The institution included two judges, one for the civil court and one for the criminal court. In the same building were the Office and Court of Appeals. The judges of the Castellania were native Maltese and dealt with cases that took place in the district of Valletta, Floriana and the Three Cities. Other districts, such as those under the courts of Mdina and Rabat, followed the same model and had to adopt decisions taken at the Castellania. On three days per week, the Fiscal Prosecutor brought cases before the judges. A Head Notary liaised for decisions taken by the institution. There was a Cancelliere, who was responsible for receiving and preserving judicial acts, registering the sentences meted out by the judges and supervising the other workers in the courts. There was a Gran Visconte (the Chief of police) who coordinated the police, and the Capitani di notte who implemented the sentences. Other workers included an official who saw that prisoners were treated fairly, those who were responsible for the archives and advocates for legal aid. Advocates were generally Italian-speaking Maltese, as most knights and foreigners considered the position  for the inferior people. A report was drafted weekly and sent to the palace of the Grand Master, informing about occurrences presented to the Castellania.
The Castellania was the supreme court of justice of the islands, hence called Gran Corte or the variants in legal documents. The Grand Master had the absolute power to preside over the institution. The Papacy quarreled for a superior decision, such as when there was conflict with the court of the Bishop, but citing sovereignty of the princely Grand Master it was never conceded. The Castellania originally had decision over every aspect of life, including public morality and religion, but having the Islands been visited by an official of the Holy See in the 16th century and found lack of enforcement by the knights in religious aspects, the Inquisition was established. With the presence of the Inquisition, the Holy See considered Malta similar to a colony, but through the Castellania the Order kept rigid control and sovereignty over Malta. Though the Inquisition had the power to issue a death penalty in cases related to religion, such as heresy, fornication and sodomy, it generally left it at the discretion of the Castellania. Religious monks, including the Bishop of Malta, were not to be subject of decisions taken by the Castellania but there were instances of having to make exceptions as per offense to the state. In the late eighteenth century, under Grand Master de Rohan, Giovanni Nicolo' Muscat has trigerred significant controversy over his views on church-state separation in matters which are not religious in nature.
In its time, the Castellania was considered to be a secular court. Cases generally consisted of secular parties, with secular accusations, for cases of secular nature. Officially it treated people with more equity; religious courts in Malta under Roman Catholicism would refer to non-Christians and people with diverse abilities as creatures, because of their "imperfection", whereas the Castellania considered all people as humans. However the Castellania distinguished the non-Christians by considering all others as aliens, of which difference also has had negative impact in terms of equality before the law, and in practice it was still theocratic. Women had same rights as men to institute for court action. In military context the knights were not subject to the Castellania, and were instead prosecuted at the Military Tribunal (Tribunale Militare), however it received assistance from the higher hierarchy of the Castellania such as from the judge of the criminal court. The law was amended with the issue of a Bando by the Grand Master. Particular bandi regulated the procedures of medicating a seriously wounded person, where the Castellania had to be informed by medical practitioners within less than a day from the assistance.


By a Governor Ordinance No. 11 of 5 May 1852 the Castellania had to be converted into a military mess for the Maltese Militia Force. It is known to have been occupied by the military stationed in Valletta and Floriana by at least 1854.


The well-preserved medieval castle Castello Orsini-Odescalchi is located in the city of Bracciano, 30 km away from Rome. It is located near the western shore of the volcanic lake (Lago di Bracciano or "Sabatino", the eighth largest lake in Italy). The railway line FR3 connects it with Rome (stations of Ostiense and Valle Aurelia) in about 55 minutes. Close to it lie the two medieval towns of Anguillara Sabazia and Trevignano Romano.


The castle has hosted a number of events, especially weddings of wealthy actors and singers. Hollywood actors Tom Cruise and Katie Holmes were married at the castle.


This houses several 19th century portraits by Rapisarda, Giuseppe Rapisardi, Giuseppe Sciuti, Natale Attanasio, Calcedonio Reina, Francesco Lojacono, Pasquale Liotta, Domenico Morelli, Alessandro Abate, Antonino Gandolfo and Giuseppe Gandolfo, along with a number of 18th century Chinese vases, violins produced by Andrea Amati, Caltagirone ceramics, 17th century bronze statuettes of Venus and Vulcan and an 18th-century bronze statuette of Perseus.


Use of the castle area goes back to Roman times as evidenced by the existence of two Roman cisterns, tombstones, coins and other artifacts. Primitive fortifications date back to the time of the Goths. Its first walls were constructed by North Africans (known as Moors) during the time of Muslim control of Portugal. These walls were destroyed during the Christian reconquest when the castle was seized in 1148 by Afonso I of Portugal, but were immediately rebuilt. In 1288 King Denis ordered that the defences be strengthened and extended and Ferdinand I of Aragon ordered further improvements in 1373.
The Castle of Torres Vedras has served as a temporary residence for several Portuguese kings. It was here that King John I gathered the Council that decided on the conquest in 1415 of Ceuta, a Spanish enclave in North Africa, that marked the beginning of the outward-looking policies of Portugal. In 1510, Torres Vedras received a municipal charter (Foral), and six years later King Manuel I, ordered reconstruction of the castle. Around 1520, the Palace of the Alcaides was constructed by the Chief Magistrate, João Soares de Alarcão. It remains the dominant feature of the castle, despite being in ruins. In 1589, during the Philippine dynasty (1581-1640), forces of António, Prior of Crato commanded by Sir Francis Drake disembarked in Peniche and briefly took the Castle of Torres Vedras.
The castle suffered heavy damage from the 1755 earthquake, particularly the Palace of the Alcaides and some of the walls. In 1809, it was integrated into the Lines of Torres Vedras, which were defensive lines established by the Duke of Wellington to protect against French invasion during the Peninsular War. Together with the Fort of São Vicente on a hill immediately to its north, the castle, with about 500 soldiers, guarded the main road between Coimbra and Lisbon. As part of the adaptation by the British Royal Engineers for this purpose the castle door was demolished. During the Liberal Wars (or Portuguese Civil War), sections of the walls facing east and some turrets on the north side were rebuilt. During the so-called Little Civil War in 1846, it served as barracks for the troops of the  Count of Bonfim and was bombarded by the forces of the  Duke of Saldanha, which caused the almost total ruin of the Palace. Despite its poor condition, the castle continued to function as a barracks until the end of the 19th century.
In 1929, the Ministry of War transferred the property to the municipality of Torres Vedras. In 1955 there was a collapse of part of the wall to the northwest. In 1957 the castle was classified as a Property of Public Interest and this was followed by several repairs being carried out but there remained the danger of collapse to part of the walls, which happened in 1963, leading to additional repairs.


The current building dates from the reconstruction begun in 1597 that lasted until the 18th century. The cathedral is a mixture of Catalan Gothic and Renaissance elements, and overlooks the sea directly. The interior is on the Latin cross plan, with a single nave with barrel vaults, side chapels and transept. The crossing has a cross vault on four pilasters with sculpted capitals.
The church has a tall bell-tower, topped by a small dome decorated with majolica.
The presbytery is raised, and has a marble balustrade. The apse, with a cross vault decorated with stars, houses the marble high altar of 1810, characterized by the church's main attraction, the Enthroned Madonna and Child, a painting of the 15th century, attributed to the Master of Castelsardo. Also by the latter artist is a St. Michael the Archangel, displayed in the crypt, now home to the diocesan museum.


Castle Coole (from Irish: Cúl) is a townland and a late-18th-century neo-classical mansion situated in Enniskillen, County Fermanagh, Northern Ireland. Set in a 1,200-acre (490 ha) wooded estate, it is one of three properties owned and managed by the National Trust in County Fermanagh, the others being Florence Court and the Crom Estate.
The townland, which is 529 acres (214 ha) in size, is situated in the civil parish of Derryvullan, in the historic barony of Tirkennedy, as well as Fermanagh and Omagh district.


