WikiWeb_All Saints Church, Great Saughall_1

All Saints was built as a chapel of ease to St Michael's Church, Shotwick.  The foundation stone was laid on 31 July 1895 by the Honorable Mrs Trelawny of Shotwick House.  It was designed by the Manchester architect J. Medland Taylor, and built at an estimated cost of £1,288 (equivalent to £150,000 in 2019).  It opened for worship in 1896, and was consecrated by Francis Jayne, Bishop of Chester, on 23 October 1901. The church was expanded in 1909–10, the architect being Isaac Taylor. The expansion consisted of a north aisle, a spire on the tower and, at the east end, a chancel, sanctuary, organ chamber, and vestry.  The parishioners paid for the new aisle, and the rest was donated by the Vernon family, then living at Shotwick House.  The expanded church was consecrated by the bishop of Chester on 4 January 1911.  All Saints became a separate parish in its own right in 1921.  During the last years of the 20th century the aisle was partitioned off to provide a meeting room with modern facilities.


The tower and nave were built in the early 15th century. The choir was then completed in the late 19th century as was the north nave aisle. The church was then completed by the addition of the porch in the 20th century (The Memorial stone in the Porch suggests that this was done in 1794).


WikiWeb_All Saints Church, Hollingbourne_1

The church was begun in the 14th century and was altered and extended in the 15th century, in 1638, 1869 and 1903. The church is constructed of flint and ashlar stone work and has plain tiled roofs. It was restored in 1876 by George Gilbert Scott, Jr. and is a Grade I listed building.
The nave is adjoined by aisles on the north and south sides and the chancel has a chapel on its north side and a vestry to its south. The west tower comprises three stages. A moulded string course with gargoyles is topped by a battlemented parapet. Single-light cinquefoil headed windows are located on the first stage above the west doorway and on each side of the second stage. The belfry windows are similar, but two-lighted.
The north aisle is late 14th century and contains three three-lighted traceried windows, the easternmost one with a trefoiled head. The attached porch is constructed of flint with a moulded stone coping, inner and outer doorways, and trefoil-headed windows to the sides. The north aisle and the porch are both buttressed. The north chapel has an ashlar stone plinth and a battlemented parapet. Its east window is three-lighted with a segmental head. The chancel is late 14th century and was probably rebuilt after the earthquake of 1382. The east end contains a three-lighted window with cinquefoil-heads and tracery. The north and south walls of the chancel each contain two-lighted windows.
The south aisle is early 14th century with a moulded stone plinth. Buttresses are positioned on the south-west corner and on the south wall. The west end wall contains a three-lighted window and three two-lighted arched and traceried windows are located between the buttress on the south wall. The vestry was built in 1903 and continues the south aisle's moulded plinth. It contains a doorway on the east side and a two-lighted window on the south side.
Internally, the nave is separated from the aisles on each side with 14th-century arcades of three bays of pointed arches with octagonal columns; those to the north being later. The chapel is accessed by steps up from the north aisle and sits above a vault which partly extends under the east end of the north aisle. The nave has a crown post roof with moulded posts and chamfered tie beams. The chancel roof is of simple rafters and the roofs of the aisles are lean-tos. The font is octagonal on an octagonal stem and octagonal base. The pulpit is 17th century and hexagonal. The pews were installed by George Gilbert Scott, Jr.
The vestry contains the Culpeper needlework, a 17th-century embroidery on velvet associated with the Culpeper family, thought previously to have been an altar cloth, but now believed to be a funeral pall.


WikiWeb_All Saints Church, Hollingbourne_2

The church contains numerous monuments and memorials to the Culpeper family, owners of Leeds Castle and Hollingbourne Manor. These include Francis and Johanna Culpeper (d. 1591 and 1597), Philippa Culpeper (d. 1630), Elizabeth Culpeper (d. 1638) and the first, third and fourth Barons Colepeper: John Colpeper (d. 1660), John Colepeper (d. 1719) and Cheny Colepeper (d. 1725). Other memorials include those to Martin Barnham (d. 1610, father of Sir Francis Barnham), Dame Grace Gethin (d. 1697), Samuel Plummer (d. 1705), Baldwin Duppa (d. 1737) and Baldwin Duppa (d. 1764). The memorials for the third and fourth barons and for the two members of the Duppa family are by John Michael Rysbrack.
The churchyard contains a number of Grade II listed 17th-, 18th- and 19th-century table tombs.


All Saints Church in Idmiston, Wiltshire, England, was built in the 12th century. It is recorded in the National Heritage List for England as a designated Grade I listed building and is in the care of The Churches Conservation Trust.  It was declared redundant on 1 April 1977, and was vested in the Trust on 29 September 1978.
The church was built of flint with interspersed limestone in the 12th and 13th centuries. It has a west tower with north and south asiles and a nave. The chancel has a north porch.
The church was heavily restored, including the rebuilding of the upper section of the tower, by John Loughborough Pearson and Ewan Christian in 1865 to 1867. It includes a collection of mediaeval carvings, in the form of elegant corbel-heads, roof bosses, and externally in the form of fearsome gargoyles. The medieval octagonal font is made of Purbeck Marble. The tombs and memorials include those to the family of John Bowle who was the vicar of Idmiston in the 18th century and is known today primarily for his ground-breaking, annotated edition of the early 17th century Miguel de Cervantes novel Don Quixote.
After attendance at the church dwindled, it closed and was declared redundant. It was taken into care by the Redundant Churches Fund (now the Churches Conservation Trust) in 1978. The last service in the church was in 2002.


The settlement of Kedleston was recorded in the Domesday Book, and the first mention of a church here was in 1198–99.  The only remaining part of that church is the Norman south doorway and the adjoining wall.  The greater part of the present church dates from rebuilding in the 13th century.  At some time between 1480 and 1510, the top of the tower was rebuilt in Perpendicular style.  Between 1700 and 1720, decorative features, including vases and a sundial, were added to the east face.
In 1759 building of the present hall started.  The area occupied by the village of Kedleston was replaced by parkland.  In 1884–85 John Oldrid Scott carried out a major restoration.  This included raising the level of the roof line, installing a new timber ceiling, adding a new west window in Decorated style, laying a new floor, and removing the box pews from the nave.  In 1908, Lord George Curzon added the Kedleston Chapel to the north of the nave over a burial vault.  This was a memorial to his wife, Mary, and was designed by G. F. Bodley.
In 1910–12 the stained glass in the windows was replaced and additions were made to it.  The church was declared redundant on 1 April 1983, and was vested in the Churches Conservation Trust on 18 April 1989. There are currently two custodians at this site who are in charge of caring and protecting the church during its opening hours.


The church is constructed in sandstone with Welsh slate roofs.  Its plan is cruciform, with a central tower over a crossing, a nave with a north chapel (the Kedleston Chapel), north and south transepts, a chancel with a clerestory, and a north vestry.  The south doorway is Norman in style, having a round-headed arch decorated with a zigzag pattern, enclosing a tympanum with weathered carvings of beasts.  To the right of the doorway are two two-light windows with flat arches.  Each transept is buttressed and has a window consisting of three stepped lancets.
In the south wall of the chancel is a priest's door, with a lancet window on the left, and a two-light window under a flat arch to the right.  In the clerestory are two-light windows in both the south and the north walls.  The east wall has diagonal buttresses and a three-light window.  Along the top is a parapet, in the centre of which is a sundial.  This is inscribed with the words "We shall", and skulls and crossbones; on its summit are hourglasses.  At the ends of the parapet are urn finials.  In the north wall of the chancel is a two-light window, and the north wall of the vestry has two paired lancet windows.  The Kedleston Chapel has three bays separated by buttresses.  In each bay is a three-light window under which are three trefoils acting as ventilators.
Along the parapet is the inscription "QUIA MULTUM AMAVIT".  The west wall has diagonal buttresses and a three-light window.  Above this is a lancet window in the gable.  The tower is in two stages.  In the lower stage are two lancet windows, and in the upper stage are two-light bell openings on each side. The summit has a battlemented  parapet, with crocketted pinnacles at the corners.


Between the nave and the Kedleston Chapel to its north is a three-bay arcade.  There is an aumbry recess and a piscina in the chancel, and another piscina in the south transept.  The north transept contains the organ.  The font dates from the 18th century and consists of a circular bowl on a polygonal shaft; it has a wooden cover.  The wooden pulpit is from the 19th century, and the brass lectern in the shape of an eagle dates from 1886.  In the chancel are box pews.  The altar is Jacobean in style.  In the arcade is a wrought iron screen with gates.  The church contains light fittings and a corona lucis, also in wrought iron, and five hatchments.
The stained glass in one of the windows in the chancel dates from the 17th century, and was moved into the church in 1910.  The other stained glass dates from the late 19th and early 20th century.  The two-manual organ was built in 1899 by W. Hill and Son of London, and rebuilt and enlarged by the same firm in 1910.
In the church are 35 monuments to the Curzon family; these include free-standing tombs, wall monuments and floor tablets.  They date from the 13th to the 20th centuries.  The largest is a free-standing tomb in the Kedleston Chapel.  It bears the effigies of the 1st Marquess Curzon of Kedleston, who died in 1925, and his wife Mary, for whom the chapel was built and who died in 1906 at the age of 36.  It is a table tomb in white marble; two angels holding the crown of life lean over the effigies.  The memorial was designed by Sir Bertram Mackennal.
In the south transept there is a tomb chest with the effigies of Sir John Curzon and his wife, dating from 1456.  Sir John is dressed in armour, at the feet of the effigies are dogs, and on the sides of the tomb are the figures of their 17 children.  Also in the transept is a plain slab decorated with a cross and foliage to the memory of Thomas de Curzon, who died in 1245.  There are wall memorials to Sir John Curzon, 1st Baronet, who died in 1686, and his wife, Patience, who died in 1642 and to Sir John Curzon, 3rd Baronet who died unmarried in 1727.
There are more memorials in the north transept.  One is designed by Peter Scheemakers to the memory of Sir Nathaniel Curzon, 2nd Baronet, who died in 1719, and his wife Sarah.  A further memorial is to Sir Nathaniel Curzon, 4th Baronet and his family dated 1758, made by Michael Rysbrack to a design by Robert Adam.


