of his successors, King David Kalākaua. At the time, Hawaiian media criticized the building's extravagant design, suggesting that the building be converted into a palace as originally designed.
Until 1893, the building held most of the executive departments of the Hawaiian government as well as the Hawaiian legislature and courts.


The growing size of Hawaiʻi's government continued to be a problem for the building, however, especially after Hawaiʻi became a United States territory in 1900. In 1911, the building was extensively renovated to help solve these space problems. The entire interior of the building was gutted and rebuilt, giving the building's interior a completely new floorplan. Since the building was originally designed to be a palace, its floorplan was not adequate for its later usage as a judicial building. The new layout of the building fixed this problem.
The size of the territorial government continued to grow. In the 1940s, a new wing was added to the building to help alleviate the growing problem of overcrowding. The architects who designed the new wing tried to blend it in with the original building that dated back to the 1870s.
Over the next many decades, most of the state judiciary functions moved out of Aliʻiōlani Hale to various other buildings around Honolulu (including the state district, family, and circuit courts). Today, the building houses the Hawaiʻi State Supreme Court and is the administrative center of the Hawaiʻi State Judiciary. It also houses the Judiciary History Center, a museum featuring a multimedia presentation of Hawaiʻi's judiciary, a restored historic courtroom, and other exhibits dealing with Hawaiʻi's judicial history. The building also houses Hawaiʻi's largest law library.
In December 2005, a capsule buried by Kamehameha V when he laid the cornerstone was located, at the direction of the Joint POW/MIA Accounting Command, by Professor Larry Connors of the University of Denver using ground penetrating radar. The capsule contained photos of royal families and the constitution of the Hawaiian Kingdom, Hawaiian postage stamps, Hawaiian and foreign coinage, newspapers, a calendar and books.  The capsule was located to protect it during future renovations, and not retrieved due to concerns of damaging the structure of the building itself.
Copper thieves stripped several copper downspouts from the building in 2006.
In the 2010 version of CBS' Hawaii Five-0 TV series, Aliʻiōlani Hale is depicted as the Iolani Palace; headquarters for the Five-0 task force with exterior shots of the building being used frequently throughout the series.
Aliʻiōlani Hale is one of many buildings in downtown Honolulu listed on the National Register of Historic Places. Within walking distance are the Cathedral of Our Lady of Peace, Hawaiʻi State Capitol, Hawaiʻi State Library, Honolulu Hale, ʻIolani Palace, Kawaiahaʻo Church, Territorial Building, and Washington Place.


Ali Botush (Bulgarian: Али ботуш), also spelled Alibotoush, is a nature reserve in the small mountain range of Slavyanka, located on the border between Bulgaria and Greece. The reserve occupies the northern section of the mountain which lies within the territory of Bulgaria and takes its name from the old name of Slavyanka. It is situated in the municipalities of Sandanski and Hadzhidimovo, Blagoevgrad Province. It was declared in 1951 to protect the largest forests of the endemic Bosnian pine (Pinus heldreichii) in the Balkan Peninsula. Its territory was further expanded several times and spans an area of 1638 ha or 16,38 km². It was declared a UNESCO Biosphere Reserve in 1977.
The reserve was created to protect the largest forests of Bosnian pine (Pinus heldreichii) in the Balkans and is renowned for its rich flora — over 1500 species found within its limited territory.


The reserve is situated on the northern slopes of the Slavyanka mountain range at altitudes between 1140 and 2212 m. It is separated from the Pirin mountain range further north by the Paril Saddle. The mountain is formed by metamorphic Paleozoic limestone and marble that cover a granite nucleus. The territory of Ali Botush has varied geomorphological forms and a number of ridges, such as Brezata, Saint Constantine, Mitnitsata, Tepleshki Peak and Chaplen Bair.
The reserve falls within the continental Mediterranean climate zone and due to its high altitude it also has Alpine climate. However, the Mediterranean influence is very strong and determines the rainfall regime, which has an autumn-winter maximum and a summer minimum. The mean temperatures in winter are much higher than the average temperatures at the same altitudes in the rest of the country. The influence of the foehn wind is very strong in the winter.
The average annual temperature for the lower parts of the reserve is 14 °C and for the highest — about 6 °C. The average duration of the period with temperatures above 10 °C for the low sections of the reserve is 200−220 days and for the high — 130 days. The annual precipitation ranges between 700 and 900 mm, and surpasses 900 mm in the highest zones. Due to the karst relief of the mountain the surface water resources of the reserve are scarce. The streams are sustained mainly with underground waters; rain provides 25−30% of the total flow volume, whereas snow forms another 20−25%.
The soil covers consists of cinnamon forest soils in lower ground and brown forest soils at higher altitude. The humus-carbonate soil type predominates but there are also mountain-meadow soils in the highest sections. The humus-carbonate soils are shallow to moderately deep. They are usually dry and warm.