Originally known as Muchall-in-Mar, construction of the elaborate, five-storey Z-plan castle was begun in 1575 by the 6th Laird of Fraser, Michael Fraser, on the basis of an earlier tower, and was completed in 1636. A panel on the northern side of the castle is signed "I Bel", believed to be the mark of the master mason John Bell of Midmar, the castle is a joint creation over several decades with another master mason of this period, Thomas Leiper.
Castle Fraser is contemporary with other nearby castles: Craigievar Castle, Crathes Castle and Midmar Castle which are also believed to have been designed by the Bell family of master masons.
The castle was modernised in a classical style in the late 18th century, with a new entrance inserted in the south side and sash windows throughout. This work was supervised by Elyza Fraser, the lady laird, assisted by Mary Bristow. Elyza was also responsible for the landscaping of the grounds, sweeping away the remains of the original formal gardens and orchards, and for the construction of the impressive octagonal stable block.
The interiors of the building were entirely reconstructed again between 1820 and 1850, by Charles Fraser, using the architects John Smith and William Burn. The Library is a fine example of John Smith's regency style with Tudor detailing. Many of William Burn's more extravagant Gothic designs for the most important rooms were not carried out, although a Gothic-style pipe organ was installed (now removed to Kemnay Church).
External works during this period included the construction of the twin gatehouses (still extant), and a grand domed stair and access corridors with loggias in the courtyard (removed).
The castle was partially restored by the new owners around 1950. The architect and antiquary Dr William Kelly supervised the removal of much 19th-century work to reveal the earlier fabric.
Castle Fraser retains the atmosphere of a family home and still contains the original contents, including Fraser family portraits, furniture and collections. The evocative interiors represent all periods of the castle's history, from the Medieval stone vaulted Great Hall to the Regency Dining Room.


Castle Mountain is the easternmost member of the Main Ranges in the Bow Valley.  Passing through the mountain is the Castle Mountain Fault, a thrust fault which separates it and the other nearby peaks of the Main Ranges from the Sawback Range to the northeast, the westernmost of the Front Ranges in the region.  Castle Mountain's upper sections, including its cliff faces, consist of late Pre-Cambrian and Cambrian age sedimentary rocks such as limestone and shale along with some metamorphic quartzite.  Originally deposited in an ancient shallow sea, these deposits were later thrust over younger layers of late Paleozoic and Mesozoic age which now form the forested, gently sloping, base of Castle Mountain.  It is an example of a castellated mountain in which erosion has sculpted a series of flat or gently sloping terraces composed of softer shale and sharp cliffs which reveal alternating layers of shale interspersed by harder layers of quartzite, dolomite and limestone.


There is a local tradition in Norfolk that Castle Rising was a sea-port in the early medieval period, but modern research has shown this to be incorrect.
Archaeological evidence shows that there was Iron Age and Roman occupation of the surrounding area, with a Roman villa situated at nearby South Wootton, but there is no firm evidence of pre-Saxo-Norman occupation of the castle site itself.
England's Jews during the first half of the 11th century often settled near castles, particularly those operating mints; the castles provided protection from anti-Semitism, and they were heavily involved in both money-lending and often the operation of the mints themselves.
Historians Beric Morley and David Gurney prefer a slightly date for the work on the earthworks, potentially pushing the date forward into the early 13th century.
There is agreement among historians that the top 3.7 metres (12 ft) of the keep's walls are different from the remainder of the building: a line of flints in the stonework mark the division between the two, with differences in the carved stonework and evidence of older stonework having been covered up by later additions or reused for new purposes. R. Allen Brown concludes that this is probably the result of renovations to decaying stonework in the early 14th century. He suggests that such a change of style would not be consistent with an attempt to finish an existing building, and that any decay of stonework would begin on the upper layers. He also draws links between this work and the work known to have occurred in the early 14th century in the forebuilding. Beric Morley and David Gurney argue that the dramatic change of style is evidence that the work was not intended to repair an existing building, but rather to complete a previously unfinished one, probably between 1200 and 1230. They also point to the relatively paucity of Norman finds in the excavation of the castle bailey, potentially an indicator that the building was not completed during its initial build.
Analysis of the other buildings mentioned in the records of repairs suggest that the "Nightegale Tower" was not the keep, but could have been a reference to the gatehouse or one of the towers along the walls.
Archaeologists divide the buildings in the bailey into six different, numbered periods, covering the period from around 1300 to 1544. Isabella's ownership of the castle falls into phase 1.
The builders of Hedingham and Conisborough castles were similarly also new men, keen to reaffirm their new status through constructing grand works.


The 18th century saw the castle in steady decay. By the end of the century it was converted into a prison. Even though the castle was in continuous use as a prison, the decline continued until the turn of the 20th century, when it was restored under the oversight of the Lieutenant Governor, George Somerset, 3rd Baron Raglan. Following the restoration work, and the completion of the purpose-built Victoria Road Prison in 1891, the castle was transferred from the British Crown to the Isle of Man Government in 1929.
After the castle had lost its other uses as a defensive structure, political residence, and meeting place for the High Court of Tynwald and the legislative assembly, its use as a prison continued, prisoners being transferred from the crypt at Peel Castle in 1780. From 1765 fines were no longer used to support the castle's maintenance and heavy structural deterioration set in, exposing the prisoners to cold and poor weather. This led to protests by the 1777–1793 governor, a man named Smith, but to little avail. Only in 1813 and 1827 were the buildings renovated and converted for prison use. All inmates who were reasonably healthy were expected to perform forced labour, with set quotas for productivity.
By the 1880s the conditions in the castle had reached such a level of misery for the inmates that order broke down and separating the prisoners became impossible. After an 1885 inspection by the Chairman of the Commissioners for Prisons in England and Wales a report made the recommendation to build a new 30-inmate prison. After initial Tynwald opposition to the expense, a new site was chosen and the modern Victoria Road Prison opened in April 1891, having been designed by local Manx architect James Cowle.
During Castle Rushen's service as a prison it held both women and men, with children born by serving prisoners being allowed to live with their mothers within the prison walls, and was the site of executions. The last person executed in the castle grounds was John Kewish, convicted of patricide, who was hanged in the Debtors' Yard in the summer of 1872. Kewish's body was buried within the grounds of Castle Rushen.
One notable prisoner held for a time at Castle Rushen was the 1697–1755 Anglican Bishop of Sodor and Man, Thomas Wilson. Wilson was imprisoned in 1722 after a conflict with the 1702–1736 Lord of Mann, James Stanley, over who was to have authority over ecclesiastical court cases in the diocese of Sodor and Man. The 19th-century Manx democracy activists Robert Fargher and James Brown both spent time in the Castle Rushen gaol as punishment for attacking the House of Keys as an undemocratic institution and demanding public elections in the Isle of Man.
In addition to holding criminals Castle Rushen was also used as an insane asylum, confining mentally ill patients. The criminally insane were not held on the Isle of Man, instead being sent to institutions in Scotland and England.


The seaside links golf course at Castle Stuart along Moray Firth opened thirteen years ago in 2009, co-designed by two Americans: managing partner Mark Parsinen and golf course architect Gil Hanse. It was voted as Best New Course for 2009 by Golf magazine.
The course hosted the Scottish Open in 2011, 2012, 2013, and 2016.


Taken by the Romans in 49 B.C. the castro structure was expanded and successively occupied by Alans and Moors.
In 1091, the settlement was conquered by forces loyal to Count D. Henrique.
In the course of political expansion and dominion, it was reconquered in the 12th century by D. Afonso Henriques who issued a foral (charter) for new settlers. Around 1163, though, it was donated to Gonçalo Mendes de Sousa, alcalde, who reconstructed the structure at his own cost.
In 1187, it was donated to the Order of the Knights Templar by King D. Sancho I.
This transfer was confirmed in a letter in 1300 by King D. Dinis. But, within a few years (1318) its title was transferred to the Order of Aviz. During this period the important construction of the keep tower, with its crown of merlons, was undertaken.
In 1370, during the reign of King D. Ferdinand, the men of Alcanede were free to participate in the work on the castle of Santarém, as long as they were able to maintain the walls in Alcanede.
A new foral was issued in 1514 by King D. Manuel, marking a period of prosperity for the town. In addition to the foral, the King also paid for part of the work on the castle and the parochial church, even as the extent of the interventions are largely unknown.
On 28 February 1531, the structure was totally destroyed during the course of an earthquake that affected the entirety of the Portuguese Estremadura. Losing much of its military function, the strategic importance decreased and there was little interest by the Crown or Order of Aviz to reconstruct the castle.
In 1936 the structure was discovered in a state of almost complete ruin, existing only "a few curtain walls in continuous disaggregation and two corners".
Work on recuperating and restoring the structure began in 1941 following the same vestiges that existed. Between 1944 and 1949 progress continued on repairing the walls, towers and barbican, including construction of a staircase and the vaulted ceiling in the tower. In 1954 new public works were undertake to consolidate the fortification, which were repeated in 1973, with repairs in the parapets of the walls.
As part of a heritage designation, on 1 June 1992, the property was transferred to the possession of the Instituto Português do Património Arquitetónico (Portuguese Institute for Architectural Patrimony) by decree 106F/92 (Diário da Repúblic, Série 1A, 126). On 20 December 2007, its title was transferred to the regional Direção Regional da Cultura de Lisboa e Vale do Tejo (Regional Directorate for Culture for Lisbon and Tagus Valley), under dispatch 1130/2007 (Diário da Repúblic, Série 2, 245), confirmed in a similar dispatch on 24 August 2009.