WikiWeb_All Saints Church, Little Somborne_1

The oldest parts of the church are Anglo-Saxon. It is recorded in the Domesday Book. The original church had a nave and a chancel, but in 1170 the chancel was removed, the nave was extended towards the east, and a very small chancel was added at the east end. The chancel was removed in the 17th century, the chancel arch was filled in with a wall and a window was inserted.


WikiWeb_All Saints Church, Little Somborne_2

The church is built of flint rubble with stone dressings. The walls are rendered and colourwashed. The roof is tiled. Its plan is simple, consisting of a nave and a chancel in a single range, with a weatherboarded bellcote at the west end. At the east end, within the former chancel arch, is a three-light square-headed window, and above this are two lancet windows. In the north wall of the chancel is a 12th-century single-light window. West of this is a blocked door dating from the same period. Also in the north wall is a Anglo-Saxon pilaster strip made in Binstead stone from the Isle of Wight. In the south wall of the chancel is a 13th-century lancet window. West of this are two single-light square-headed windows. Between these is a Norman round-headed doorway. The west window is 14th-century and has two lights with trefoil heads, and there is a quatrefoil window above it.
The plaster has been stripped from the interior side of the walls, and the floor has been partly removed and replaced by flagstones. South of the chancel arch is a small round-headed niche. The font is 19th-century.


Founded by Archbishop of Canterbury William Courtenay in 1395 as part of a new College of All Saints, the church replaced an earlier one on the site dedicated to St Mary. Courtenay died in 1396 and the church and college were completed by his successor, Thomas Arundel, between 1396 and 1398. Richard II endowed the college with land and income from the Hospital of St Peter and St Paul in Maidstone and from the parishes of Linton, Farleigh, Sutton and Crundale. The college was also granted the advowsons for the parishes. To cover the cost of building the college, Courtenay obtained a bull to levy a charge of fourpence in the pound on all ecclesiastical revenue raised in his archbishopric.
When the college was closed in 1546 following the passing of the Chantries Act, its annual income was valued at £208 6s 2d (equivalent to £126,000 in 2020). The church and the college were separated. The church became the parish church for the whole of Maidstone and the college's estate was granted to George Brooke, Baron Cobham but was forfeited to the crown in 1603 when his grandson, Henry Brooke, the 11th Baron Cobham, was charged with high treason for his part in the Main Plot against James I. In the reign of Charles I the college became the property of Sir Edward Henden and later passed into the family of the Earls of Romney.


The church sits in a small churchyard with the River Medway to the west, the remnants of the college, including its gateway, to the south, the Archbishop's Palace to the north-west and the palace's tithe barn to the north-east. The medieval wall on the north and west sides of the churchyard and the Monckton War Memorial in the churchyard are both separately listed as Grade II structures.
The church is built of rag-stone in the Perpendicular style with buttressed walls and a crenellated parapet. The tower is on the south-west corner and is 78 feet (24 m) tall. It formerly had a spire, which was destroyed by a lightning strike in 1730. It has a nave six bays long with aisles on the north and south sides with a clerestory running the length of the church. On the south side is a chapel originally for the use of the Fraternity of Corpus Christi, a local lay community. The Credence and four-seated Sedilla incorporate a monument to the first master of the college, John Wotton (died 1417). Further monuments exist to Archbishop Courtenay, Lawrence Washington (died 1619), John Davy (died 1631) and a combined memorial to John Astley (died c. 1595), his son Sir John Astley (died 1639) and their wives. Burials in the church include the Astleys, Washington and the three Barons Astley of Reading. In the churchyard is the tomb of William Shipley, founder of the Royal Society of Arts.
The font is early 17th century and the choir stalls feature medieval misericords. The timber roof was replaced in 1886 to designs by John Loughborough Pearson. Pearson also designed screens and the reredos. The church tower has a ring of bells consisting of ten bells ranging from a treble of 5 long cwt 0 qr 26 lb (586 lb or 266 kg) to a tenor of 32 long cwt 0 qr 20 lb (3,604 lb or 1,635 kg). The bells are regularly rung by the church's bell ringing society. The church clock was manufactured in 1899 by Gillett & Johnston and refurbished in 2007. It strikes the quarters and hours using Westminster chimes.
The building is on the Historic England Heritage at Risk Register.


The church has male and female choir directed by the Director of Liturgical Music.


WikiWeb_All Saints Church, Nether Cerne_0

All Saints Church in Nether Cerne, Dorset, England was built in the late 13th century. It is recorded in the National Heritage List for England as a designated Grade I listed building, and is a redundant church in the care of the Churches Conservation Trust.  It was declared redundant on 1 December 1971, and was vested in the Trust on 8 March 1973.
The church and adjacent manor house are built of bands of flint and stone. Most of the church dates from the 13th century, although the tower, with its pinnacles and gargoyle, and porch were added in the 15th.
The interior of the church includes a melon-shaped 12th century font, believe to date form an earlier church on the same site.


By the 11th century there was a church on this site, as recorded in the Domesday Book. The oldest visible parts of the present church are the chancel and the base of the tower, dating from the early 13th century. Between the chancel and tower, the nave has been altered and extended into side aisles, in two stages, and the upper parts of the tower completely rebuilt in the 17th century.
The present church has a nave with gabled aisles of similar height, which extend to flank the western tower. The chancel projects to the east, and is flanked with gabled chapels. The walls are of flint with some rubble included, with the later parts, including the upper stages of the tower, being red brick. The roof is of tiles.


Externally, there are seven buttresses down each side, framing windows of different dates and with tracery in different styles, both Decorated and Perpendicular Gothic as typified in the large windows of the west ends of the aisles, being Decorated on the north side and Perpendicular on the south. See image above. There is a gabled porch on the north side sheltering a doorway with a depressed arch into the north aisle.
The tower, which has 13th-century foundations of flint and rubble has been rebuilt above the level of the eaves in red brick in the mid 17th century. At the lower level is the western portal with a depressed Tudor arch, recently restored, above which rises a traceried window framed by a brick course. The tower rises in two stages, the first having a square-topped mullioned window in the Tudor style.  The belfry level has a large rounded-headed opening with Classical details, including rusticated voussoirs, Ionic pilasters and a brick entablature. The tower is topped by a crenelated parapet, and pinnacles in the Tudor style dating from the 19th century. The tower holds a ring of six bells dating from 1614.


The nave is divided from the aisles by arcades of different dates and styles. The arcade on the south side dates from the 13th century and has four bays and clustered columns with delicate shafts. The arcade on the north has three wider arches supported by octagonal columns of the 14th century.   The chancel, which dates mainly to the early 13th century, is separated from the nave by a chancel arch and is of two bays. It opens on either side into a chapel, the arches supported on piers with stout attached semi-columns.
The church contains a font from about 1500 and a number of wooden fittings from the 17th century including the pulpit, and galleries at the ends of each aisle adjacent to the tower which were installed in 1632. In 2010 the design of these galleries was reproduced in the building of a gallery at the end of the nave to support the new organ, installed in 2011.
The chancel contains a three-light window with late 20th-century glass by Patrick Reyntiens depicting the Adoration of the Lamb. Other windows contain 19th- and 20th-century stained glass by Hardman of Birmingham, Burlison and Grylls, George Farmiloe and Caroline Benyon.


All Saints is a lively church in the heart of Odiham. With roots going back to the 13th century, All Saints is thriving today as a growing church at the heart of the community.
The Church is open 9-5pm daily and offers three Sunday services (traditional worship at 9.30am, informal family worship with Children's Church at 11am and evensong once a month).  The Vicar is Rev'd Chris Dudgeon.
The church works closely with the village and surrounding community, offering a foodbank, homegroups, pastoral care and many children's activities such as holiday clubs and after school clubs as well as free community events.  The Church also has links to Mothers Union, Christian Aid and other Christian organisations and partnerships.  The Friends of All Saints' Church Odiham provides financial aid to assist in the care and maintenance of the church and its churchyard.


All Saints' has a robed choir of about 40 children, youth and adults, that sings on Sundays, as well as giving performances. They are affiliated with the Royal School of Church Music and all junior choristers follow the "Voice for Life" training programme. The current director of music is Alex Hodgkinson.