The fauna of the reserve is also varied. The most common larger mammals include brown bear, gray wolf, roe deer, wild boar, European hare, red fox, European badger and golden jackal. The reptiles are diverse and include two species of turtles, spur-thighed tortoise and Hermann's tortoise, as well as numerous snakes and lizards, such as the rare European cat snake and the Erhard's wall lizard. It is the only place in Bulgaria where the Macedonian crested newt is found.
Of the invertebrate species between 55 and 60% belong to the Mediterranean biome. So far, over 1200 insect species have been described from the reserve. The diurnal butterflies are of particular interest. In 1992 biologist Zdravko Kolev identified five new butterfly species for Bulgaria — eastern greenish black-tip (Euchloe penia), Phalakron blue (Polyommatus andronicus), Grecian anomalous blue (Polyommatus aroaniensis), Higgin's anomalous blue (Agrodiaetus nephohiptamenos) and Dils' grayling (Pseudochazara orestes); of them all except for the eastern greenish black-tip are Balkan endemic species and all other than the Grecian anomalous blue can be observed in Bulgaria only in Slavyanka and Pirin mountains.


The mosque was built according to the classical Ottoman architectural style. A dome covers the prayer area and three smaller domes cover the cloister. Its proportions make it the largest sub-dome mosque in Bosnia and Herzegovina. The grounds of the complex contain a mausoleum (türbe) with two sarcophagi—those of Avdo Sumbul and Behdžet Mutevelić, Gajret activists who died in the dungeons of Arad. The Ali Pasha Mosque was heavily damaged by Serbian forces during the Bosnian War of the early 1990s, especially the dome. The most recent renovation of the mosque occurred in 2004 and in January 2005, the Commission to Preserve National Monuments issued a decision to add the Ali Pasha Mosque to the list of National Monuments of Bosnia and Herzegovina.


It was originally built in the 1690s/early 1700s as a one-room Dutch Colonial House on the shore of New York harbor, near the Narrows with brothers Jacob Johnson and Lambert Johnson being the likely first occupants. The brothers Johnson purchased 120 acres of land from George Brown in 1698. Jacob Johnson's mother-in-law was Winifred King Benham, who was tried for witchcraft in Wallingford, Connecticut, and may have been a resident of the house after her acquittal and virtual banishment.
The house was remodeled and expanded several times in the 1800s, most notably after John Haggerty Austen, Alice's grandfather, purchased, renamed, and remodeled it in 1844.
In the 1950s and 1960s, photographers Berenice Abbott and Philip Johnson led a group of historic preservationists to save the house from being demolished. It was added to the National Register of Historic Places in 1970 and became a New York City Landmark in 1971. It was purchased by New York City in 1975 and opened to the public. In 1993 it became a National Historic Landmark, and in 2002, it became a Historic Artist Home and Studio.


Alice Austen House participates as a museum in the Smithsonian program of Museum Day events. In 2016 Austen House presented its first juried triennial exhibition, Staten Island Unlimited featuring 35 photographers from three boroughs of New York. During the members' preview reception of the show, a toast was made to Alice Austen's 150th birthday. Other activities included Triennial Talks, discussions with artists about their work on the subjects of  "Staten Island as Place" and "Staten Island as Community."  The first Staten Island Unlimited was supported by Macy's, Duggal, and, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the New York City Council.
The Alice Austen House permanent collection of Alice Austen's photography, including many of her documentary photos, is being digitized and presented on the museum's website.
In March 2016, the Whitney Museum hosted New Eyes on Alice Austen, a panel discussion in honor of Women's History Month and Alice Austen's 150th birthday featuring, as reported in American Photo magazine, "scholars, academics, and historians who have investigated her incredible work and unconventional lifestyle." The Whitney program was made possible by the National Endowment for the Humanities: Celebrating 50 Years of Excellence.


Alipašino polje (Serbian Cyrillic: Алипашино поље, lit. "Ali Pasha's Field") is a neighbourhood in Sarajevo, Bosnia and Herzegovina, located in the Sarajevo municipality of Novi Grad.
It consists of three sub-neighborhoods: Faza A, Faza B, and Faza C, which include six local communities. They were named after the order in which they were built. The construction of Alipašino Polje was conducted between 1974 and 1979 in accordance with the 1964 general plan of development of Sarajevo. The lowest buildings have 4 floors and the highest ones have 18 floors. During the Bosnian War and the city's siege, many facades and apartments of the buildings in Alipašino Polje were damaged. The neighborhood has an estimated population of 18.662 in its six local communities (mjesne zajednice).