The Castle of Aljezur (Portuguese: Castelo de Aljezur)  is a medieval castle founded in the parish of Aljezur, in the municipality of the same name overlooking the Aljezur River . Excavations in the castle have discovered that the location was occupied during the Bronze and Iron Ages, while the parade grounds, habitational structures, and two silos date to the 12th and 13th centuries.


It is believed that the castle was constructed on the site of a primitive Lusitanian castro that was later conquered by the Romans during the 1st century B.C.E. It was later remodeled by successive invading forces, including the Alans, Visigoths and the Andalusian Berbers, although it is unclear when the actual castle was established. In excavations carried out in the interior and exterior enclosures, various vestiges of Roman occupation were discovered including coins, millennium markers, and Roman foundations, while medieval remnants such as medallions and two marble columns were also discovered in the castle's vicinity.
The castle of Almourol is one of the more emblematic and cenographic medieval military monuments of the Reconquista, and one of the best representations of the influence of the Knights Templar in Portugal. When it was conquered in 1129 by forces loyal to the Portuguese nobility, it was known as Almorolan, and placed in the trust of Gualdim Pais, the master of the Knights Templar in Portugal, who subsequently rebuilt the structure. The structure was reconstructed, starting in 1171 (from an inscription over the principal gate) and restored during the subsequent reigns.
Losing its strategic place, it was abandoned, resulting in its fall into ruins. In the 19th century, it was "reinvented" by idealistic romanticists, which eventually led to interventions in the 1940s and 1950s, and its adaption as an Official Residence of the Portuguese Republic. During this period, there were many restorations that transformed the physical appearance of the structure, including the addition of crenellations and bartizans.
The DGMEN - Direcção-Geral dos Edifícios e Monumentos Nacionais (Directorate-General of Buildings and National Monuments), the forerunner of the IGESPAR, first intervened on the site in 1939, through the construction of the chemin de ronde in masonry, including reinforced concrete; the dismantlement and reconstruction of the corner of the keep; repair and consolidation of the battlements, including the demolition of the tower's allure, reconstruction of a brick vault under the existing; and reconstruction of the pavement in small stone.
Around 1940–1950, the spaces were adapted for its use as an official residence of the Portuguese Republic. At the end of this short term, the building's furniture was acquired by the Commission for Furniture Acquisition (Portuguese: Comissão para a Aquisição de Mobiliário) in 1955, while an electrical system was installed.
Between 1958 and 1959, there was some consolidation of the keep with concrete straps, a project to diminish the permeability of the courtyard and reconstruction of the interior walls of the tower by the Escola Prática de Engenharia (Practical School of Engineering), as well as the reconstruction of a door that included doorposts and lintels. In subsequent years, other projects followed: in 1959, the façade of one section of wall was repaired; in 1960, with the conclusion of the repairs to the exterior walls, the pavement and road access was improved by the Direcção da Arma de Engenharia de Tancos (Tancos Directorate for the Engineering Arm). A roadway that skirted the islet from the quay to the southern end of the castle was reconstructed by the Serviços de Engenharia do Estado Maior do Exército (Army General Staff Engineering Services).
By 1996, the walls had been repaired, sections of the keep were preserved, and the pavement in the castle restored.


The present configuration of the castle of Leiria was influenced by the 4 major construction periods: the 12th century’s Romanesque, the 14th century’s Gothic Dionysus, the early 15th century’s Gothic Johannine and the restoration trends of late 19th and early 20th century.
The shape of the castle is irregular polygonal with solid walls and towers. Paços Reais (Royal Palace), the Church of Nossa Senhora da Pena, Menagem Tower, the former Collegiate space, and medieval barns are located inside the complex. The castle has 4 floors; the lower two floors are hardly seen from outside and are intended for domestic services. There is a large loggia with eight arches of twin capitals. The loggia has the panorama over the city and was used as a place for leisure and socializing. The loggia is accessed through a room called Royal Hall or Noble Hall which has a total area of 130 square meters used for receptions by monarchs.
Stonemasonry, brick and concrete were used in the construction.


The Castle of Mey Trust was established by a Deed of Trust executed on 11 June 1996. Its president was The Prince of Wales. The Trust would manage the property; its mandate was "to secure the future of the building, advance historical and architectural education, to develop the native breeds of Aberdeen Angus and Cheviot sheep and to undertake projects for the benefit of the local community", according to one report. After 2002, the Trust opened the castle for five months each summer to generate revenue that would sustain the property. In 2018, nearly 30,000 visits were recorded.
As of March 2014, the Trustees included Ashe Windham (chairman), The Earl of Caithness, John Thurso, and Sir Ian Grant. There are also a number of Honorary Patrons associated with the trust: Lady Elizabeth Anson, Ken Bruce, Susan Hampshire, Kirsty King, Khalid bin Mahfouz, and Alan Titchmarsh (who is noted as being the first Honorary Patron). The trust together with the Friends and Patrons helped to maintain and promote the castle and all fundraising events.
Maintenance work completed by the Trust in 2018, including roof repairs, rewiring of the interior and lime harling of the exterior.


The castle is situated in an isolated, rural landscape on the extreme western edge of the Herdade da Coitadinha, implanted on a schist platform, crowning a 275 metres (902 ft) hilltop. The hill lies between the Rio Ardila and the Ribeira da Múrtega, some 2 kilometres (1.2 mi) from their confluence, just .5 kilometres (0.31 mi) from the Spanish border, along a connection between Beja, Moura a Jerez de los Caballeros and Via da Prata, one of the more important roadways in western antiquity. Within the circus is the Church of Nossa Senhora do Desterro (Our Lady of Exile) and about 200 metres (660 ft) from the castle is the Atalaia da Forca.
West of the castle is dominated by riparian vegetation, such as oleanders, while the landscape along the Spanish frontier is stripped of vegetation caused by the introduction of monocultures. In the Herdade, dominated by perennial Quercus and forests of Quercus rotundifolia and Quercus suber, there is an abundance of riparian and wild fauna, with a vast archaeological and ethnographic patrimony, highlighting several dolmens, Chalcolithic settlements, watermills and huts.
The fortress comprises the circus of the ancient village of Noudar, to the southeast, and the vestiges of the southeastern and southern walls. The irregular plan is oriented longitudinally northwest to southeast, that integrates the trapezoidal castle wherein northwestern wall is located the keep tower. The battlements are encircled by Chemin de ronde and reinforced by 12 rectangular and square corbels, and broken by two gates: one in the east, and the other in the west, protected by small, rectangular tower. The southeastern wall of the castle in tiapa reinforced by schist masonry. The rectangular, keep tower is 17.5 metres (57 ft) tall with two doors, one on the ground floor and another on the second floor of the northwest wall, accessed by exterior staircase. The roof covering is crowned by pyramidal merlons. In the interior of the tower is a cistern, in addition to two others in the castle square, where there are visible vestiges of murals in the dependences that comprise the old alcazaba.
Two inscriptions were discovered in the keep tower. The first was a commemorative inscription for the construction of the castle of Noudar, sculpted into stone, in Gothic scribe, later registered by Gustavo de Matos Sequeira:
ERA Mª CCCª XLª VI ANOS PRIMO DIA D' ABRIL DOM LOURENÇO AFONSO MESTRE D'AVIS FUNDOU ESTE CASTELO DE NOUDAR E POBROU(=POVOOU) A VILA PARA DOM DINIS REI DE PORTUGAL NESTE TEMPO
It was in 1346, first day of April, Dom Lourenço Afonso, Master of Avis, founded this Castle of Noudar e settled the town for Dom Denis King of Portugal in this time
Another inscription commemorated the work on the castle during the commandery of D. Aires Afonso, inscribed on ashlar, that included a flourished, cross of the Order of Avis accompanied by two birds and two fruits, a scallop and old shield of Portugal, with the epigraphy was delimited above and the sides. The lower half was damaged, making it difficult to discern the writing. The 23.5 by 27 centimetres (9.3 in × 10.6 in) limestone epigraphy on 65.5 by 28 by 19 centimetres (25.8 in × 11.0 in × 7.5 in) base is inscribed in Gothic lettering:
TETES(?) AIRES AFONSO COMENDADOR MOR D'AVIS GONÇALO VASQUID(?) (...)
Both original inscriptions were eventually transferred to the Museu Municipal de Barrancos (Municipal Museum of Barrancos).