At the beginning of the 19th century, to escape the heavy duties levied on cargoes discharged within the City itself, massive capital expenditure was risked in the building of docks eastward of the Pool of London. In 1800 the West India Docks were dug out manually across the northern reach of the Isle of Dogs, principally by Irish immigrant labourers. The dock companies built the main road in 1803 (now Commercial Road and East India Dock Road) between Aldgate and Poplar and in 1806 the East India Docks were opened. The new construction work destroyed many homes and impoverished the lives of the local inhabitants. Subsequent employment at the docks and wharves was always subject to the vagaries of the weather and of market forces. However, by 1811 the population of Blackwall and Poplar was over 7,000 and in the next 50 years it increased to 43,000.
A new wealthy class of merchants began to move into the area and in 1817 Parliament enacted a law which made Poplar a parish in its own right. A book sealed in the reign of George III, setting out the rights and responsibilities of the new parish, remains in the church archives. Among its pages is the remarkable statement “that the Rector retains the right to close off the East India Dock Road to prevent noise during the time of Divine Service.”
The Poplar Vestry set about acquiring a suitable plot of land on which to build a parish church with adjoining graveyard and rectory. The site eventually purchased consisted of a house, garden and field owned by Mrs Ann Newby, and in 1820 the Vestry invited designs for a building that would reflect Poplar's new independence and prosperity. Of the 36 that were received, the design by Charles Hollis was chosen. He had recently been appointed architect of the new parish church of St John the Baptist Church, Windsor (a replacement building completed in 1822), which is in contrasting Gothic style.  Hollis had worked as a clerk to a prominent parishioner in Poplar, London, and he submitted his design under the pseudonym 'Felix'. Nevertheless, when his design was selected there were accusations of preferential treatment. The West India Dock Company wrote a letter of complaint to the Bishop of London, supported by a report by John Rennie in favour of another design, but in vain.
The architect's original scale model is on display in the Church. Hollis also designed the Rectory. A relatively expensive church for the period, All Saints was built from granite and Portland stone by the engineer Thomas Morris (whose grave lies outside to the north of the Church door). The initial budget was £20,000 but the whole project cost just over £33,000, paid for out of the rates and with loans from two parishioners, John Stock and George Green provided in two tranches in 1821 and 1823. However this supplanted a year or so later by a loan on better terms from the West India Dock Company.  The foundation stone was laid on 29 March 1821 by the Bishop of London.
The Church was consecrated on 3 July 1823, and a living established under the patronage of Brasenose College, Oxford. This was sufficient for the first Rector, the Revd. Samuel Hoole, to be driven to Divine Service from the Rectory in a horse and carriage. His successor is buried immediately opposite the front door of the Church, and gave his name to Bazely Street (originally known as Bow Lane). The Ionic columns of the portico are surmounted by a façade of more Corinthian style rising to an elegant steeple about 160 feet high. The tower supports a ring of ten bells, originally supplied at a cost of £1,060 and still rung by the church's bell ringers. The bells were all cast by Thomas Mears II of the Whitechapel Bell Foundry in 1822; they were overhauled by John Taylor & Co in 1926.
Inside the Church there were grand galleries on all sides, and a pulpit which could be cranked up and raised in height for the benefit of large congregations. Above the original organ (which had been installed at a cost of £675) there were additional galleries to accommodate the children of the Poor Law Institute. One of the six Beadle’s staffs which were used to keep the children in order is still on show in the Church. The status of All Saints as a Civic Church was marked by the royal coat of arms now to be seen on the organ gallery, but which was originally positioned on the capital over the altar. The small altar was made of cast iron and contained a chest for valuables; it is now to be found in the Sacrament Chapel on the north side of the sanctuary. The altar was embellished at a later date by Martin Travers, who also designed the tabernacle for the reserved sacrament. Behind the altar was a stained glass window, the design of which was criticised so much that it is said the artist committed suicide. It was soon covered by a curtain and eventually bricked up altogether in the 1890s, at which time under the influence of the Oxford Movement the Church took on a High Church Catholic style. Great steps were built up to the new carved high altar which was commissioned from Oberammergau by the Rector, the Revd Arthur Chandler, later Bishop of Bloemfontein.
Thirty years earlier his predecessor, The Revd Thomas Nowell, had to respond to a different influence – the sudden collapse in 1866 of some major City investment banks which resulted in the swift demise of the local shipyard industry, followed by the great cholera epidemic in the same year. The gentry began to vacate Poplar for the healthier climes east of London. An elegant brass plaque at the east end of the Church honours the Rector for his tireless work trying to improve the social condition of his increasingly poor parishioners. This tradition of local Church involvement and support continued over the period of great social change at the start of the 20th century with the growing political activism of working people.
The churchyard on the north side of the church was re-ordered as a public garden by the Metropolitan Public Gardens Association in 1893, and laid out by the Association's landscape gardener Fanny Wilkinson. Wilkinson's successor, Madeline Agar, laid out the rest of the churchyard in 1905, and it was opened in 1906.


In the recession years of the 1920s, which particularly affected the docks, All Saints Church reflected the times again by simplifying its ritual and decoration; the interior was painted white and the old adjustable pulpit was removed.
The Church took a leading role in cementing the community of this targeted area of dockland during the Blitz of the Second World War. Many of the finest edifices of Poplar were destroyed and bombs constantly damaged the Church building, although this did not dissuade hundreds of people from using the crypt as an air-raid shelter. Late in the war, however, a V-2 rocket devastated the building, destroying the east end and bringing down the roof. Post-war restoration in the 1950s saw the removal of the galleries and the placing of a new organ gallery at the west end, equipped with choir stalls and housing the large reconditioned Hunter organ brought from Clapham Congregational Church and reconditioned by Mander Organs. Structurally, the roof had to be supported by a high steel grid, masked by four substantial pillars and the plaster-covered beams in the ceiling. The restored high altar was placed under a new and massive baldacchino, but more recently this canopy has been cut in half and the front section placed against the east wall to form a kind of reredos. A restoration appeal in the 1980s was launched to carry out essential repair work to the tower and outside of the Church, whilst the redecoration of the inside took place in 1991 through the voluntary efforts of parishioners and by means of an anonymous donation of labour and scaffolding from a local builder. The Churchyard was re-landscaped and totally refurbished with a grant from the Heritage Lottery Fund in 1999.
In 1964 the Parish of Poplar was formally established as the first Team Ministry in the London Diocese, combining nine different parishes in an area now recognised as one of the poorest in terms of overcrowding, unemployment and multiple deprivation, all under the shadow of the Canary Wharf development. A modern parish centre has been created out of the crypt space below the Church, from which bodies were removed in 1989 and re-interred in the Parish Guild Ground at the East London Cemetery. In order to construct the new crypt centre the pews had to be temporarily removed and the Church floor broken up. This was replaced by a modern steel and concrete structure and a new floor incorporating a heating and air-conditioning system. The Crypt is also used for meetings and conferences.
In 1999 the decision was taken to re-open St Nicholas' Church on the Aberfeldy Estate, and a growing congregation now worships there.


A settlement existed at Roffey by the 16th century, and the area was known for its early ironmaking industry.  A manor called Roffey, part of the ancient and larger manor of Chesworth, was first described in the mid-15th century; its land covered an area northeast of the market town of Horsham.
Horsham was linked to the national railway network in 1848, when a branch line was built from Three Bridges on the London–Brighton Main Line.  More lines were built to surrounding towns in the next 20 years, stimulating residential and commercial growth.  The area around the village of Roffey, which had been common land until enclosure in 1812–13, began to develop in the 1820s after the road from Horsham to Crawley was turnpiked.  Growth was focused on the old Star Inn, and the village had the alternative name Star Row until as late as 1874 (as well as variations on its original name—such as Roughey, Roughheath and Roughway— which was derived from the Old English Rogh hay meaning "deer enclosure").
The village was in the ecclesiastical parish of Horsham, whose parish church (St Mary's Church) was distant.  The possibility of opening a church in Roffey was first discussed in about 1840.  In 1856, an iron school was erected on Roffey Street, and this building almost immediately became the village's first church when it was licensed as a 90-capacity place of worship.  Consideration was soon given to building a permanent church to serve the continuously growing population; and in 1870 Mrs A. Gertrude Martyn, widow of Cecil Martyn from nearby Roffey Lodge, donated money and land for the construction of a church in memory of her late husband.  Gothic Revival architect Arthur Blomfield, who designed or restored several churches in Sussex, was commissioned to design the church.
Building work began in 1878 and was finished within the year.  Blomfield used locally quarried sandstone dressed with Bath stone.  During construction, a swan crashed into the scaffolding around the tower while in flight, and fell dead on the ground.  Coincidentally, the Martyn family crest featured a swan and a crown, so the incident was seen as auspicious—and the dead swan's feathers were removed and incorporated into the antependium of the altar when the church opened.  Building work was complete by 1 November 1878 (All Saints Day), and the church was consecrated by the Bishop of Chichester Richard Durnford.  Construction work had cost between £4,000 and £5,000.
Roffey continued to thrive: in 1878, the suburb was described as "growing, populous, but very poor", and by the end of the 19th century a workhouse, working men's club, reading room, larger school and a parade of shops were all built.  The workhouse site became a military camp and hospital in 1916, and later a psychiatric hospital. The 300-capacity church was allocated its own parish immediately after opening, and was well-used from the beginning—congregations were typically around 125 in its early years, although some residents of distant parts of the parish worshipped in the nearby villages of Colgate or Rusper.  In 1880, the churchyard was consecrated and a J. W. Walker & Sons manual organ was installed in the church.  A Calvary—a wooden crucifix of teak and oak—was erected in the churchyard in 1919 as Roffey's war memorial.  The Bishop of Chichester Winfrid Burrows dedicated the sculpture on 4 October 1919.  In 1971, it had to be rebuilt and rededicated after being knocked over and badly damaged during a tree-felling exercise.
A new vicarage, replacing an earlier building which was too expensive to maintain, was opened in 1967.  A parish hall had already been built in 1957.  In 1972, All Saints Church began to hold regular Roman Catholic Masses, which continued until 2011 or later.


All Saints Church is a small Early English Gothic Revival-style building with a "surprisingly large" tower.  It is built of Horsham sandstone, laid as rubble in a snecked formation (courses of stonework with smaller stones, or snecks, inserted at frequent intervals).  There is also Bath stone and some brickwork.  The roof is laid with tiles, and the tower roof is shingled.
The plan consists of a 31⁄2-bay nave with an aisle on the north side only, a chancel of a further two bays (and at a lower level), and a tower, vestry and porch—all grouped close to each other.  The simple building was described as "hard and soulless" by Nikolaus Pevsner, although he noted that its interior was "impressively proportioned".  The quadruple-trussed timber hammerbeam roof of the nave, held on carved stone corbels and supported by scissor braces (paired diagonal braces running between pairs of beams), displays Blomfield's characteristic careful regard for the timberwork in his churches.
The west window consists of a pair of lancets below a quatrefoil, and elsewhere in the nave there are three-light lancets set into recessed arches and separated by buttresses.  The vestry window is similar to the west window, and sits above an arched doorway.  Seven more lancet windows are in the north aisle, and the chancel has a further three sets—including a three-light east window, which contains stained glass designed by the Clayton and Bell firm in 1878.  Michael Charles Farrer Bell, later of the same firm, was responsible for the glass in the church's other windows.  Scenes depicted include Christ in Majesty, the Four Gospels, the Apostles and various saints.
The porch is timber-framed and has arch braces with elaborately carved spandrels.  The adjacent tower rises in four parts to a shingled spire topped with a weather vane.  The windows are variously arch-headed and lancet, and the uppermost stage has louvred arched openings.
Interior fittings include a stone and marble-columned font of octagonal design, a stone and timber-panelled carved pulpit, oak choir stalls and Communion rails, timber confessional, a J. W. Walker and Sons organ and a stone, wood and marble reredos with carvings and mosaic work.  Cecil Martyn, for whom the church was built as a memorial, is commemorated by a brass tablet on the north side.