Aliyar lake receives water from Upper Aliyar Reservoir through the hydroelectric power station in Navamali and the Parambikulam reservoir through a contour canal. Aliyar dam, built as a part of Parambikulam aliyar project (PAP), retains a large reservoir. The dam is around 2 kilometres (1.2 mi) in length.
The lowest level outlet of the reservoir is  930 feet (280 m) above Mean Sea Level (MSL) and the canal intake is 980 feet (300 m)  above MSL. The spillway is 1,040 feet (320 m) above MSL and the FRL (Full Reservoir Level) is 1,050 feet (320 m) above MSL. The maximum surface area is 48 hectares (120 acres) (1,600 acres). The volume of water at FRL is 3.864 Tmcft (88,705 acre-feet (109,416,000 m³)). The maximum depth is 41 metres (135 ft)  and the mean depth 16.8 metres (55 ft) . The volume development is 1.2 m. The highest inflow usually occurs during July and August. The shoreline is poorly indented, the shore development is poor and shallow and the Aquatic plants and limnology of the littoral zone is also very limited.


Aljaž Tower (Slovene: Aljažev stolp) or the Triglav Tower (Triglavski stolp) is a tower, a storm shelter and a triangulation point on the summit of Mount Triglav in northwestern Slovenia. Along with Triglav, it is a landmark of Slovenia and a symbol of the Slovenehood. The tower was designed by Jakob Aljaž, a priest in the Upper Carniolan village of Dovje, who also had it erected. Today it is owned by the state, tended by the Ljubljana Matica Alpine Club and stands on a parcel belonging to the Municipality of Bohinj.


In early 1895, hoping to be able to restrain the increased interest of foreigners in the Slovene mountains, Aljaž drew up with a chalk on the floor of his room in the Parish of Dovje plans for a cylindrical tower with a flag on its top. In April that year, he purchased the summit of Triglav for the sum of one Austro-Hungarian gulden from the then Municipality of Dovje. Having done so, he secured himself the right to erect a building on his own real property. The tower was constructed from iron and zinc-coated sheet steel by Anton Belec from Šentvid near Ljubljana. He and four workers brought the parts of the tower to the summit of Triglav and put the tower together in only five hours on 7 August 1895. Its opening ceremony and blessing took place in a small circle on 22 August that year.
Aljaž donated the shelter to the Slovene Mountaineering Society. In the beginning, there were three four-legged chairs, a summit register, a spirit stove, and the image The Triglav Panorama by Marko Pernhart in the tower. It was later repainted and renovated several times by Alojz Knafelc and others. In the communist era, as the highest point of the former Yugoslavia, it was painted red and decorated with a red star. However, it has more or less retained its original appearance. The star was removed shortly before the dissolution of Yugoslavia. On the proclamation of Slovene independence in June 1991, the flag of Slovenia was ceremonially raised at the tower. On 5 October 1999, the tower and its immediate surroundings were proclaimed a site of national cultural importance for Slovenia.
The tower was removed from the summit by helicopter for restoration on September 7, 2018,
and put back on 3 October same year.


The church was built in the 9th century; its tower is the oldest surviving  part from between 850 and 950 AD. The latest restoration was carried out by Charles R. Chorley and Son of Leeds in 1909.  The lower parts of the tower and the central nave walls date from the 9th century  while the upper parts of the tower date from the 10th century.  Between 1000 and 1400 saw the addition of a north and south aisle and the Norman doorway being moved to its present position, however a porch has since been added obscuring much of this doorway.
A north chapel which now serves as a vestry was constructed in 1521 by request of Edmund Mauleverer of Wothersome and he and his son Robert are interred beneath it.  A pipe organ was installed in this part of the church in 1868.  The south chapel was added during the 19th century for Lord Bingley (after whom the adjacent pub is named after).
There is a war memorial to the Great War and the 'World War'.


The church has an Anglo-Saxon west tower and the aisles are from the Norman era. The aisles were widened in the 14th century. The north chapel of 1520 is now the vestry and the south chapel of 1724, which was built for the Bayley family, is the choir vestry.  The church is built of red sandstone with a coursed rubble tower and harrier-dressed gritstone to the chancel and south transept. The porch is ashlar and the roof of stone slate.
The church has a lychgate to Church Lane.


All Hallows Church, Clixby, is a redundant Anglican church in the hamlet of Clixby, about 1 mile (1.6 km) east of the village of Grasby, Lincolnshire, England. It is recorded in the National Heritage List for England as a designated Grade II* listed building, and is under the care of the Churches Conservation Trust.  The church stands to the north of the A1084 road between Caistor and Brigg.


All Hallows is constructed in ironstone and limestone with a slate roof. Some former openings have been blocked by brick. Its plan consists of the chancel, with a west porch which was added in the 1889. At the east end is a single bellcote. The porch has a flat roof, and it incorporates a 13th-century doorway. This has a pointed arch and its decoration includes some dogtooth carving. It is built against the blocked chancel arch, parts of which are still visible, including the ends of the nave arcades. The chancel stands on a plinth, and its north wall is blank. At the east end is a late 14th-century three-light window that was restored in the 19th century. The south wall of the chancel contains a priest's door, now blocked with brick, above which is a two-light window dating probably from the early 14th century. To the east of this is another similar window.