The Castle of Silves is a castle in the civil parish of Silves in the municipality of Silves in the Portuguese Algarve. It's believed that the first fortifications were built upon a possible Lusitanian castro, by the Romans or Visigoths. Between the 8th and 13th centuries, the castle was occupied by the moors who expanded it, making it one of the best preserved Moorish fortifications in Portugal, resulting in its classification as a National Monument in 1910.


The present castle was constructed some time between the latter half of the 12th century and the first years of the 13th as the de Lara family sought to consolidate their hold on the territory of the Real Señorío de Molina. Its defences were put to the test in 1222 when Don Gonzalo Perez de Lara, the third ruler of Molina, aroused the hostility of King Fernando III of Castile. Don Gonzalo had committed a series of excesses in territories adjoining his fief, including attacks on villages held by neighbouring lords. Other Castilian lords began to raid royal territories in an apparent attempt to overthrow King Fernando and in support of King Alfonso IX of Leon. When Fernando's army marched on Molina, Don Gonzalo fled to the castle with his family, court and retainers. The royal army was unable to storm it, and after several weeks of siege the two sides negotiated a resolution. Under the Agreement of Zafra, the Señorío de Molina would be inherited on Don Gonzalo's death by his daughter Doña Mafalda, who would marry Fernando's son Prince Alfonso, thus bringing the territory under the Crown's control.
During the Castilian Civil War of the 14th century, Henry II of Castile bestowed the castle and lordship of Molina on his French mercenary ally Bertrand du Guesclin, but the people of Molina rebelled and invited Peter IV of Aragon to rule them. The castle was fought over and was eventually bestowed upon Peter's vassal Ximeno Perez de Vera. It eventually passed back to Castile by marriage, but in the 15th century Henry IV of Castile provoked another rebellion when he bestowed the castle and town on his favourite Beltrán de la Cueva. Its castellan, the famous Don Juan de Hombrados Malo, managed to see off all opponents and maintained the crown's control of the castle until it finally passed into the hands of the Catholic Monarchs of the unified kingdoms of Castile and Aragon in 1479. Don Juan was rewarded with the hereditary wardenship of the castle, which his family retained for many years thereafter. The reconquest of the Iberian peninsula and the merger of the two kingdoms deprived the castle of its former strategic importance, and from the 16th century onwards it began to fall into ruin.


It is built with brick and sheet iron, and is a castle-shaped building crowned with battlements. The floor is almost square, with four towers at the corners and perimeter walkways running between a double facade. It has an innovative transparent structure of brick and iron, something similar to that which appeared in the proposal by Hendrik Petrus Berlage in his project for the Amsterdam Stock Exchange.
The decoration, mostly in ceramic, features paintings by Joan Llimona and Alexandre de Riquer (1888), and Pius Font i Quer and Joan Baptista Aguilar-Amat (1927), sculptures designed by Antoni Vilanova and executed by Alfons Juyol (1888) and the Gonzalez Brothers (1927 ), and ceramics from the nearby Pujol i Bausis factory. Decorative elements can be seen on the battlements, where blue-on-white, shield-shaped panels depict a series of plants and animals, including a number of drinks and liquors. The stained glass windows, now partially lost, were the work of Antoni Rigalt i Blanch.


Castlerigg Stone Circle (alternatively Keswick Carles, or Carles) is situated on a prominent hill to the east of Keswick, in the Lake District National Park, North West England. It is one of around 1,300 stone circles in the British Isles and Brittany, constructed as a part of a megalithic tradition that lasted from approximately 3,200 BC to 2500 BC, during the Late Neolithic and Early Bronze Ages.
Various archaeologists have commented positively on the beauty and romance of Castlerigg and its surrounding landscape. In his study of the stone circles of Cumbria, archaeologist John Waterhouse commented that the site was "one of the most visually impressive prehistoric monuments in Britain."
Every year, thousands of tourists travel to the site, making it the most visited stone circle in Cumbria. This plateau forms the raised centre of a natural amphitheatre created by the surrounding fells and from within the circle it is possible to see some of the highest peaks in Cumbria: Helvellyn, Skiddaw, Grasmoor and Blencathra.


The Catalina Casino was built on a site formerly known as Sugarloaf Point. The site was graded for the planned construction of the Hotel St. Catherine, which was instead eventually built in Descanso Canyon. When chewing gum magnate William Wrigley Jr. bought the controlling stake in Catalina Island in 1919, he used this cleared site to build a dance hall he named Sugarloaf Casino. It served as a ballroom and Avalon's first high school, until it became too small for Avalon's growing population. In 1928, the Sugarloaf was razed to make room for a newer casino building. Sugarloaf Rock was further blasted away to enhance the Casino's ocean view.
On May 29, 1929, the new Catalina Casino was completed under the direction of Wrigley and David M. Renton, at a cost of $2 million. Its design, by Sumner Spaulding and Walter Weber, is in the Art Deco and Mediterranean Revival styles. The casino's movie theater was the first to be designed specifically for films with sound ("talkies"). It  received the Honor Award from the California Chapter of the American Institute of Architects, as "one of the outstanding architectural accomplishments".
With a height equal to a 12-story building, it was built to serve as a theater on the main floor and a ballroom and promenade on the upper level. Movie studio moguls such as Cecil B. DeMille, Louis B. Mayer, and Samuel Goldwyn frequently came by yacht to the Casino to preview their newest cinema productions. It also serves as the island's civil defense shelter, large enough to accommodate Catalina's entire year-round population. Within its walls is stored enough food and water for all Avalon's residents for two weeks.
The steel structure of the predecessor Sugarloaf Casino can still be found in Avalon's abandoned bird park. The bird park was conceived by Mrs. Wrigley in the 1930s, and at the time it was one of the largest aviaries in the world.
In 1993 the movie theater was photographed by Hiroshi Sugimoto for his art series "Theatres".
In 1994, the theater underwent a $750,000 restoration that reupholstered all of its seats and cleaned its murals.
In September 2008, the Catalina Casino had the first live full production of a musical on its stage, when the Santa Catalina Island Company presented Grease!.
In December 2019, The Catalina Island Company stopped screening first run showings of movies, essentially ceasing its function as a traditional film venue. They cite the rise of streaming services and large use of satellite television in the small town of 4000 as contributing factors to the theater's low attendance. However, the theater remain available for daily tours and special events such as the Catalina Film Festival and Silent Film Benefit.


WikiWeb_Catalyst Science Discovery Centre_3

The museum holds a collection of archives relating to the chemical industry. The collection was started in 1982 with the setting up of the Halton Chemical Industry Museum Project as a project funded by the Manpower Services Commission and Halton Borough Council. The collection consists of nearly 8,000 individually numbered items and groups including objects, archive material and photographs.  However, in terms of physical numbers of individual items and items within groups, the number of items approaches 10,000. If the individual research files from the ICI General Chemicals Group are also included then the collection would exceed 35,000 items. More information about the collections can be found on the Catalyst website.
The archives include company documents of all kinds, product brochures and general ephemera, consisting of documents, photographs and the entire research archive of the ICI General Chemical Division (including pre-war personal injury records), Peter Spence Archive, Hutchinson Dock Estate Papers, and the Clayton Aniline Company Archive, McKechnie Brothers ledgers, the Vine Chemicals/Barium Chemicals Limited documents, documents from J.W. Towers and Company (later Gallenkamps).
The photographic collection, consisting of 35mm negatives and photographs, documents products and processes, company history, social activity and local history from Merseyside, South Lancashire, and North and Mid Cheshire areas. The collection also houses photographic material from the Teesside Bridge & Engineering Company. They also hold on loan the Brunner Mond film collection. The library comprises several sets of bound volumes including the Journal for Society of Chemical Industry, and the Imperial Chemical Industries magazine and newspaper.  There are also many individual volumes relating to aspects of chemistry and industry, and to local area.
The map collection consists of Ordnance Survey maps of Widnes and Runcorn, and includes various Halton Borough Council annotated maps such as the sewer system in Halton, two complete sets of Ropers 1875 survey, a bound set of plans of the proposed Lancashire Plateway relating to Widnes and a set of Widnes-Runcorn Transporter Bridge bound plans. The fine art collection ranges from portraits of local chemical manufacturers in oils and pastel, and depictions of local factories. The collection also includes bronze busts and plaques.