WikiWeb_All Saints Church, Saltfleetby_1

The church dates from the 12th century, with alterations and additions in each of the following three centuries, in 1611, and in 1873.  Inside are fragments of a building probably dating to about 1150.  It was built in the Early English and Perpendicular styles.  It was repaired in 1886 by R. J. Withers.  The church was declared redundant in November 1973, and was vested in the Redundant Churches Fund (the forerunner of the Churches Conservation Trust) during the same year.


WikiWeb_All Saints Church, Saltfleetby_3

All Saints is constructed in a variety of materials; coursed greenstone, limestone and ironstone rubble, with limestone dressings.  It contains some brick, and parts of it are rendered.  The roofs are in lead and slate, with ridge tiles.  Its plan consists of a nave with a south aisle and a south porch, a chancel with a southeast chapel, and a west tower.  The tower dates from the late 12th century, and was raised in the 15th century.  On its corners are large diagonal buttresses which were added in 1886, the southeast buttress containing a stair turret.  The tower is in three stages with a battlemented parapet and gargoyles at the corners.  In the bottom stage on the west side are two central lancet windows, one above the other.  In the middle stage are rectangular windows on the north, west and south sides, together with the outlines of blocked 12th-century round-headed bell openings on each side.  The top stage, which dates from the 15th century, contains a pair of two-light bell openings on each side.
In the north wall of the nave are two single-light windows flanking a pointed doorway, and to the east of these are large three-light rectangular windows.  The north wall of the chancel contains two pointed windows dating from about 1300, and two lancet windows.  The east wall has a large pointed window, and in the south wall is a three-light rectangular window.  Along the south wall of the aisle are pilaster buttresses with larger buttress alongside, the latter being added in 1886. Towards the east end of the wall is a three-light pointed window dating from the 15th century.  Along the rest of the wall are four windows with Y-tracery, and between the middle two of these is the porch. There is another similar window in the west wall of the aisle. The porch is gabled and dates from the 15th century.  It has angle buttresses and a pointed doorway.  Above the doorway is an inscription in Latin and shields.  Inside the porch are benches.  The doorway into the church dates from the 14th century.


It is a celebrated early work by the important church architect G F Bodley, incorporating notable stained glass by William Morris and his company Morris & Co.
Bodley was given the commission by Samuel Marling, patriarch of the mill-owning family, who lived in the adjacent Stanley Park House.
The church has a distinctive 'saddleback' tower, derived from French Gothic architecture, which was a significant influence on Bodley's early style. Construction took place in 1861–62. Local labour and contractors were used: Harrison of King's Stanley were the main contractors; stone carvings were undertaken by Joshua Wall; woodwork by William English and ironwork by T.J. Chew.
Another source of inspiration for the tower can be found in the parish church of Marling, South Tyrol near the spa city Meran, where Samuel Marling stayed in the 1860s.
Bodley designed the pews and choir-stalls using poppy-heads and fleur de lys as key motifs, and the font, the inlaid marble pulpit, communion rails and door iron work all show the attention to design that Bodley paid to all aspects of the church.
Equally spectacular is the stained glass. Bodley was a friend of William Morris and at Selsley he gave Morris & Co their first commission for ecclesiastical stained glass. Philip Webb provided the scheme for the whole church and the detail of the Creation window at the west end.  Edward Burne-Jones, Dante Gabriel Rossetti, Ford Madox Brown and Campfield were all involved.
The church is rated with 3 stars in Simon Jenkins' England's Thousand Best Churches.


The church is in Norman style.  It is constructed in stone rubble, with stone slate roofs.  The plan consists of a nave with a north aisle and a south porch, and a small chancel.  On the east gable of the nave is a double bellcote, over which is a pierced quatrefoil.  In the west, south and east walls are two-light windows.  The south doorway is Norman, with Early English capitals on the outer columns.  On the south side of the chancel is a priest's door between two straight-headed Perpendicular windows.
Inside the church are wagon roofs.  The chancel arch is narrow and pointed and contains 15th-century gates. The arch is decorated with Norman style carving. The font is also Norman.  In the chancel is a piscina and a credence shelf dating from the 14th century, and in the north wall is a 15th-century Easter Sepulchre.  On the chancel walls are medieval wall paintings depicting patterns and foliage.  The pulpit dates from the early 18th century and has a tester suspended above it.  Also in the church are the Royal coat of arms carved in stone.


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All  Saints is constructed in greenstone rubble and limestone rubble, with limestone dressings.  In parts the stonework has been patched with brick.  The roofs are lead.  Its plan consists of a nave with a clerestory, north and south aisles and a south porch, a chancel, and a west tower.  The tower is in four stages, with string courses, corner buttresses, and a battlemented parapet with gargoyles at the corners.  On top of the tower is a central lead-covered crocketed pinnacle.  On the west side of the tower is a doorway, with a four-light window above it.  The third stage contains small ogee-headed windows on the west and south sides.  On each side of the top stage are three-light louvred bell openings.  The north aisle has a battlemented parapet with gargoyles and corbels.  The north side of the clerestory is also battlemented, and has gargoyles and pinnacles; it contains five two-light windows.  In the north aisle is a two-light west window, a three-light east window, and along its north wall are four three-light windows and a doorway.  The north wall of the chancel contains a blocked three-light window. The east window has three lights.  The south wall of the chancel contains a three-light and a two-light window, and a priest's door.  The parapet at the east end of the nave is pierced with quatrefoils and has crockets.  The east wall of the south aisle also has a crocketed parapet, and corner pinnacles.  The west window of the aisle has three lights, and there are two three-light windows and one four-light window in the south wall.  The south porch is gabled and contains benches along the sides.  The door leading into the church has an ogee head and a round rear arch.


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Both arcades have five bays and are carried on octagonal piers.  Incorporated into the fabric of the north wall are 12th-century stone fragments carved with chevrons, and beaked voussoirs.  The roof of the nave is decorated with fleurons, and the coats of arms of the church donors.  In the east wall of the south aisle is a medieval altar slab carved with crosses.  Above it is a stone reredos decorated with quatrefoils, fleurons, human heads, and pinnacles.  On the north walls of both aisles are fragments of painted texts.  In the north aisle is another medieval altar slab, a bracket for a statue, and a doorway leading to the rood loft.  The south wall of the chancel contains a triple sedilia and a piscina, and on its east wall are brackets for statues carved with human heads.  There are fragments of 15th-century glass in the south aisle windows.  The altar rails date from the 18th century, and the marble altar was given to the church in 1717.  The chancel screen dates from the 15th century and is in seven bays.  The pulpit and lectern are from the 19th century.  There is another pulpit at the back of the church dating from the 17th century; this is in carved oak and was formerly in Skidbrooke Church.  The 16th-century pews are carved with poppyheads.  The octagonal font is from the 15th century, and is decorated with quatrefoils, fleurons and human heads; it has a wooden 18th-century cover.  In the church are memorials, including a brass dated 1424, 18th-century wall plaques, and a marble monument dated 1727.


All Saints' is constructed in flint and has a thatched roof. Its plan consists of a three-bay nave, a south porch, a chancel and a west vestry.  In the west wall of the nave are two lancet windows. Along the south wall are three two-light windows dating from the 19th century in Decorated style. On the north side is one similar window and a doorway. In the south wall of the chancel are a two-light window with Y-tracery, a priest's door, and a late medieval two-light window. The east window has three lights and dates from the 19th century. At the southeast corner of the church is a buttress through which is a passage. The south porch has two storeys, with the bell sited in the upper storey.


The nave roof is scissor braced, and the chancel roof is a hammerbeam.  In the church are the remains of a rood stairway.  The interior of the church is notable for its medieval benches with carved ends.  The carvings include poppyheads, an elephant, barrels, mythical beasts, a man, a lion, and fighting dogs.  On a wall are the remains of painted texts.  Also in the church are a 19th-century fretwork screen, and communion rails with balusters.  The font is medieval with an 18th-century cover.


The first plans to found a church in the village of Grzybów near Warsaw emerged in the 17th century, under the rule of King Michał Korybut Wiśniowiecki. It was only in the 19th century that serious work started with the growth of the local population. In 1856 Countess Gabriella Zabiełło donated her Grzybów estate to the Society of Missionary Priests and also provided financial assistance.
The design was by the architect Enrico Marconi, construction work commenced in 1861. The design was modelled on an existing Renaissance style Abbey of Santa Giustina in Padua. The church was dedicated on October 31, 1883, by Archbishop Wincenty Popiel. The church was finally completed in 1892 with the completion of the two bell towers.
During the defensive war in 1939, the roof was slightly damaged. During the occupation, it was one of three Christian churches (two that were operating) in the ghetto (the other two being St. Augustine's Church and the Church of the Nativity of the Blessed Virgin Mary). All Saints Church served Jewish Christians who were detained in the ghetto.
At that time, the parish priest, Fr. Monsignor Marceli Godlewski, known for his antipathy to the Jews before the war, became involved in helping them. At the rectory of the parish, the priest sheltered and helped many escape including: Ludwik Hirszfeld, Louis-Christophe Zaleski-Zamenhof, and Wanda Zamenhof-Zaleska. For his actions in 2009 he was posthumously awarded the Righteous Among the Nations medal.
After the deportation action in 1942, the church was outside the ghetto. It was extensively damaged during the Warsaw Uprising. Aerial bombing and German-led artillery caused part of the roof to collapse and the eastern tower of the temple was also destroyed. Many valuable epitaphs and paintings were also destroyed.
The ruins were stabilised in autumn 1945. Under the stewardship of Mgr. Zygmunt Kaczynski, the reconstruction of the church began. However the parish priest was soon imprisoned by the communist security service and murdered in the Rakowiec District prison. His successors nevertheless continued the reconstruction efforts. For ideological reasons the communists reconstructed the area with large communal housing projects which obscured the church.
On 8 June 1987, during the third apostolic visit to Poland, Pope John Paul II celebrated Mass inaugurating the Second National Eucharistic Congress at All Saints Church. Among the tens of thousands of faithful was Mother Teresa of Calcutta.

In 1993, for the fifteenth anniversary of the pontification of John Paul II, the church unveiled a monument donated by the Italian sculptor Giorgio Gallettiego. Its twin monument is located in the Shrine of Our Lady of Czestochowa in Dozio in Lombardy.