The outlines of the chancel arch are also visible on the inside of the west wall. On each side of it are recesses incorporating re-used 13th-century masonry. In the south wall is a sedilia and in the sanctuary is a piscina, both of which have ogee heads. On the sanctuary floor are Minton tiles.  The ceiling dates from the 19th century and is decorated with Latin inscriptions praising the Virgin Mary.  The font dates from the 15th century and was formerly in a church at Low Toynton in Lincolnshire. It consists of an octagonal bowl with panels containing carvings of angels, other figures, a Tudor rose, and other flowers. The base is also octagonal, and the stem incorporates carvings of saints. At the base of the altar steps is a ledger slab to the memory of a 14th-century priest. This has a Latin inscription around its margin, and is carved with a cross fleury and a chalice.


All Hallows Staining was a Church of England church located at the junction of Mark Lane and Dunster Court in the north-eastern corner of Langbourn ward in the City of London, England, close to Fenchurch Street railway station. All that remains of the church is the tower, built around AD 1320 as part of the second church on the site. Use of the grounds around the church is the subject of the Allhallows Staining Church Act 2010.


The Church of All Saints, Chingford, also known as Chingford Old Church, is a Grade II* listed Church of England church at Old Church Road, Chingford, London E4. Parts of the church date back to the 12th and 13th centuries, but it now forms part of the parish of St Peter and St Paul, Chingford, which took over its role as the parish church in 1844. The church stands on the summit of Chingford Mount and has views westwards towards the reservoirs of the Lea Valley.


All Saints, Margaret Street, is a Grade I listed Anglo-Catholic church in London. The church was designed by the architect William Butterfield and built between 1850 and 1859. It has been hailed as Butterfield's masterpiece and a pioneering building of the High Victorian Gothic style that would characterize British architecture from around 1850 to 1870.
The church is situated on the north side of Margaret Street in Fitzrovia, near Oxford Street, within a small courtyard. Two other buildings face onto this courtyard: one is the vicarage and the other (formerly a choir school) now houses the parish room and flats for assistant priests.
All Saints is noted for its architecture, style of worship, and musical tradition.


All Saints marked a new stage in the development of the Gothic Revival in English architecture. The author and columnist Simon Jenkins called All Saints "architecturally England's most celebrated Victorian church", and the architectural historian Simon Thurley listed All Saints among the ten most important buildings in the country.
The design of the church showed Butterfield (in Sir John Betjeman's words) "going on from where the Middle Ages left off" as a neo-Gothic architect. Previous architecture of the 19th-century Gothic Revival had copied medieval buildings. But Butterfield departed considerably from medieval Gothic practice, especially by using new materials like brick. Charles Locke Eastlake, the 19th-century architect and writer, wrote that Butterfield's design was "a bold and magnificent endeavour to shake off the trammels of antiquarian precedent, which had long fettered the progress of the Revival, to create not a new style, but a development of previous styles". The Victorian critic John Ruskin wrote after seeing All Saints: "Having done this, we may do anything; ... and I believe it to be possible for us, not only to equal, but far to surpass, in some respects, any Gothic yet seen in Northern countries."
Butterfield's use of building materials was innovative. All Saints is built of brick, in contrast to Gothic Revival churches of the 1840s, typically built of grey Kentish ragstone. At All Saints, Butterfield felt a mission to "give dignity to brick", and the quality of the brick he chose made it more expensive than stone. The exterior of All Saints is employs red brick, heavily banded and patterned with black brick, with bands of stone and carved elements in the gate, the church wall and spire. Decoration is therefore built into the structure, making All Saints the first example of 'structural polychromy' in London.
All Saints is particularly celebrated for its interior decoration. Every surface is richly patterned or decorated; the floor in diaper patterned tiles, wall surfaces in geometrical patterned brick, tile, and marble, as well as tiles with painted decoration, large friezes executed in painted tiles, a painted ceiling, and painted and gilded timberwork behind the altar. The architectural historian Nikolaus Pevsner described the interior as "dazzling, though in an eminently High Victorian ostentatiousness or obtrusiveness. ... No part of the walls is left undecorated. From everywhere the praise of the Lord is drummed into you."
The rear of the chancel features a series of paintings on gilded boards, within a delicately  carved brightly patterned gothic screen, the work of Ninian Comper and a restoration of earlier work by William Dyce. The decoration of the Lady Chapel is also by Comper. The north wall is dominated by a large ceramic tile frieze designed by Butterfield, painted by Alexander Gibbs, and fired by Henry Poole and Sons, installed in 1873. It depicts a variety of scenes from the Old Testament, a central Nativity scene and depictions of Early Church Fathers.
The stained-glass windows are limited in All Saints due to the density of buildings around the church. The original windows were designed by Alfred Gérente but his work was not held in high regard and was subsequently replaced. The large west window, which was originally fitted with glass by Gerente in 1853–58, was replaced in 1877 with a design by Alexander Gibbs based on the Tree of Jesse window in Wells Cathedral. The glass in the clerestory dates from 1853 and is the work of Michael O'Connor, who also designed the east window of the south chancel aisle which depicts Christ in Majesty with St Edward Martyr and St Augustine.
The baptistery in the south-west corner of the church is noted for its marble tiling which features an image of the Pelican in her Piety in the ceiling tiles, a symbol of the fall and redemption of man.
 The reredos, by Butterfield, was moved to St Catherine's Church, Wickford, at sometime during the 20th century.