The Cataract Dam is a heritage-listed dam in Cataract (formerly Appin), New South Wales, Australia, provides water to the Macarthur and Illawarra regions, the Wollondilly Shire, and metropolitan Sydney. It is one of four dams and weirs in the catchment of the Upper Nepean Scheme. Completed in 1907 under the supervision of Ernest Macartney de Burgh, the dam is currently owned by Water NSW, an agency of the Government of New South Wales. The dam was listed on the NSW State Heritage Register on 18 November 1999.


WikiWeb_Cathedral Basilica of Christ the King_3

Construction was begun by the Pigott Construction Company of Hamilton in 1930 and completed in 1933. Renovations were carried out in 1981 when it was damaged by a fire earlier that year. One stained glass window was completely rebuilt by the original craftsman, F. Meyer of Munich, Germany. Some of the renovations that were added after the fire are:
a solid Italian marble floor for the altar containing intricate designs and various colours,
a new marble altar and presidential chairs including the Bishop's Cathedra
the side altars were moved 25 feet North to enlarge the Sanctuary area.
a reconfigured ambo for readers of the scriptures at Mass.
new lighting and sound system
air conditioning of the entire Cathedral and basement hall
the Chancel organ was removed and later installed 25 feet North of the original position.
a new four manual organ console [see below]
The cathedral interior is pure 13th Century English Gothic.  Two kinds of limestone grace its walls and pillars:  Indiana Limestone and Ontario Credit Valley Limestone. Its vaulted ceiling, with gold bosses, is a direct copy of Norwich Cathedral in England. It also has seating for over 1000 parishioners in the nave and 200 in the Sanctuary area, with television flat screens installed on the side Indiana limestone columns for blind spots. The left side altar with its magnificent large painting of Christ's entry into Jerusalem on Palm Sunday, contains the holy oils in three gold urns. The right side altar contains a massive painting of the Nativity Scene and a mosaic of the Eastern Catholic Churches: Our Lady of Perpetual Help. A large 88 ton marble Ciborium, sometimes erroneously called a Baldachino, in the shape of a crown, the symbol of a royalty and kingship, graces the north end of the cathedral over the tabernacle. Although this is not a normal feature of Gothic architecture, its Gothic design blends in perfectly with the architectural style of the Cathedral. The major patriarchal basilicas in Rome, namely, St. Peter's, St. Paul Outside the Walls, St. John Lateran Cathedral and St. Mary Major, all have a ciborium [baldachino] over their altar of sacrifice.
Each of the presidential chairs and sanctuary choir stalls have pelicans carved in solid oak as arm rests.  The pelican is an ancient symbol of self-sacrifice and redemption.  If the mother pelican cannot find food for its babies, it bites its breast and feeds them with her own blood. This is a symbol of Christ shedding His blood for us, dying on the cross.
The cathedral is home to 82 stained glass windows by F. Meyer of Munich, including depictions from the New Testament, numerous saint depictions at the very top walls of the cathedral in the clerestory, and a grand masterpiece rose window at the very rear above the organ, depicting the Communion of Saints and Christ the King. Some the saints featured in the rose window are:  Blessed Virgin Mary, St. Peter, St. Paul, St. Sebastian, St. Rose of Lima, St. Benedict, St. Francis of Assisi, King David,  St. Louis of France, St. Matthew and St. Thaddeus. The center bottom panel contains images of Pope Pius XI and Bishop John McNally. The bottom left panel contains an image of Theresa Nuemann, the famous 20th-century German stigmatist who died in 1962. Bishop McNally visited her on one of his visits to Bavaria prior to the Cathedral's construction.
The 235-foot central nave is flanked by two side aisles divided by massive Indiana limestone pillars. The nave is 72 feet wide and 90 feet high. The rear narthex of the church contains a solid oak statue of Christ the King.
The choir loft houses a large, four manual Steinmeyer pipe organ built in Ottengen, Bavaria with almost 5,000 pipes. Robert Corso is the organist and director of music at the Cathedral Basilica. The organ contains 84 ranks of pipes divided with sections in the Chancel and Gallery. The tone of the organ ranges from a very deep profound bass, with many large wooden pipes, to a very brilliant sound with 14 ranks of mixtures on the Great, [main] manual alone, containing pipes with a high tin content, adding to the overall brilliance of sound. One of the features of the choir manual [bottom keyboard] is a set of pipes made entirely of copper, named Copper Gedect. The large scale facade pipes consisting of the pedal Diapason 16' and the Great manual's Diapason 16' are constructed of zinc. In 1981 the Chancel organ was moved further North to allow more space in the Sanctuary.  In 1990, a new 4 manual console was added by R. A Denton & Son of Hamilton, built by R.A Colby, Johnson City, Tennessee, temporarily used by the Mormon Tabernacle during their organ console rebuild in the late 1980s. The four manuals are named from top to bottom:  Antiphonal/Echo, Swell, Great and Choir.  The new console has solid state multiple memory banks for selecting different combinations of stops rapidly. The organ also contains two stops which are tuned sharp and flat to achieve a warm, rich tone.  These are a Celeste on the Swell manual and an Unda Maris [wave of the sea] on the choir manual. In April 2016 a new Casavant French terraced four manual console was installed by the Casavant Freres firm of Ste. Hyacinthe, Quebec. The height of the console being quite low, allows the organist to conduct the choirs from the bench while accompanying. To rebuild the organ today in 2016 would most likely cost approximately $5 million Canadian dollars.  In 2017 the original console for the chancel organ was rebuilt by Casavant Freres.  They also worked to restore the organ itself.
The Cathedral also contains Italian marble constructed in trompe-l'œil style. Its black squares appear to come off the floor adding a depth of perspective.  This is reminiscent of the floor in the side aisle of St. John Lateran Cathedral in Rome, Italy. This trompe-l'œil style is used around the floor of the Tabernacle, under the ciborium and also on the back of the presidential chairs in the sanctuary. The Cathedral also houses 14 stunning 3/4 bas relief Stations of the Cross carved in Italy using Cararra white marble. This is the same marble Michelangelo used to carve the Pieta in St. Peter's Basilica, Rome.
Beneath the main church, as accessed by a side door next to the rectory is McNally Hall, which was renovated in the early 2000s. Named for the 5th Bishop of Hamilton - John Thomas McNally - the builder of the Cathedral Basilica.  The Marian Chapel, used for daily Mass, is located in the basement.  A choir rehearsal room, kitchen and washrooms are all located near McNally Hall.


WikiWeb_Cathedral Basilica of Salvador_8

The Jesuits built the current church structure in the Mannerist style then fashionable in Portugal. The façade is very similar to contemporary Portuguese churches like the Jesuit Church of Coimbra. The façade is made in light Lioz stone brought from Portugal, a feature also found in the Basilica of the Immaculate Conception in the lower city of Salvador. The facade is flanked by two short bell towers. It has three portals with statues of Jesuit saints, Ignatius of Loyola, Francis Xavier and Francis Borgia. The gable on the upper storey of the façade is flanked by typical Mannerist volutes.


WikiWeb_Cathedral Basilica of St. James the Apostle, Tunja_1

The cathedral is the main church of the Archdiocese of Tunja and archbishopric, since his elevation to diocese by the Bull of pope Leo XIII called Infinitus amor and published on July 29, 1880.
Its construction was hired by Juan de Castellanos and Gonzálo Suárez Rendon to Pedro Gutiérrez, who began work in 1567. His style can be within the Isabeline style, although some later renovations have added neoclassical building elements; It has a single tower and its interior consists of three naves with side chapels. The exterior of Renaissance style was designed by Bartolomé Carrión in 1598.
The historical Tunja sector (including the cathedral) was declared a National Monument (Monumento Nacional) of Colombia by Law 163 of December 30, 1959.