It is the largest church in Warsaw. The basic layout is a cross. It has three aisles, a dome mounted at the intersection of the cross vault, the choir and main altar, the side chapel of Our Lady of Częstochowa, a porch and two tall bell towers, all built in the neoclassical style.
There are paintings by the 17th century artist M. L. Willman, a representative of Silesian baroque. The restored marble figure of Jesus the Preacher is by Wiktor Brodzki. The pulpit of wrought iron is based on a design by Dziekinski and Nieniewski. On the 15th anniversary of the office of Pope John Paul II a monument in his honour was placed in front of the church, a donation from the Italian artist Giorgio Galletti.


WikiWeb_All Saints Church, West Harling_4

The nave has a hammerbeam roof and the chancel roof is barrel vaulted, both of these dating from 1902.  In the chancel are a single piscina, a double piscina, and a niche for a sedilia.  On the back of the niche is a fragment of painted diaper decoration.  In some of the windows are pieces of medieval stained glass.  The octagonal font dates from the 15th century.  In the nave floor are three brasses with dates in the late 15th and early 16th centuries.  The reredos contains Flemish panels, and in the church is a bust dating from 1780.


WikiWeb_All Saints Church, West Stourmouth_1

The main fabric in the church is Anglo-Saxon.  Alterations were made in the late 12th century. The church was damaged in an earthquake in 1382, and was subsequently rebuilt. Windows were replaced in the 14th and 15th centuries.  The church was restored in 1845, when the seating was reorganised.  It has been redundant since 1979.


WikiWeb_All Saints Church, West Stourmouth_3

The church is constructed in flint with stone dressings and tiled roofs.  Its plan consists of a nave with north and south aisles, a chancel, a south porch, and a west tower.  The tower is weatherboarded with a shingled spire, and is supported by two 17th-century massive brick buttresses.  Between the buttresses is a porch, above which is a 15th-century two-light window.  The south aisle has a brick parapet and contains three two-light ogee-headed 14th-century windows.  The south porch is gabled with corner buttresses. The east wall of the chancel was rebuilt in the 19th century, and contains a Decorated style window.  In the south wall are two lancet windows, and there is a similar window on the north side.  Only the lower half of the north aisle survives, and it contains two hipped dormers.


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The chancel has dado panelling, a piscina and choir stalls, all dating from the 17th century.  The base of a rood screen with four panels is still present.  Also dating from the 17th century are an octagonal pulpit and box pews.  In the chancel is a brass dated 1472.  There are fragments of 15th-century glass in the south window of the chancel. Also in the church are the royal arms of George III.


The church was built in around 1080, following the Norman conquest of England, over an earlier Anglo Saxon church, part of which remains in the west wall.
The lower section of the tower and nave are 11th century. Further additions were made to the tower in the Anglo-Norman period and 13th century. The tower reached its present height in 1903.  Other additions and alterations have taken place throughout the buildings history including a new south door, a north porch and vestry.
Restoration work was undertaken in 1867 to plans by architect George Gilbert Scott. Reordering works were commenced in 1903 by C. Hodgson Fowler and included the 'addition of nave clerestory and tower parapet, rebuilding chancel gable and re-roofing and re-flooring throughout.'  Further significant repairs date from the 1950s.


In 2008, a programme of reordering, extension and roof restoration was proposed by the Winterton Parochial Church Council.  Following several years of discussion between stakeholders, proposals were drafted by conservation architect Brian Foxley in 2010 and presented at a public meeting the same year.  A first stage application for Heritage Lottery Fund funding was made in 2011 and received approval a short time later.  Full funding was secured in early 2013.
Following repairs to the slate roof of the nave, it was noted that limestone masonry had fallen from the tower walls onto the nave.  In February 2015, as a safety precaution, the church yard was closed to the public and a condition survey was carried out by Historic England, resulting in an entry for the church on the Heritage at Risk register.
Urgent repair works were proposed, resulting in the suspension of the planned extension project.  Further funding was secured from the Heritage Lottery Fund for the restorative work. A covered walkway was installed to allow the church to remain open for worship and community activities whilst repairs were carried out.
Work to repair and repoint the tower commenced in early 2018.  Following raking out of decaying cementitious mortar, a bespoke formulation of lime mortar was utilised so as to allow the evaporation of moisture from the building fabric and to prevent further degradation of the limestone.
Additional works taking place over the same period included a replacement gable window tracery for the south transept, a replacement lead roof for the tower and renewal of the external rainwater drainage system.


Overall, the church consists of a west tower, inter-connected nave with arcade columns separating aisles to the north and south, which flank the tower and incorporate a choir vestry and meeting room to the western end. The church has transepts to both the north and south. A substantial chancel, complete with clergy vestry to the north, is located at the eastern end.  The church organ is housed within the choir on the north side.  There are porches to both the north and south, the primary entrance being to the south. The ground floor plan has been largely unaltered since the 13th century.
The church has a uniquely designed "Lincolnshire Romanesque Tower", one of only 60 such towers known to have been built.
Pevsner, Harris et al. describe the tower as follows: "C11 W tower (two stages divided by a chamfered string course) embraced by the later aisles.  Bell-openings with mid-wall shafts as usual.  Cushion capitals on the s face enriched with chequer pattern.  Above the bell-openings a further chamfered string course and circular sound holes.  Above the Saxo-Norman top an E.E. heightening.  Tall twin bell-openings with shaft and nook-shafts.  Finally, on top Perp-style battlements and eight pinnacles, of 1904";


All Saints is constructed in flint rubble, with freestone dressings.  The roofs are tiled, and the porch is timber.  Its plan is simple, consisting of a nave with a south porch, a chancel, and a bellcote at the west end.  The church contains Norman features, while the windows added later are in Decorated style.  The north and south doorways are Norman with round-headed arches; they are identical in form, and have Saxon influences.  The tympanum of the south doorway contains a pair of lions with dog-like features surrounded by foliage.  The north doorway is blocked, and its tympanum contains two human figures, one holding a ring.  There is a grid-like object between them.  It has been suggested that they represent Saint Catherine and her wheel, and Saint Lawrence with a gridiron.


The church is regularly open to casual visitors, and is often used as a venue for live music, in addition to holding services several days a week. Sunday school and crèche facilities are also provided. The architectural importance of the building has been recognised through the award of Grade I listed status, which is granted to "buildings of outstanding or national architectural or historic interest".


WikiWeb_All Souls Church, Langham Place_5

In the early 1970s excavations were carried out at All Souls and when it was discovered that the foundations to the church were some 13 feet deep, the church undertook a massive building project under the supervision of then rector, Michael Baughen (who later became Bishop of Chester, before returning to the London diocese to become an honorary assistant bishop). The decision was taken to embark on this work, to facilitate having a hall area underneath the church for the congregation and visitors to meet together after services and during the week. At the same time, the opportunity was taken to restructure the interior of the church to make it more suitable for present day forms of worship. It was at this time, that most fittings such as pews and choir stalls were removed, and the plain carpeted interior with moveable chairs was introduced.


WikiWeb_All Souls Church, Langham Place_6

All Souls is well known for its musical tradition and part of this includes the Hunter organ installed in the west gallery in a Spanish mahogany case designed by Nash. The case was enlarged and extended in 1913. In 1940, anticipating war damage to the church, the organ was dismantled and put into storage, then in 1951 remodelled and rebuilt, with a new rotatable electric manual and pedal console, and installed in the chancel by the firm of Henry Willis (IV). The organ was again rebuilt, by Harrison & Harrison, during the building project of 1975–1976, when a four-manual console was added, plus a positive division and a pronounced fanfare-trumpet en-chamade. In 1933, John Ivimey was appointed as organist and Director of Music.
Musical worship mixes contemporary and traditional styles, featuring either the church's worship band, orchestra, singing group or choir at all the main regular Sunday services, under the leadership of Michael Andrews. In 1972, the All Souls Orchestra was founded by former director of music and Emeritus Conductor, Noël Tredinnick, and has accompanied Sir Cliff Richard, Stuart Townend and other notable Christian artists. The orchestra and a massed choir perform annually at the Royal Albert Hall for the All Souls "Prom Praise" concert, which also tours across the UK and internationally. "Prom Praise for Schools" is sometimes held alongside Prom Praise, providing children from across the Diocese of London the chance to sing with the All Souls Orchestra. In 2012, the All Souls Orchestra celebrated its 40th anniversary, alongside special guests including Graham Kendrick, Keith & Kristyn Getty, and Jonathan Veira.


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All Souls celebrates four services each Sunday, with an early morning Holy Communion service at 8:00 am, followed by two other services at 9:30 am and 11:30 am and an evening service at 5:30 pm. There is also a midweek service on Thursdays during term time at 1:05 pm.
Sermons from Sunday services are uploaded for free streaming and download by the following Monday afternoon. The archive now contains over 3,000 sermons.
The church stands in the conservative evangelical tradition of the Church of England. As it rejects the ordination/leadership of women, it receives alternative episcopal oversight from the Bishop of Maidstone (currently Rod Thomas).


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The current rector is the Revd Charlie Skrine who was installed on 28 April 2021. Other clergy staff include Rico Tice, who has developed the Christianity Explored course (an introduction to Christian beliefs based on the Gospel of Mark and influenced by the conservative evangelical tradition), Jonny Dyer, Steve Nichols and Luke Ijaz. As a reflection of the huge diversity of the church's congregation (over 60 nationalities represented amongst the c. 2,500 present on Sundays), the staff team has gradually become more international (Kenya, the United States, Canada, South Africa, New Zealand, Sweden, Germany, Hungary, Korea and Ireland amongst others).
One of the church's most notable clerics was John Stott CBE, who was associated with All Souls for his entire ministry and virtually all his life. The author of more than fifty Christian books, Stott was regarded as an important theologian and leader of the evangelical movement during the 20th century. Stott was a curate at All Souls 1945–1950 and rector 1950–1975. He resigned as rector in 1975 to pursue his wider ministry, but maintained his involvement with the church and was given the title of Rector Emeritus, which he held until his death in 2011. Stott's obituary in Christianity Today described him as "An architect of 20th-century evangelicalism [who] shaped the faith of a generation."
The Revd Richard Bewes was rector from 1983 until his retirement in 2004. He was awarded an OBE for services to the Church of England.
The Revd Hugh Palmer was rector from 2005 until his retirement in 2020. From July 2012 he was also a chaplain to the Queen.