The church's style of worship is Anglo-Catholic, "the Catholic faith as taught by the Church of England", offering members and visitors a traditional style of liturgy, as advocated by the Oxford Movement of the mid-nineteenth century, including ritual, choir and organ music, vestments and incense.
As a traditional Anglo-Catholic parish, All Saints passed a resolution under the House of Bishops' Declaration on 26 November 2016 (affirmed on 13 July 2020  ) to ask that episcopal and priestly sacramental ministry in the parish be exercised by male bishops at whose consecration a male bishop presided and who stand in the historic, apostolic succession of bishops so ordained, and by male priests ordained by such bishops. It receives alternative episcopal oversight from the Bishop of Fulham (currently Jonathan Baker).


WikiWeb_All Saints Anglican Church, Brisbane_5

All Saints Anglican Church was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.
The place is important in demonstrating the evolution or pattern of Queensland's history.
All Saints Anglican Church is important in demonstrating the pattern of Queensland's history, in particular the development of the Anglican Church in Brisbane.
The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage.
The Church demonstrates rare aspects of Queensland's cultural heritage, in particular, as one of the oldest surviving Anglican churches in Brisbane containing the oldest stained glass and containing the organ from St John's Pro-Cathedral.
The place is important in demonstrating the principal characteristics of a particular class of cultural places.
The building is important in demonstrating the principal characteristics of a Gothic influenced, 1860s stone church in Brisbane.
The place is important because of its aesthetic significance.
All Saints Anglican Church is important in exhibiting a range of aesthetic characteristics valued by the Brisbane community, in particular, the siting of the church and surviving early grounds, and their contribution through scale, form, materials and planting to the Wickham Terrace and Ann Street streetscapes and Brisbane townscape. Also highly valued is the quality of the stonework and interior, including stained glass, timber joinery, early furnishings, sculptures and artwork.
The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.
All Saints Anglican Church has a strong and special association with the Brisbane Anglican community as one of the oldest surviving Anglican churches in Brisbane, and with the Anglo-Catholic movement in Queensland.
The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland's history.
The building has a special association with the work of noted architect RG Suter and noted Brisbane artist/sculptor Daphne Mayo.


WikiWeb_All Saints Cathedral, Allahabad_0

All Saints' Cathedral, also known as Patthar Girja (Church of Stones), is an Anglican cathedral located in Prayagraj, India.
Modelled after 13th-century Gothic style churches, it is among the Gothic Revival buildings built by the British during their rule in India. British architect Sir William Emerson, who also designed the Victoria Memorial, Kolkata, designed the cathedral in 1871. It was consecrated in 1887 and was completed four years later. The church celebrates its anniversary on All Saints' Day (1 November) and has been part of the Church of North India since 1970. The cathedral is at the centre of a large open space at the crossing of two of the principal roads of Allahabad, MG Marg and SN Marg.


All Saints Church, Alrewas is a parish church in the village of Alrewas, Staffordshire in the United Kingdom. The church is situated in the north west of the village on the north side of the Trent & Mersey Canal. The church is a Grade I Listed Building. A church has stood on the current site since the 10th century. The current building was mainly built during the 13th, 14th, 16th and 19th centuries.


A church has stood on the current site since at least 822AD. The original building was believed to be made of timber with a roof of thatched reeds. Alrewas at the time was a flourishing settlement in the ownership of Ælfgar, Earl of Mercia and it remained the property of King John until he granted it to Roger de Somerville to be followed by the Griffiths and later, the Turtons.
The Normans replaced the simple wooden church with one of local stone which probably occupied the space in the present nave between the two arcades. The tower doorway, the north aisle door and the heavy rough hewn pieces of masonry in the north wall are the oldest remaining parts of the church dating from the original Norman building.
During the 13th century the fine Early English chancel was added to the church complete with lancet windows, and in the south wall a piscina, a sedilia and priest's door. The small window in the north wall had a bell hung by it which was rung at the Consecration of the Sacrament. The present nave and south aisle were built during the 14th century and the original Norman doorway in the north wall was retained. Other features of the 14th century include the 'horse shoe' arch separating nave from chancel and also the majestic tower, the old Norman west door being re-set at its base.
In the 16th century the church was added to with the insertion of clerestory windows which run the length of both nave and chancel. The beautiful carved timber roofs of the nave and south aisle were also constructed during this period.
In 1877 the chancel was restored, the Early English east window was changed and filled with new stained glass by Holiday. In 1891 the north aisle was built making the church symmetrical, the architect was Basil Champneys. The stained glass in the windows of the north aisle were by Charles Eamer Kempe. The chancel screen was erected in 1892. In 1866 the porch was rebuilt, above which is an old sundial and on the buttress to the right of the porch there is an ancient mass dial.