WikiWeb_Cathedral Basilica of the Assumption, Lviv_1

The first church built on this site was a small wooden Roman Catholic church dedicated to the Holy Trinity, built in 1344 and lost in a fire six years later. In 1360, king Casimir III of Poland began the construction of the present day church, built in Gothic style, as the cathedral of the newly created Latin diocese. The church was consecrated in 1405 and the parish was moved here from "Our Lady of the Snows" church. In 1412 the see was transferred from Halych. Construction work continued throughout the 15th century and the cathedral was finally consecrated in 1481.
The cathedral witnessed many significant events. In 1440 the Metropolitan of Kiev, Cardinal Isidore celebrated Holy Mass for the intention of Christian Unity, when he stopped off in Lwów on his way back from the Council of Florence. It was visited by several Polish kings, most notably by John II Casimir, who entrusted the Polish–Lithuanian Commonwealth to the care of the Blessed Virgin in what came to known as the Lwów Oath.
In the years 1761–1776 the cathedral was refurbished in Baroque style and a tall bell tower was added. In 1776 the miraculous icon of the Mother of God held in the cathedral was crowned and placed in the main altar. In 1892–1898 the presbytery was remodelled in Neogothic style and stained glass, designed by Józef Mehoffer and Jan Matejko were installed. In 1910 the cathedral was granted the status of a minor basilica by Pope Pius X.
Following the Soviet annexation of almost half of Poland's pre-war territory the Latin Cathedral is presently one of just two churches in Lviv which were not closed down or made subject to the Muscovite Patriarchate during Soviet rule, the other being the Roman Catholic church of St. Anthony in Lychakiv, while the deported bishops of the See of Lwów resided in Lubaczów, a town in present-day southeastern Poland, close to the border with what is now Ukraine. In 1991 Pope John Paul II reactivated the Lviv diocese.
Meanwhile, the miraculous icon of the Madonna was moved to Kraków after World War II, and then in 1974 to the procathedral in Lubaczów. In 1983 it was once again crowned in Jasna Góra and remains presently in Lubaczów. Lviv Cathedral owns a copy which was crowned by Pope John Paul II during his Apostolic Visit to Ukraine on June 26, 2001.


WikiWeb_Cathedral Church of St. Fachtna_5

The spire of the original building was removed in either 1785, 1793, or 1795, with the current spire being added in 1806 at a cost of IR£964. The walls of the church were freestone, but what remained of the old walls were plastered and dashed in 1880. Storms have blown the top of the spire over on two occasions, once in the winter of 1886, and then again in February 1923.
Between 2002 and 2005, major restorations were carried out on the cathedral, including rebuilding the organ and restoring the bells. In 2012, an additional bell was added to the tower.


WikiWeb_Cathedral Church of St. James (Toronto)_2

In addition to the funerals of former Bishops of Toronto, there have been notable funerals at St. James for other prominent people from the Toronto area, including:
George Snell (1907–2006), former Bishop of Toronto from 1966 to 1972 – funeral in 2006
Ted Rogers (1939–2008), businessman and founder of Rogers Communications – funeral on December 9, 2008
Jim Flaherty (1949–2014), former Ontario MPP, federal MP and minister of finance – state funeral on April 16, 2014
Rob Ford (1969–2016), former Mayor of Toronto and city councillor (Ward 2) – civic funeral on March 30, 2016
The Rev. George Okill Stuart, who served from 1800 to 1812, and the Rev. John Strachan are the only graves located within the cathedral.


As well as the Cathedral itself there are a number of important buildings in the close. Two churches face the Cathedral  – St Petrocks Church and St Martins. There are also a number of other grade 1 listed buildings: Mol's Coffee House, No 5, Nos 8, 9 and 9a and No 10 Cathedral Close.  The grade II listed Royal Clarence Hotel in Cathedral Yard, also overlooks the Green.


Cathedral Square, locally known simply as the Square, is the geographical centre and heart of Christchurch, New Zealand, where the city's Anglican cathedral, ChristChurch Cathedral is located. The square stands at the theoretical crossing of the city's two main orthogonal streets, Colombo Street and Worcester Street, though in practice both have been either blocked off or detoured around the square itself. The cathedral was badly damaged in the February 2011 Christchurch earthquake.


The Cathedral of La Plata in La Plata, Argentina, dedicated to the Immaculate Conception, is the 58th tallest church in the world. This Neogothic edifice is located in the geographical center of the city, facing the central square, Plaza Moreno, and the City Hall.
Inspired by the European cathedrals of Amiens and Cologne, its plans were drawn by architect Ernesto Meyer under the direction of city planner Pedro Benoit. The cornerstone was laid in 1884, and it was consecrated as the Parroquia Nuestra Señora de los Dolores in 1902. The parish church, which continued undergoing works, was designated a cathedral in 1932.


WikiWeb_Cathedral of Saint Patrick (Harrisburg, Pennsylvania)_2

St. Patrick's Cathedral was designed in the Baroque Revival style with Renaissance Revival influences and capped with a classically influenced dome.  The exterior of the building is covered in granite from North Carolina.  The interior featured wainscoting covered in oriental marble topped with Connemara marble.  The main nave is flanked by granite columns that support a vaulted ceiling.  There are forty-four stained glass windows in the nave that were imported from Munich, Germany. The original altar was patterned after the Bernini altar found in the Chapel of the Blessed Sacrament in St. Peter's Basilica, Rome.   The original pulpit featured carved figures that were patterned after a fresco found in the Roman Catacombs.  It showed the four evangelists with the Lamb of God standing on the Mystic mount.
The cathedral has undergone a couple of major renovations in its history.  In the 1949-1950 project the altar was simplified and the chancel was renovated to provide more space.  The interior of the church was frescoed including the four Western Fathers of the Church, Jerome, Augustine of Hippo, Gregory the Great and Ambrose, which embellish the pendentives beneath the dome.  An inscription was added to the lower part of the dome which reads: "Behold, I am with you all days, even to the consummation of the world."  The shrines of the Blessed Virgin Mary and St. Joseph were given chiaroscuro backdrops.  The Stations of the Cross were created in simulated bronze with gold highlights and were recessed in the wall.  The chancel was modified in 1976.  A new free-standing altar was created from the high altar and located closer to the congregation.  The tabernacle was placed at a new Altar of Repose, a new ambo (pulpit) was installed, and the cathedra (bishop's chair) was relocated to a more central position.
Over the years several shrines were added to the cathedral in memory of the bishops of Harrisburg.  Bishop John W. Shanahan is honored with a bronze crucifix, which was placed in the rear of the cathedral.  Bishop Philip R. McDevitt is honored with a shrine depicting Christ teaching the children, Bishop George L. Leech was honored with the shrine of St. Elizabeth Ann Seton and Bishop Joseph T. Daley was honored with the shrine of St. John Neumann.  A shrine to St. Katherine Drexel is located in the cathedral portico.


WikiWeb_Cathedral of Saints Peter and Paul, Constanța_0

The Cathedral of Saints Peter and Paul, Constanța (Romanian: Catedrala Sfinții Apostoli Petru și Pavel din Constanţa), located at 25 Arhiepiscopiei Street, Constanța, Romania, is the seat of the Romanian Orthodox Archbishop of Tomis, as well as a monastery. Situated between Ovid Square and the Black Sea in front of the Archbishop's Palace, it was built on the city's peninsular zone in 1883-1885 following plans by architects Alexandru Orăscu and Carol Benesch and, for the interior, Ion Mincu. The cornerstone was laid on 4 September 1883, during the reign of Iosif Gheorghian, Metropolitan of All Romania. The church was consecrated on 22 May 1895.
The building served as a parish church until 1923, when the Diocese of Constanța was established. In that year it became a cathedral, serving as such until 3 August 1941, when its altar and iconostasis, along with icons and paintings, were partly destroyed by aerial bombardment during World War II. It was restored after the war, from 1946–1951. Patriarch Justinian Marina and Bishop Chesarie Păunescu re-consecrated it on 14 January 1951; at that time, Păunescu's seat was moved from Constanța to Galați and the building once again became a parish church. Exterior repairs took place from 1957–1959. When the diocese at Galați became an archdiocese on 9 November 1975, a vicar bishop began serving at Constanța, returning the church to the status of cathedral, once again becoming an archdiocesan cathedral when the Tomis Archdiocese was revived in 1990.
The cathedral, in Greco-Roman style, of pressed brick, has a wide facade and a 35 m tower. Among the sculpted works are the oak iconostasis and choir, as well as candelabras and candle stands (made of a bronze-brass alloy), also designed by Mincu and executed in Paris. The frescoes were done by two Bucharest painters between September 1959 and November 1965. That month, when they were finished, Bishop Păunescu consecrated the church once again. The relics of Saint Panteleimon, donated in 1931, along with part of the relics of Saints Auxentius of Bithynia and Simeon Stylites, are kept inside. Also present are an icon of the Virgin Mary, said to be wonder-working, and the relics of Saints Epictetus and Astion, discovered in August 2001. On 1 December 2001, the latter were deposited in the cathedral, which on that date acquired the additional function of monastery; since that time, liturgies have been held according to monastic rites.
The Archbishop's Palace, begun in 1925, is located beside the cathedral, to the west. The cornerstone was laid by Patriarch Miron Cristea together with Bishops Grigorie Comșa of Arad and Ilarie Puiu of Hotin; Ilarie Teodorescu was then Bishop of Constanța.