The Allalinhorn (4,027 m (13,212 ft)) is a mountain in the Pennine Alps in Switzerland. It lies between Zermatt and Saas-Fee in the canton of Valais, and is part of the Mischabel range, which culminates at the Dom (4,545 m).
It was first climbed by London barrister Edward Levi Ames, a member of the Imseng family and Franz-Josef Andenmatten on 28 August 1856.
The building of the Metro Alpin funicular to the Mittelallalin (3456 m) just below the north-east face has turned the mountain into one of the easiest and popular 4000-metre peaks of the Alps, when climbed by the standard route (WNW Ridge, difficulty Grade F).   On the normal route, climbers can ride up to the Mittelallalin; from there, there are only about 500 vertical metres to tackle. However, even the 'easiest' route still has objective dangers from crevasses and should not be attempted by inexperienced mountaineers without a mountain guide or adequate crevasse rescue training.


The conservatory was initially built in 1909 by Robert McCallum in a neo-Classical and Edwardian style. The building is featured a brick-cladd base with sandstone detailing; with stone, wood, glass, and iron also being used as building material for the structure. The building feature a 16-sided glass and steel dome topped and a cupola topped with a finial; although the steel was later replaced with aluminum. The Palm House also includes a boiler room and chimney.
The original domed conservatory was expanded several times during the 1920s, and in 1956 and 1957, with the addition of five new greenhouse. In 2004, a sixth greenhouse was opened at the conservatory. In total, the consevatory's six greenhouses cover approximately 1,500 square metres (16,000 sq ft). Two greenhouses are used to house begonia, bromeliads, gesneriads, and orchids. Other greenhouses in the conservatory include a cool temperate greenhouse that houses camellias and plants from Australia and the Mediterranean; a palm greenhouse for a number of palm and tropical vines; the tropical landscape greenhouse for plants like cycads, hibiscus; and the arid house for cacti and succulents.
In addition to the Palm House, and the greenhouses, the conservatory also includes an administrative building erected in 1923. A central oval with a drinking founting that commemorates Graeme Mercer Adam was originally situated east of the Palm House; although this was later replaced with a pergola in 1995.


Following the destruction of the second courthouse, Allegheny County Commissioners decided to hold a competition to design a replacement. The winner of the competition was Boston architect Henry Hobson Richardson and construction of the buildings was begun by the Norcross Brothers, Richardson's construction firm of choice, in 1884. The cornerstone for the building was laid on October 13, 1884.
The design of the main building, which Richardson considered to be his finest, was innovative in that the building is built around an interior courtyard, thus allowing natural light and fresh air to reach most of the building. The courtyard is surrounded by four stories in three sides. A tower rises five stories from the courtyard's open side. As was usually the case with Richardson's buildings, the roof is steep with dormers placed at all the corners.
A prison is connected to the courthouse via the "Bridge of Sighs". The design was based on the Bridge of Sighs in Venice. The entire complex was built of large rusticated blocks of granite, with the entrance ways and windows topped with wide arches.  This gives the building a heavy, stable and dignified appearance.
In the 1900s the street level in front of the building was lowered as part of a general re-grading of Pittsburgh. Richardson had anticipated this and courses of finished masonry had been buried underground, now to be revealed. Unfortunately this left the ceremonial entrance a full story above the street. A grand stairway was built, but removed during street widening in the 1930s- the low arched doorways were extended downwards to street level, with the result that the visitor is not greeted by the grand entrance hall Richardson planned, but by the low corridors which were once the basement.
Muralist Vincent Nesbert completed five murals for the building on its first floor in 1937: "Industry," "Justice," "Peace," "Fort Duquesne" and "The Battle of Grant's Hill."
In 1973, the building was placed on the National Register of Historic Places.  In 1976, it was designated a National Historic Landmark.


The Allegheny Portage Railroad was the first railroad constructed through the Allegheny Mountains in central Pennsylvania, United States; it operated from 1834 to 1854 as the first transportation infrastructure through the gaps of the Allegheny that connected the midwest to the eastern seaboard across the barrier range of the Allegheny Front. Approximately 36 miles (58 km) long overall, both ends connected to the Pennsylvania Canal, and the system was primarily used as a portage railway, hauling river boats and barges over the divide between the Ohio and the Susquehanna Rivers. Today, the remains of the railroad are preserved within the Allegheny Portage Railroad National Historic Site operated by the National Park Service.
The railroad was authorized as part of the Main Line of Public Works legislation in 1824. It had five inclines on either side of the drainage divide running athwart the ridge line from Blair Gap through along the kinked saddle at the summit into Cresson, Pennsylvania. The endpoints connected to the Canal at Johnstown on the west through the relative flats to Hollidaysburg on the east. The Railroad utilized cleverly designed wheeled barges to ride a narrow-gauge rail track with steam-powered stationary engines lifting the vehicles. The roadbed of the railroad did not incline monotonically upwards, but rose in relatively long, saw-toothed stretches of slightly-sloped flat terrain suitable to animal powered towing, alternating with steep cable railway inclined planes using static steam engine powered windlasses, similar to mechanisms of modern ski lifts.
Except for peak moments of severe storms, it was an all-weather, all-seasons operation. Along with the rest of the Main Works, it cut transport time from Philadelphia to the Ohio River from weeks to just 3–5 days. Considered a technological marvel in its day, it played a critical role in opening the interior of the United States beyond the Appalachian Mountains to settlement and commerce. It included the first railroad tunnel in the United States, the Staple Bend Tunnel, and its inauguration was marked with great fanfare.


Construction of the Old Portage Railroad from Hollidaysburg to Johnstown, thirty six miles long, began in 1831 and took three years to complete. It included a tunnel 900 feet (274 m) long as well as a viaduct over the Little Conemaugh River upstream from Johnstown. The vertical ascent from Johnstown was 1,172 feet (357 m). The vertical ascent from Hollidaysburg was 1,399 feet (426 m). The project was financed by the Commonwealth of Pennsylvania as a means to compete with the Erie Canal in New York and the Chesapeake and Ohio Canal and Baltimore and Ohio Railroad in Maryland. The work was done largely through private contractors. The railroad utilized eleven grade lines and ten cable inclined planes, five on either side of the summit of the Allegheny Ridge, to carry loaded canal boats on flatbed railroad cars. Trains of two-three cars were pulled on grade lines by mules. On inclined planes, stationary steam engines pulled up and lowered down cars by hemp ropes switching to wire ropes in 1842.

The entire Main Line system connecting Philadelphia and Pittsburgh via the Philadelphia-Columbia railroad, the Columbia-Hollidaysburg canal, the Portage railroad linking Hollidaysburg to Johnstown, and a canal from Johnstown to Pittsburgh, was 400 miles (644 km) long. A typical ride took 4 days instead of the former 23-day horse-wagon journey. The Old Portage Railroad was in operation for twenty years being considered "the wonder of America." Charles Dickens wrote a contemporary account of travel on the railroad in Chapter 10 of his American Notes. Quoted at length in the Pennsylvania guide, Dickens "described travel on the Portage in 1842," describing aspects of the Portage Railroad's immediate social and geographic context, as well as mechanical strategies used by the Railroad for coping with the steep grades encountered on the route :
. . . Occasionally the rails were laid upon the extreme verge of a giddy precipice; and looking from the carriage window, the traveler gazes sheer down, without a stone or scrap of fence between, into the mountain depths below . . . It was very pretty travelling thus at a rapid pace along the heights of the mountains in a keen wind, to look down into a valley full of light and softness; catching glimpses, through the treetops, of scattered cabins; . . . men in their shirt sleeves, looking on at their unfinished houses, planning out tomorrow's work; and we riding onward, high above them, like a whirlwind. It was amusing, too, when we had dined, and rattled down a steep pass, having no other moving power than the weight of the carriages themselves, to see the engine, released long after us, come buzzing down alone, like a great insect, its back of green and gold so shining in the sun . . . It stopped short of us . . . when we reached the canal, and, before we left the wharf, went panting up this hill again, with the passengers who had waited our arrival for the means of traversing the road by which we had come.
— Federal Writers'Project, "Part III: Tours", Pennsylvania: A Guide to the Keystone State (1940)
In the 1850s, the Main Line of Public Works and its portage railroad was rendered obsolete by the advance of railway technology and railroad engineering. Early in 1846 the Legislature chartered the Pennsylvania Railroad (PRR) to cross the entire state in response to plans by the Baltimore and Ohio Railroad to reach the Ohio Valley through Virginia. In December 1852 trains started to run between Philadelphia and Pittsburgh shortening the travel time from 4 days to 13 hours.
Construction on the New Portage Railroad, a 40-mile realignment to cross the Allegheny Ridge bypassing inclines, started in 1851 and cost $2.14 million. The PRR raised sufficient investment and had enough quick success that they bought the existing Portage railroad and other parts of the Main Line of Public Works from the state on July 31, 1857. The PRR abandoned most of the line and used the rest as local branches; "anything of value was either sold or stripped from the Allegheny Portage Railroad."
Nearly half a century later, the graded roadbeds of the descending section east of the Gallitzin Tunnel were re-railed with standard gauge freight tracks. The line reopened as a freight bypass line in 1904.
Pennsylvania Railroad successor Conrail abandoned this line to Hollidaysburg and most of the branch trackage along the Juniata River in 1981 and removed the rails.
The Allegheny Portage Railroad was designated as a National Historic Civil Engineering Landmark by the American Society of Civil Engineers in 1987.