The church is made up a wide nave with rounded clerestorey windows, a chancel, north and south aisles, Lady Chapel, vestries with organ chamber above, imposing west tower, and north and south porches. It is brick built with flint facing externally, natural stone dressings with trussed timber roof covered with plain clay tiles.
Historic England (formerly English Heritage) describes the church as "a fine example of mid-Victorian church-building by an important architect of the Gothic Revival. It is unaltered externally, and possesses a flint and masonry construction. It has a number of fixtures of interest, including some important 1960s stained glass and a striking roof."
The church has a large four-stage tower at its western end. The tower features a doorway and a four-light window which has, like the other principal windows of the church, flowing tracery. There are three clocks in the third stage of the tower on its north, south and west faces under a gable containing flowing tracery. In the belfry stage the opening on each face is a two-light reticulated window. The tower has diagonal buttresses to its west face, and a NE stair turret which rises above the plain parapets of the top of the tower. The aisles have lean-to roofs and above these, sandwiched in a narrow band below the eaves of the nave, is a clerestory with circular windows with alternating triskele and mouchette-and-quatrefoil infilling. The aisle windows are broad and have flowing tracery in the three lights, alternating in design in each bay. The windows in the Lady Chapel depict Our Lady with the infant Jesus, and were designed by John Lawson of Goddard & Gibbs in 2001. The southern chapel and northern vestry/organ chamber lie under their own gables and have florid three-light fenestration similar to that in the aisles. Both porches have moulded outer doorways. The northern porch is vaulted. An unusual feature of the exterior walls is the widespread traces of former putlog holes, no doubt used for the scaffolding during the construction of the building. These are often found on medieval buildings but were usually carefully filled in and obliterated on Victorian ones. Here they are made a feature of with the side pieces and cappings clearly evident. The hood stops of the arch heads have nearly all been left uncarved.


All Saints dates from the twelfth and thirteenth centuries, with later alterations. It was restored in 1848.


The church is long and narrow, constructed in stone with slate roofs. It has a simple plan consisting of a nave, and a chancel with a south porch. On the west gable is a bellcote with a saddleback roof. Its Norman features include the south and north doorways (the north is blocked), and slit windows towards the east end of the north and south walls of the chancel.
Along the south wall of the nave are three eighteenth century round headed windows. In the south wall of the chancel are, in addition to the slit window, a fourteenth/fifteenth century square headed window, and two lancet windows, one of which has been shortened to accommodate a seventeenth century square headed doorway. The east window has three lights.
The main south doorway in the porch has a semicircular head, carved capitals, and a hoodmould decorated with rosettes. Above the north doorway are two twelfth century carved stones, one depicting two jousting knights, the other with an illegible inscription. Inset in the south wall to the west of the porch is upright female effigy that was probably originally a coffin lid.


All Saints Church is an Anglican church in the hamlet of Buncton in the district of Horsham, one of seven local government districts in the English county of West Sussex.  Built in the 11th or 12th century as a small chapel of ease to a nearby parish church, and hardly changed or restored since, the stone chapel stands behind a "delightful ... wooded ravine" beneath the South Downs and has been called "a real piece of hidden Sussex".  The chancel arch, between the nave and chancel which made up the simple two-room building, had a bizarre 12th-century carving of a person of indeterminate sex exposing their genitalia—until 2004, when an unknown vandal destroyed it with a chisel.  The church is still used for Christian worship, and English Heritage has listed it at Grade I for its architectural and historical importance. The church is also known as Buncton Chapel.