WikiWeb_Cathedral of St. John the Evangelist (Cleveland, Ohio)_1

Large numbers of Catholics started to arrive in the Western Reserve region of Ohio in the 1830s and were served by visiting priests sent north by the Archdiocese of Cincinnati. A small group of Irish settlers established St. Mary's of the Flats in 1826.  The congregation met in several locations before beginning construction on its own sanctuary in 1837.  When Pope Pius IX established the Diocese of Cleveland in 1847, he named Louis Amadeus Rappe as its first bishop.
Bishop Rappe established St. John's Cathedral on Superior Street and Erie Street (today's East 9th Street) on land purchased in 1845 by St. Mary's pastor Rev. Peter McLaughlin.  He selected architect Patrick Keely, who designed the building in an ornamental gothic style and the Bishop laid the cornerstone October 22, 1848.  Until the new building was completed in 1852, St. Mary's served as cathedral for the diocese.  At the time of its completion, the new cathedral was the well beyond Cleveland's Public Square.
Alterations and additions began on the church almost as soon as the initial construction was complete.  In 1857, a boys' school was added and within ten years, it was joined by a parish hall and girls' school.  In 1879, the parish raised sufficient funds to complete interior and exterior decoration and add a spire. To fund the initial construction, Bishop Rappe was forced to seek donations from sources as far away as New York City and France.
In 1884, the church interior was redecorated and stained glass windows were added along with walnut furnishings in the sanctuary and the windows were replaced again in 1902 with art glass windows from Munich.
On August 20, 1920, the cathedral was the site of the funeral for famed baseball player Ray Chapman. Thousands gathered inside and around the cathedral for one of the largest funerals in the history of Cleveland.  Chapman was a popular player that only days before was killed when hit in the head by a pitched baseball. He remains the only player to have been fatally injured during a Major League baseball game.
In 1943, Archbishop Joseph Schrembs announced a plan to renovate the cathedral, but due to World War II the plan did not move forward until 1945. After World War II, Schremb's successor, Edward Francis Hoban continued Schrembs' plan. Construction began in 1946 when the old cathedral was enlarged and the brick exterior refaced in orange Tennessee Crab Ochard Sandstone. The architectural firm of Stickle, Kelly and Stickle oversaw construction which also included a new bell tower and interior decoration.  However, the tower held no bells until 1988.  John W. Winterich and Associates supervised creation of a new reredos and other interior decoration.  The cathedral currently has seating for approximately 1,500 worshippers.
The new cathedral contained several new chapels including The Resurrection Chapel, which holds the tombs of former bishops, and the relics of St. Christine of Calixtus (whose relics were discovered in the Catacombs of St. Calixtus outside of Rome), presented to Archbishop Scrembs by Pope Pius XI in 1925. Evidence shows that Christine was a girl of 13 or 14 who died for her faith around the year 300. In keeping with tradition of that time, she had been buried with a small glass vial of her blood, in testament of having given her life for the Faith as a martyr.
The 4368 pipe/72 rank organ constructed by the Holtkamp Organ Company of Cleveland that was installed during the renovation still serves the church today.  The organ may be operated from a console in the loft or another behind the cathedra.  On September 4, 1948, Archbishop Hoban with Cardinal Francis Spellman of New York City celebrated a Mass to mark the renovation of St. John's Cathedral.
The renovation added a structure to house St. John's College.  St. John's later merged with Ursuline College and the building was demolished to construct the Eaton Center in 1981. In 1964, St. John's added a dormitory tower which was later remodeled to house Diocesan offices. In 2007, the Diocese relocated its offices and this was demolished to create a parking lot for the burgeoning Avenue District around St. Clair Avenue and East 12th Street. A parking garage was built nearby to accommodate parishioners.
In 1977, Bishop James Hickey carried out additional renovations due to Vatican II reforms.  The altar was moved west from the apse to its current location in the crossing.  This is approximately where the altar of the original cathedral stood.
Parishioners raised funds in 1988 to install bells in the tower that was added during the 1946-48 renovation.  The six bells range from 375 lb (170 kg) to 3,300 lb (1,500 kg) and are named for saints and blesseds who played a role in US history.  The bells first rang to celebrate the Christmas Masses in 1988.
In 1996, Cleveland's Italian American community provided funds to renovate the sacristy in celebration of Bishop Anthony Pilla's election as President of the United States Conference of Catholic Bishops in 1995. In 1997, the Diocese celebrated its 150th anniversary. That year ABC-TV produced a special on celebrating Christ's splendor at the cathedral.  Bishop Pilla dedicated a Holy Door in 2000 as part of the Holy Year proclaimed by Pope John Paul II. In 2002, the cathedral renovated its flagpole and rededicated it on September 11, 2002, one year after the September 11, 2001 attacks.
In 2006, Bishop Pilla retired and Pope Benedict XVI named Bishop Richard Lennon of Boston as 10th Bishop of Cleveland. In November 2016, Bishop Lennon sent a request to Pope Francis for early retirement due to declining health. On December 28, 2016, Pope Francis accepted his resignation as bishop. That same day, Pope Francis named Daniel Edward Thomas, the Bishop of the Diocese of Toledo, as Apostolic Administrator of the diocese.
On July 11, 2017 Pope Francis named Nelson Jesus Perez, Auxiliary Bishop of the Diocese of Rockville Centre, as the 11th Bishop of the Diocese of Cleveland. He was officially installed as Bishop on September 5, 2017.  Three years later - after Perez was named Archbishop of Philadelphia - Pope Francis named Edward C. Malesic as Bishop of Cleveland.


WikiWeb_Cathedral of St Stephen, Brisbane_4

In addition to the cathedral, the site contains numerous buildings that support the cathedral and the Archdiocese of Brisbane.
St Stephen's Chapel (also known as Old St Stephen's Church) stands immediately to the south-west of the cathedral. The chapel was designed by English architect Augustus Pugin and built between 1847 and 1850. The first Mass was celebrated in the completed building on 12 May 1850. In June 1859 it became the cathedral for the first Bishop of Brisbane. It is the oldest Catholic church in Queensland.
Old St Stephen's School is a three level building facing Charlotte Street. This building was the location of St Stephen's School until the 1960s. The building now contains offices for the Archdiocese of Brisbane.
The Francis Rush Centre was completed in July 2005. The two storey building is the location for the cathedral's administration centre, the offices of the bishops, the choir room and several function and meeting rooms. A new under cover outdoor liturgical space was constructed as part of this development and facilitates special liturgies such as the Easter Vigil and Palm Sunday.


Wright Catlow was a businessman in Barrington whose father had commissioned The Auditorium in 1914, a gathering place for dances and community meetings. Seeking to follow his father's legacy and build a community building, Catlow commissioned the theater in May 1927.
Betts & Holcomb served as the architects and the interiors were designed by Prairie School sculptor and designer Alfonso Iannelli. The theater was primarily designed in the Tudor Revival style ornamented to portray a medieval English hall. In large part due to Iannelli's involvement, the Catlow is listed on the National Register of Historic Places. Iannelli's Catlow design includes the stenciling on the Catlow's ceiling, walls and beams along with the sculpted gargoyle-like heads that border each ceiling truss and the "Fountain Idyll" sculpture in the inner lobby. Other highlights include three coat-of-arms wall murals, iron wall sconces, the detailed woodwork on both of the organ lofts and the original hand painted stage curtain.
Catlow's brother Chester played the theater organ. The theater originally showed silent films and featured vaudeville performances on Sundays. These performances attracted talent such as Gene Autry and Sally Rand. In 1934, the theater began to show only movies. Catlow sold the theater to film booker Ed Skehan in 1964. On August 21, 1989, the theater was recognized by the National Park Service with a listing on the National Register of Historic Places.