WikiWeb_Allen County Courthouse (Indiana)_2

The Beaux-Arts architecture-style structure includes such features as four 25-by-45-foot (7.6 m × 13.7 m) murals by Charles Holloway, twenty-eight different kinds of scagiola covering 15,000 square feet (1,400 m²), bas-reliefs and art glass. Each of the five court rooms has its own color scheme.
Atop the building is a 255-foot (78 m)-high copper-clad domed rotunda, itself topped by a 14-foot (4.3 m) statue wind vane of Lady Liberty. The larger than life statue has feet that would wear a woman's shoe size of 28.
The building materials include Bedford Limestone and Vermont granite with  Italian marble details. A tunnel was constructed to connect the Courthouse with the City-County Building located across the street. The Courthouse also houses a fallout shelter underground. The skylights originally built into the building were covered during World War II and replaced with artificial light.
The 2001 National Historic Landmark Nomination says in its opening paragraph: "An elaborate combination of Greek, Roman, and Renaissance influences, the massive courthouse reflects the exuberant ambition of late nineteenth century America."


The alley is decorated on both sides with red granite busts of classic literary figures and political leaders from Moldova. The alley is located between the Ștefan cel Mare boulevard and the bronze bust of Alexander Pushkin, set on a granite column and made by Russian sculptor Alexander Opekushin. The alley was built and received its name in 1958, and became one of the most important tourist attractions in Chișinău. At first there were only twelve sculptures, but after the fall of the Soviet Union the local authorities added busts of Romanian and Moldovan writers and poets that were banned during the Soviet regime.
The idea of a sculptural complex was launched by the interwar sculptor Alexandru Plămădeală, who dreamed to create an open-air museum. Just during the Khrushchev Thaw, the Alley of Classics was unveiled on April 29, 1958, in the Stephen the Great Park (former "A. S. Pușkin" Park). The sculptural complex from Cișmigiu Gardens in Bucharest served as a model.


The stadium is a ring-shaped stadium, with seating for approximately 19,400 in the first phase and 24,474 in a future expansion that would fill the four corners. It has a safe standing terrace for 2,920 supporters, named the "Wonderwall" after the club's unofficial anthem, located behind the south-end goal. The single-tier Wonderwall terrace was designed with a 34.9 percent incline and has no seats. The north end has a brewpub, named Brew Hall, and a manual scoreboard and 90-minute clock that were designed to resemble fixtures at the former home, National Sports Center in Blaine.
The stadium was designed by Populous with deliberate sightlines and an "intimate atmosphere" in mind. The pitch sits 16 inches (41 cm) above the first row of seats and is composed of 97,000 square feet (9,000 m²) of turf from Heath Farms in Wisconsin, installed in October 2019 to replace the original Kentucky bluegrass from Colorado that suffered from drainage issues. A glass-like polymer mesh oval exterior provides the stadium with a sleek facade. It is clad in PTFE, which covers the steel structure that holds the roof in place. With an overhang partially covering the field, the facade is expected to soften the noise towards the neighborhood. Color-changing LEDs light the exterior mesh in the same manner as Allianz Arena in Munich, Germany and MetLife Stadium in East Rutherford, New Jersey. The first tests of the lighting system in December 2018, which ran overnight in the fog, drew complaints from neighboring residents due to the intensity of the colors.


A masterplan has been drawn up for the redevelopment of the broad area, including the stadium site and adjacent properties owned by RK Midway. This may include building new hotel and office space and the redevelopment of the existing shopping center. The buildings occupied by Rainbow supermarket, Walgreens, Midway Pro Bowl and some adjoining spaces will be torn down. The masterplan calls for the redevelopment to be more pedestrian friendly, to accommodate large numbers of fans walking to and from the transit stations.
The southern half of the site was formerly a bus barn used by Metro Transit until it was demolished in 2002. Later a big-box store was pursued for the site but not built. The site was acquired decades earlier by the Metropolitan Council with help from the Federal Transit Administration so development of the site required federal government approval. The property had been the Snelling Shops, where streetcars were built and maintained for the Twin City Rapid Transit Company. The stadium itself primarily sits on this property.


Allianz Tower (Italian: Torre Allianz), also known as Isozaki Tower (Italian: Torre Isozaki), is a fifty-floor, 209-metre-tall (686 ft) skyscraper in Milan, Italy. Designed by Japanese architect Arata Isozaki and Italian architect Andrea Maffei, it serves as the headquarters of the Allianz Group and the Italian parent company Allianz SpA.
Locally nicknamed Il Dritto (Italian for "The Straight One"), it is the tallest building in Italy at 209 m (686 ft)—259 m (850 ft) with broadcast antenna—and with its 50 floors is the tallest to the roof. It is composed by eight modules by six floors each one, with the façade of the module composed by a triple-glass unit slightly curved to outside. The vertical succession of rounded forms create a feeling of slight vibration of the volume of the building as it rises upward. Elevations of the short sides are fully glazed and show the mechanical series of six panoramic lifts going up and down to the various floors of the building.
In 2016, Allianz Tower was nominated by Emporis as the third-best skyscraper that was completed in 2015.
The idea of an endless tower can be compared to previous ambitions of other artists such as Constantin Brâncuși, for example, who in 1937–38 installed one of his endless columns of Târgu Jiu in the park to create repeatable systems indefinitely.


The museum shows an important part of the military and political scenery of the Cold War in Berlin, from immediately after World War II and the final disengagement of the Allied forces in the 1990s.
The early period of partition plans evolved by the European Advisory Commission is documented. When in February 1945, the United States, Great Britain, and the Soviet Union decided to split the former German Reich in occupation zones at the Yalta Conference, including a fourth area assigned to the French, the German capital likewise was divided into four sectors. In late April, Soviet Red Army troops fought their way into the city during the Battle of Berlin and enforced the unconditional surrender by the German Wehrmacht armed forces. In Summer they pulled out from the city's Western sectors according to the agreements concluded.
In the beginning East-West conflict, first marked by the withdrawal of the Soviet representatives from the Allied Kommandatura and the following Berlin Blockade in 1948–49, the US, Britain and France formed the Western Allies and came in opposition to the Soviet occupation forces. The increasing tensions culminated in the Berlin Crisis of 1961 and the building of the Berlin Wall. A significant step towards the easing of tensions was made in the 1971 Four Power Agreement on Berlin, until the "Berlin question" was solved after the East German Peaceful Revolution and the fall of the Berlin Wall on 9 November 1989.


Allington Castle is a stone-built moated castle in Allington, Kent, just north of Maidstone, in England. The first castle on the site was an unauthorised fortification, built during "The Anarchy" (1135–1153) and torn down later in the century when royal control was reasserted. It was replaced by a manor house, which was fortified with royal permission in the 13th century. Various alterations and expansions were made by successive owners over the following two centuries. The property was developed into a fortified compound with six towers at irregular intervals along the curtain wall and domestic buildings in the interior, including one of the first long galleries built in England. In 1554 it was seized by the Crown in the course of dispossessing its owner, Sir Thomas Wyatt the Younger, after the failure of his rebellion against Queen Mary.
The castle subsequently fell into a state of decay that was accelerated by damaging fires, neglect and vandalism, until it was largely ruined by the start of the 20th century. It was saved and restored by the efforts of Sir Martin Conway and his wife during the first half of the century. After nearly fifty years of occupation by a community of Carmelite friars and nuns, it returned to being a private residence in 1999 and is currently the home of Sir Robert Worcester, the founder of the MORI polling company. It is a grade I listed building and is used as a wedding venue, though there is no public access other than occasional tours involving trips from Maidstone town centre on the Kentish Lady river boat.


The first castle was built by William de Warenne, 2nd Earl of Surrey during the reign of King Stephen in the first half of the 12th century. It took the form of a moated mound (possibly a motte and bailey) built on a site adjoining a bend in the River Medway about one mile (1.6 km) north of Maidstone. The fortification was subsequently expanded but as it was an unauthorised adulterine castle, Henry II ordered its demolition (slighting) in 1174. It was replaced with a small unfortified manor house. According to historian Sidney Painter, it was one of at least 21 castles demolished on Henry II's instructions.
The present castle was built between 1279–99 by Stephen de Pencester, the Lord Warden of the Cinque Ports, who was granted a licence to crenellate the existing manor house by Edward I. It was inherited by Penchester's daughter and passed via marriage to the Cobham family, who owned it until 1492. The building's development was continued in the early 13th century by Sir Henry de Cobham, incorporating the remains of the old manor house into the new castle. Although it was fortified, it was more of a residence than a fortress, as indicated by its extensive – and early – use of brick, which may have reflected Stephen's interests in a brickyard in Essex. It seems to have been neglected subsequently; it is described by documentary sources as being in a very bad condition by 1398–99.


In 1895, a retired London barrister named Dudley C. Falke rented the castle from Lord Romney and began the lengthy task of restoration. However, this proved too expensive for his resources. In 1905 he approached the distinguished mountaineer and cartographer Sir William Martin Conway (later Lord Conway), who he had heard was looking to buy an old castle or manor house. Conway had posted an advertisement in The Times stating: "Wanted to purchase, an old manor-house or abbey, built in the 16th century or earlier." The castle made a great impression on Conway and his American wife Katrina when they saw it for the first time:
Neither of us will ever forget the lovely June morning when we set forth to visit this faery castle on our way to Brighton. ... No sign of any castle could be seen (though we were evidently close up to the Medway) till we turned a corner, and there it was near at hand. Its walls and five visible towers were buried in ivy. Most of its moat had been filled in, but its reflection lay upon the calm face of the remaining fragment. ... The beauty of it all was entrancing. It took our breath away, and for a moment we were speechless. Then we both gasped out, Of course we must have it.
Conway decided to purchase the castle's freehold from Lord Romney at a cost of £4,800 and spent the next 30 years restoring it with the assistance of the architects W. D. Caroe and Philip Tilden. He was able to draw on his own and his wife's wealth, and his efforts were also supported by his wife's wealthy stepfather, a businessman named Manton Marble. Corbens, a local building firm, was hired to carry out the work and provided traditional craftsmen to undertake the restoration in an architecturally and historically sympathetic style. Conway and his daughter Agnes, an archaeologist, also undertook extensive research into the history of the castle.
Much of the restoration had been completed by the start of the First World War in 1914. The gatehouse and the Penchester wing had been completely restored and most of the old keep had been completed as well. The Long Gallery was rebuilt and the Tudor house within the castle walls was linked to it. An old dovecot on the castle grounds was restored for use by Agnes Conway as a study. After the war, Lord Conway set about clearing the exterior of the castle from the ramshackle collection of rural buildings that had accumulated over the centuries just outside the walls. They were replaced with planted poplars and gardens built under Philip Tilden. The Great Hall was rebuilt by 1927, and the restoration of the north-east wing was completed by 1932.
Lord Conway died in 1937, whereupon Agnes inherited Allington Castle. By this time, the restoration work had ceased for lack of funds and the castle was leased between 1936 and 1946 to the politician and architect Alfred Bossom. Agnes Conway subsequently returned to it with her husband, George Horsfield. After Agnes died in 1950 the castle was sold by her husband to the Order of Carmelites from the nearby Aylesford Priory at a price of £15,000, and it became the home of a community of Carmelite Friars from March 1951. There was a certain amount of historical irony in this, as the Wyatts of Allington Castle had obtained Aylesford Priory and dispossessed its occupants during Henry VIII's Dissolution of the Monasteries; now the tables were turned.
The castle was managed between 1951 and 1958 by the Institute of Our Lady of Mount Carmel, which undertook a substantial programme of repairs and restoration. It subsequently became a centre for ecumenical work with the monastic community at Aylesford taking on responsibility for running it. Further renovations were undertaken to provide accommodation and facilities for the castle's inhabitants. In September 1972, Allington Castle became an independent priory. The friars eventually vacated the castle in 1999. It is now the home of Sir Robert Worcester, the founder of the MORI polling company. The castle is not open to the public, but is used as a wedding venue. It has been a Grade I listed building since 1951.