Buncton existed as a settlement at the time of the Domesday survey in 1086, when it was called Bongetune.  Its origins lie in a manor whose land lay within two exclaves of the parish of Ashington within the Rape of Bramber, one of the six ancient subdivisions of Sussex.  The medieval manor house has vanished, but a 17th-century replacement still stands.
The settlement's church was built on a rural site, considered a "picturesque setting", at an unknown date during the Norman period.  Most sources date its construction to the late 11th or early 12th century; others offer no more confident attribution than 12th-century, "1066 to 1200" or "mostly Norman".  An article published in volume 38 of the Sussex Archaeological Collections (1892) dated it to 1150–1180 and attributed its construction to the monks of Sele Priory at nearby Beeding, although a wide-ranging study of Sussex church architecture 15 years later suggested a date of c. 1070 for the nave and chancel arch—partly based on the lack of buttresses.  This date would make the church a Saxon–Norman transitional building.
The church had a chancel with a squared-off east end and a nave with no aisles, with a chancel arch between them.  This "two-cell" style was characteristic of small Sussex churches of the 11th and 12th centuries, especially those around the South Downs.  The walls of both parts are quite high, and have been called "too tall for so small a church".  Some rubble and tiles from a nearby Roman building were used in its construction; an east–west Roman road, the Sussex Greensand Way, on the lower part of the Greensand Ridge passed close to the chapel, and a large villa stood about 1⁄2 mile (0.8 km) away, near the original Buncton manor house.  (The villa's hypocaust was discovered in 1848.)
The chancel was altered in the 13th century, and the east end was further changed a century later.  It was shortened, the east wall was rebuilt with square masonry blocks, and a Decorated Gothic window was inserted.  The church also gained an aumbry and a piscina at this time, and some richly decorative Norman-era masonry arches were inserted in the exterior walls on the north and south sides.  They came from another building—possibly Sele Priory—at some point between the 14th century and the Reformation.  The only significant structural alteration was a 19th-century bellcote; compared to many ancient churches in Sussex, the church remains "delightfully unrestored".  Some modest renovation was also carried out in 1906.  Ancient churches which have survived intact or with minimal alteration often indicate a moribund local economy and loss of local population: local worshippers neither needed nor could afford to update their church.
There have been many changes in the parochial arrangements of the church, and for most of its existence it has been a subordinate church within a larger parish.  It was recorded as a parish church in 1323, and its rectors occasionally administered the church at nearby Wiston.  In the 15th century, though, All Saints lost its parish status as it was linked with St Peter and St Paul's Church in neighbouring Ashington.  Thereafter it served as a chapel of ease to that church.  (Ashington had been split from the parish of nearby Washington in about the 12th century.)  By 1535, the parish and benefice name was Ashington with Buncton.  In 1977, Ashington with Buncton and Washington with Wiston parishes were united into a single large benefice; this legal entity still exists, but by the end of the 20th century All Saints was in the parish of St Mary's Church in Wiston.  St Mary's was declared redundant by the Diocese of Chichester at the end of 2009.
The north impost of the chancel arch had a strange carved stone figure dating from the 12th century.  Although it is common for Norman churches to have carved or painted representations of human faces or figures, Buncton's was a very unusual example: an 8-inch (20 cm) sculpture of a person of indeterminate sex showing its genitals.  It was similar to a Sheela na gig—typically a smiling naked woman with exposed genitalia, common in churches in the Republic of Ireland but rarely seen elsewhere, and reputedly associated with pagan sites, Celtic fertility rites or medieval anti-immorality teaching.  About 30 such carvings exist in Britain.  In December 2004, an unknown person entered the church and destroyed the carving with a chisel, smashing it into dozens of pieces.


All Saints Church is a small, simple building with a tall, narrow profile.  It is built mostly of flint, in common with many Sussex downland churches; some stone rubble and masonry is also visible, and recycled Roman tiles can be seen.  It has been described as being "a little like a stone barn", and its isolation is enhanced by its position in the middle of a field reached through a tree-lined hollow.
The outside of the north wall of the chancel incorporates a pair of Romanesque-style Norman-era blocked arches, described as "extraordinary" by Nikolaus Pevsner (who dated them to c. 1160).  One has beakhead shapes, while the other is made up of intersecting arches and has elaborate decoration and mouldings, with some use of ashlar.  The arches serve no apparent structural purpose; their insertion, in the 14th century, was merely decorative.
The chancel measures 14.5 by 20 feet (4.4 m × 6.1 m): these unusually short proportions are evidence of the work carried out in the 14th century to cut its length back.  It is lower than the nave, which has original Norman doorways in its north and south walls.  The latter is now blocked, and has a crude stone lintel with the remains of a segmental arch above.  The doorway in the north wall survives in good condition, and is flat-arched with voussoirs and wedge-shaped springers.  Three original windows survive in the nave; all are placed very high on the walls.   The chancel's lancet windows, in contrast, were inserted in the 13th century or later.  Its larger east window is in the Decorated Gothic style and dates from the 14th century.
The chancel arch is large and contemporary with the nave.  Square plinths with decorative moulding support shafts with unusual capitals which have abaci with such extensive chamfering that they are almost circular.  The imposts are carved with a series of characteristic Norman designs such as squares and herringbone patterns— although the mysterious carved figure with exposed genitals no longer exists.  Paintings on the adjacent wall of the nave have mostly been lost as well.  The maximum height of the chancel arch is 14.8 feet (4.5 m).
Interior fittings include a piscina inserted in the 14th century.  Pevsner observed that it "manages to get a lot of character into tiny dimensions".