Allington Castle takes the form of an irregular parallelogram with a curtain wall incorporating six round towers of various sizes. A gatehouse, incorporating the remains of the original manor house from which the castle developed, stands on the north-west side. The largest and most significant of the towers, the four-storeyed Solomon's Tower, projects from the south-west side of the curtain wall. Just to its north, adjoining the west curtain wall, is the Penchester Lodgings, one of two surviving ranges of early buildings, which may incorporate remains of the earlier manor house. The banqueting hall and main apartments stood against the east curtain wall. It has largely been reconstructed, though the 15th-century porch is original.
The interior of the castle was once a single large open space, but is divided into a large outer and a smaller inner courtyard. The latter was once occupied by buildings against the south curtain wall and appears to have been the site of the first castle on the site, judging by the remains of foundations discovered during Conway's restoration work. The range dividing the two courtyards contains the Long Gallery on the upper floor, with offices below. The buildings in the south-east corner were occupied by kitchens and a buttery with rooms above. The moat surrounding the castle was once flooded and was crossed by a drawbridge, with a portcullis closing the entrance to the castle. The ruins of a barbican can be seen on the far side of the moat. A short distance to the south-west of the castle is a low mound, which is all that survives of the 12th-century motte.


The building was designed by noted architects John Burgee & Philip Johnson, partners influential in postmodern architecture. Ally Detroit Center was constructed from 1991 to 1993. It houses numerous tenants, including many prominent Detroit law firms and PricewaterhouseCoopers. In addition to retail, the building also contains a restaurant and a gym.
The building is famous for its postmodern architectural design topped with Flemish-inspired neo-gothic spires which blend architecturally with the city's historic skyline. It is constructed mainly of granite. Sometimes called a "twin gothic structure", for its pairs of spires, it is oriented North-South and East-West (as named on a plaque along the Windsor waterfront park). Ally Detroit Center won an Award of Excellence for its design in 1996. Ally Detroit Center replicas have become a souvenir item along with those of other Detroit skyscrapers.
Project plans for a twin tower directly to the east, Two Detroit Center, were placed indefinitely on hold. Two Detroit Center parking garage was constructed on the site in 2002.


The tower was built by the architects Terziev, Savchenko, Akimov and Ostroumov. The design of the KM stage was developed in the department of high-rise structures of the Melnikov Central Research and Design Institute of Construction under the guidance of B. V. Ostroumov, with the participation of "Fundamentproekt" (Moscow) and the Kazakh branch of the "Central Research and Design Institute of Steel and Structures". The tower's structures were manufactured and assembled by the "Kazmontazhstroydetal" and "Kazstalmontazh" trusts of the Kazakh Soviet Socialist Republic's "Minmontazhspetsstroy".
The tower entered operation on 1 June 1984, having cost 600 million rubles. In October 1984 there was a fire in the tower: TV transmitter feeders burned due to errors in calculating the distribution of radio radiation power over the antenna panels.


In March 2012, the Ministry of Transport and Communications and the Akimat of Almaty signed an agreement on the reconstruction and modernization of the TV tower and the surrounding area, starting the following year. The plan involves opening the tower to tourists.


The theatre was built in 1837 for the newly formed Islington Literary and Scientific Society and included a library, reading room, museum, laboratory, and a lecture theatre seating 500. The architects were the fashionable partnership of Robert Lewis Roumieu and Alexander Dick Gough. The library was sold off in 1872 and the building disposed of in 1874 to the Wellington Club (Almeida Street then being called Wellington Street) which occupied it until 1886. In 1885 the hall was used for concerts, balls, and public meetings. The Salvation Army bought the building in 1890, renaming it the Wellington Castle Barracks (Wellington Castle Citadel from 1902). To suit the building's new purpose, the front-facing lecture hall's tiered benches were replaced so that the congregation was seated in the conventional position, facing away from the front, and a balcony added. The Salvationists remained there until 1955. For a few years from 1956 the building was a factory and showroom for Beck's British Carnival Novelties, then remained empty until in 1972 a campaign began to turn it into a theatre.
The building was Grade II listed by English Heritage in 1972. The current modified building retains the listing.


The campaign to open the building as a theatre was led by the Lebanese-born internationally renowned opera and theatre director Pierre Audi, after he had acquired the derelict building in 1972.
A public appeal was launched and in 1980, with the building renovated, the theatre opened with a festival of avant-garde music and performance, held both there and at other Islington venues, with Audi as the Artistic Director. Under Audi the theatre's reputation grew and its annual contemporary music festival became highly regarded.
The Almeida International Festival of Contemporary Music and Performance included concert presentations and productions of new and commissioned operas from Europe, Russia, North America, Japan, Argentina, and Morocco. Among the hundreds of composers, musicians and ensembles featured in frequent world and local premiere performances were Steve Reich, Philip Glass, Lou Harrison, Conlon Nancarrow, Morton Feldman, Elliott Carter, Virgil Thomson, Frederic Rzewski, Arvo Pärt, Alfred Schnittke, Wolfgang Rihm, Claude Vivier, Toru Takemitsu, Giacinto Scelsi, Michael Finnissy, Gerald Barry, Somei Satoh, Akio Suzuki, Takehisa Kosugi, Jo Kondo, Sylvano Bussotti, Luis de Pablo, Capricorn, Spectrum, Music Projects/London, Singcircle, the Arditti Quartet, and the London Sinfonietta.
Peter Greenaway's 1983 series of films for Channel 4 Four American Composers featured Almeida presentations of works by John Cage, Robert Ashley and Philip Glass. In 1985 Ástor Piazzolla, the renowned Argentine tango composer and bandoneón player, made a week-long appearance with his Quinteto Nuevo Tango. For several years, the American pianist and composer Yvar Mikhashoff conceived and co-ordinated concert programming, including At the Tomb of Charles Ives: A Celebration of American Experimental Music 1905-1985 which featured world and UK premieres of works by Cage, Nancarrow, Glass, Feldman, Harrison, Rzewski, Charles Ives, George Antheil, Henry Brant, Anthony Braxton, Carla Bley, Roger Reynolds, Charles Wuorinen, and Lukas Foss and two piano marathons he performed himself: The Great American Piano Marathon: 70 works from 70 years in 7 Hours and 50 Tangos - 50 Composers - A Tango Marathon: Selections from the International Tango Collection.
The Almeida housed a producing company which commissioned and staged several theatre works and operas and was a London "receiving house" for Fringe, avant-garde, regional and international theatre productions. Touring companies from the UK were regularly hosted, including Complicité, Shared Experience, Joint Stock, Cheek by Jowl and the Leicester Haymarket, alongside international guest companies from the Philippines, Tibet, Israel, Ireland and Czechoslovakia. Stage directors of Almeida Theatre Company productions included Pierre Audi, Ian McDiarmid, Yuri Lyubimov, Tim Albery, Mike Bradwell, David Hayman, and Jean Jourdheuil. Works by directors Robert Wilson, Robert Lepage, Phelim McDermott, Julia Bardsley, Deborah Warner, Simon McBurney, Annabel Arden and several others were featured in Almeida presentations.
Peter Brook's Bouffes du Nord company played there in 1982 (Brook's company had been one of Audi's original influences for the project). The 1985 Almeida Theatre Company production of The Possessed, a co-production with the Théâtre de l'Europe in Paris which also toured to the Piccolo Teatro in Milan and the Teatro Comunale di Bologna, was Russian director Yuri Lyubimov's first to originate in the West after he defected in 1983 and featured music by Alfred Schnittke, design by Stefanos Lazaridis, and actors Nigel Terry, Clive Merrison, Harriet Walter, and Michael Feast. Ronald Harwood's documentary drama, The Deliberate Death of a Polish Priest premiered at the Almeida in October 1985, an early example of a transcript of a trial of the political murderers of Father Jerzy Popiełuszko. In 1987, the Almeida also became home to Motley Theatre Design Course, under the directorship of Margaret Harris.
The Not the RSC Festival was presented at the Almeida in 1986 and 1987.


Pierre Audi, (1979–1989)
Jonathan Kent and Ian McDiarmid, (1990–2002)
Michael Attenborough, (2002–2013)
Rupert Goold (2013–)


The construction of these structures dates back to the 6th millennium BC. They were rediscovered in 1966 by Henrique Leonor Pina, who was carrying out field work relating to the country's geological charts.
The excavation of the site unearthed a series of both megalithic and neolithic construction phases; Almendres I  6000 BC (Early Neolithic), Almendres II 5000 BC (Middle Neolithic), and Almendres III 4000 BC (Late Neolithic). The relative chronology of the cromlech and menhirs is extremely complex and covers a period from the Neolithic  to Chalcolithic. It is believed that the monument either had a religious/ceremonial purpose or functioned as a primitive astronomical observatory.