Archaeological work carried out under the nave arcade uncovered an earlier Norman church built on the foundations of the Anglo-Saxon church than the one we see today, constructed at roughly the same time as the Norman motte and bailey at Barley Pound. The current church was built in around 1170 on the order of Henry of Blois, Bishop of Winchester and King Stephen's half brother, possibly with the help of masons who had completed their work on Winchester Cathedral.
On the exterior, the south door and arch, west doorway, blocked north aisle window and string course are all Norman. The Romanesque arches of the nave were constructed on the foundation of the earlier Norman church, with the Transitional chancel being added at the end of the 12th century, probably being started around 1170, and the whole church being completed by the end of the century. The chancel has a quadripartite ribbed vault, with modern plaster between the ribs. The central boss is of the Lamb of God. There was a central tower,
which was removed in 1659, the thrusting out of the responds between choir and nave being visible today, as are distortion in the vault ribs of the chancel.
The west doorway was constructed in c. 1200; Pevsner remarks on its "richly moulded arch", which is capped by a sculpted head.
 The font in the nave is thought to be 12th century,  although the anonymous church guide, as well as Jenkins (who comments it is "as shapeless as a Henry Moore"), claim that it comes from the original Anglo-Saxon church.


In 2015, the church was subject of a criminal investigation. The vicar of the church between 2007 and 2013 was accused of stealing £24,000 from the church by personally taking monies that were paid as part of Church of England wedding and funeral fees. The vicar was found guilty but absconded to Germany before sentencing, eventually handing himself in. He was subsequently sentenced to 2 years and 8 months in prison.


There is uncertainty as to when building work on the church commenced: one source gives a date between 1130 and 1140, while the parish history gives 1080, and the instigator as probably Bishop Walkelin, who rebuilt Winchester Cathedral. The church was probably built on a site where there was a pre-existing Anglo-Saxon structure, the church that we see today being "essentially that of the conquerors". The original church was in the shape of a cross, 110 feet long and 62 feet wide, and is easily identified by the Romanesque arches. The tower is of c. 1150, although the lead-covered broach spire – which can be seen from the South Downs Way – is later, probably 1230, and its decoration – scallops and zigzag – is similar to that found on Winchester Cathedral.
The massive and ornate Tournai font of c. 1130–40,  like three others in Hampshire (Winchester Cathedral, St Michael's, Southampton, and St Mary's Church, Bourne) and three elsewhere in England, is made of Tournai marble (not strictly a marble but a dark limestone). It was probably a gift to the church from Henry of Blois, Bishop of Winchester. The Romanesque friezes on its sides, carved by Flemish masters, depict the creation of Adam and Eve and the Temptation (N face); the Expulsion from the Garden of Eden and Adam being shown how to dig (E); and various animals, birds and dragons on the S and W faces.


Ewan Christian oversaw the restoration of the interior in 1869–70, which saw the removal of the 18th-century high pews and galleries, and there was further rebuilding between 1906 and 1922 by Sir Ninian Comper, including the perpendicular east window in the chancel, which is a copy of the original, the altar and the screen that divides the chancel and Lady's Chapel. The pulpit, made in 1706, was brought from the Church of Holy Trinity, Minories, London in 1906; in the same year new woodwork – quire seats, and screens in the arcade separating the chancel from the south chapel − was installed. The organ dates from 1983 and was built by Peter Wells.
The church hall was built in 2000. A Millennium embroidery that was made by 40 hands was installed in the church in 2008.


All Saints is constructed in flint rubble with stone dressings.  The nave is rendered, and the roofs are felted.  Its plan consists of a two-bay nave, a two-bay chancel, a south porch, a north organ chamber and a west tower.  The tower dates from the 14th century and is unbuttressed.  It has two-light bell openings containing Y-tracery, and a flat parapet.  The nave contains 15th-century two-light windows.  Its north doorway is blocked, and the south nave doorway and porch date from the 19th century.  The chancel has two-light windows on its sides, and a three-light 19th-century east window.
Inside the church is a 14th-century piscina and a sedilia.  The stairs leading to the former rood loft are still present.  The octagonal font dates from the 15th century, and its bowl is carved with shields and flowers.  The reredos and the chancel ceiling were designed by Butterfield.  The memorials include two brasses in the sanctuary, and there is a ledger slab dating from the middle of the 18th century in the chancel.  Many of the fittings have been removed.


All Saints' Church is the ancient parish church of Fulham, in the County of Middlesex, pre-dating the Reformation. It is now an Anglican Church in Fulham, London, sited close to the river Thames, beside the northern approach to Putney Bridge. The church tower and interior nave and chancel are Grade II* listed.


WikiWeb_All Saints Church, Great Saughall_0

All Saints Church, Great Saughall, is located in Church Road in the civil parish of Saughall and Shotwick Park, formerly Saughall and before that Great Saughall, in the county of Cheshire, England. It is an active Anglican parish church in the deanery of Wirral South, the archdeaconry of Chester, and the diocese of Chester. The church is recorded in the National Heritage List for England as a designated Grade II listed building.