Catstye Cam is normally climbed from Glenridding, either by its east or north west ridges. Both are steep, but there are no technical difficulties. A fair path also climbs via Red Tarn to the midpoint of Swirral Edge, from where a brief detour back to the summit can be made. By far the best option is a circular tour via Striding and Swirral Edges. This takes in Birkhouse Moor, Helvellyn and Catstye Cam, one of the most breathtaking walks in the country.


The city of Plymouth, Devon, England is bounded by Dartmoor to the north, the Hamoaze to the west, the open expanse of water called Plymouth Sound to the south and the river Plym to the east.
The Cattewater is that stretch of water where the mouth of the river Plym merges with Plymouth Sound, just to the east of Sutton Pool. It is around this Pool that the manor of Sutton started, which grew to form the present day city. On the northern shore of this confluence of waters there was a rock outcrop, which it was claimed, had the appearance of a cat. This gave its name to this stretch of water and eventually the name of Cattedown to the adjoining wharves and commercial area. Apart from an occasional small oil tanker the area is now used mostly by fishing trawlers, yachts, and smaller pleasure craft. There is a water taxi across it from the Mayflower Steps on Plymouth Barbican to Mount Batten and also Oreston both on the southern bank.
The spelling 'Cattewater' is not old or consistent. Local sources and texts together with early maps and drawings refer to the opening of the estuary variously as Catwater, Cat Water and Catt Water. Internet search engines throw up other versions.


The Cavalier Hotel is a historic hotel building at 4200 Atlantic Avenue in Virginia Beach, Virginia.  The seven-story building was designed by Neff and Thompson with a Y-shaped floor plan and was completed in 1927.  Most of its hotel rooms featured views of the Atlantic Ocean, and all had private bathrooms.  The hotel also featured dining facilities and opportunities for shopping, as well as amenities such as swimming pools that are now common features of modern hotels.
Entertainment, sports figures, and other celebrities who stayed at the Cavalier included F. Scott Fitzgerald, Zelda Fitzgerald, Bob Hope, Elizabeth Taylor, Judy Garland, Doris Day, Bette Davis, Muhammad Ali, President Harry Truman,  and President Jimmy Carter. Other U.S. Presidents staying overnight at the Cavalier included Herbert Hoover, Dwight Eisenhower, John F. Kennedy, and Lyndon Johnson.

On Memorial Day weekend in 1929, shortly before the stock market crash, the famed Cavalier Beach Club opened on the oceanfront at the bottom of the Cavalier Hotel and drew big dance bands such as Benny Goodman, Cab Calloway, Glenn Miller, and Lawrence Welk, and other performers, including Frank Sinatra and Ella Fitzgerald.
The hotel was built during the period of prosperity known as the Roaring Twenties, and was a major element of the development of Virginia Beach as a resort area.  The hotel was operated successfully until 1942, when it was commandeered by the United States Navy as a training center during World War II.  It was returned to its owners in 1945, but the lost years hurt the business.  The property was used as a private club for a time in the 1950s and 1960s, and eventually reopened as a hotel. The hotel was listed on the National Register of Historic Places in 2014.
The hotel property was sold in 2013 under court order and the new owners began an extensive renovation and restoration of the structure with an anticipated opening of summer 2016. Due to  unanticipated repairs, the owners announced in April 2016 that the opening would be delayed until 2017. The additional demolition and work added $24 million to the original $50 million estimate. Work completed in late 2017 and the facility opened in spring 2018 with 62 rooms and 23 suites, down from the original 135. The hotel also retained 21 of its original 350 acres (140 ha).
On what had been vacant land north of the hotel, the owners constructed a housing development. In 2015, they demolished the Cavalier Oceanfront Hotel, across Atlantic Avenue, and began constructing a new hotel, scheduled to open in 2020. They also have plans for a third hotel in the complex.
The Cavalier Hotel officially opened Wednesday, March 7, 2018, with a "Grand Reveal" event at the historic property. The Virginian-Pilot reported that "About 100 people gathered at dusk on the brick pathway as lights illuminating the hotel were switched on. After four years of restoration work that cost $81 million, the “Grande Dame” is back."
On top of the $85 million added in renovations, the Cavalier hotel also attracts tourists for its haunted historical value as well. The Cavalier gained this haunted reputation in the early 1920s as founder of Coors Beer, Adolph Coors, was found dead as he jumped off the sixth floor of the hotel. Since then, there have been Hotel guest reports about chilling voices, cat hissing, and even ghosts walking down the sixth floor hallway.


The Cathedral of Saint Patrick and Saint Felim, also known as Cavan Cathedral, is a Roman Catholic cathedral located in Cavan, Ireland. It is the seat of the Bishop of Kilmore, and the mother church of the Roman Catholic Diocese of Kilmore.


"The Cave of Elijah" has been presented primarily as part of Mount Carmel in the works of travelers, historians, pilgrims and other visitors.
The Pilgrim of Bordeaux who visited Mount Carmel didn't mention in his notes about the cave, but describes it as: "… there is Mount Carmel, there Elijah sacrificed …"
Ioannes Phokas, a pilgrim who supposedly went to the cave in 1185 writes: "… After these (places) there is Mt. Carmel, … At the end of the ridge of Mt. Carmel facing the sea, there is the cave of the Prophet Elijah, …"
A Jewish pilgrim who supposedly visited the cave during the period between 1270 and 1291 claimed: "There on the slopes of Mt. Carmel is a cave, and there the synagogue dedicated to Elijah, be he remembered for good. Above the cave, on the top of the mountain, there is Elisha’s Cave."
An English prelate and traveller Richard Pococke wrote in his notes in 1738 that Elijah had lived and worshipped in the prayer hall of the cave, and that the site was admired by Christians, Jews and Muslims, and that it was visited on Elijah's birthday. Pococke indicated that visiting the cave on the Saturday after Sabbath of Consolation had become a custom.


Tourism first started on the island around 1964, with only a few visitors on weekends from the mainland Belleview Hotel, brought out by a local boat called 'Sailfish', built by a schoolteacher beside the then Teachers House. The early tourists were mostly people working with the Belize Government. Around 1969, Dr. Hildebrand of the University of Corpus Christi started visiting each winter with a Marine Biology Expedition of around 24 students. Backpackers also found their way to the island at this time, but transportation was only by fishing sailboats and there was no accommodation. The Auxillou family pioneered the tourism industry and the first scuba diving lessons and trips were started around the late 1960s.
As speedboats came into use in the 1970s tourists became more regular. Hippies following the so-called "Gringo Trail", of Isla Mujeres, Tulum, Caye Caulker, Tikal and Lake Atitlan in Guatemala passed through the island (many of them making use of the easily available marijuana). The reputation spread by word of mouth.
Today, the diversified economy of the village still includes lobster, fish, and tourists. Internet e-commerce is growing in a small way. Recent hurricanes had a major effect on lobster fishing as well as dramatically affecting the vegetation. The island ecology is slowly returning to that prior to the storms. The island is now becoming a center for many painters and some musicians. There are also a few up and coming lyrical artists on the island, prominent among them include Alexander Joseph, otherwise known as "Bobbo youth" and ILYA Rosado a.k.a. "ILLA-G" who have developed a local islander fan base with their rap and reggae-style music.
The small airplanes and asphalt-paved airstrip of Caye Caulker Airport may appear small to visitors accustomed to jet airliners and long concrete runways, but the system of barrier islands support a lively network of air transportation with an array of travel times. For those passengers preferring a route more commonly adopted by locals, there are regular water taxi services providing transportation to and from the island. San Pedro Express  and Ocean Ferry are currently offering service from Caye Caulker to San Pedro Town and Belize City. Regular taxi service is available from the main Belize City airport to the docks for both companies. The watercraft typically sport two to four large motors and make the journey in 30 to 50 minutes depending on weather and the size of the boat.
Once on the island, the main mode of transport is simply walking. The roads are  well defined, and crossing the island takes 20 to 40 depending on road conditions. Bicycles and golf carts are also common and can be easily rented. Visitors prone to sunburn should take extra precautions, as the island is entirely white coral sand, and reflected sunlight can cause mild sunburns even in the shade. The Island is also used as a popular launch off for scuba diving the Great Blue Hole, with several expeditions per week.


The city of Ithaca, site of Ithaca College and Cornell University, is located at the southern end of Cayuga Lake.
Villages and settlements along the east shore of Cayuga Lake include Myers, King Ferry, Aurora, Levanna, Union Springs, and Cayuga.  Settlements along the west shore of the lake include Sheldrake, Poplar Beach, and Canoga.
The lake has two small islands. One is near Union Springs, called Frontenac Island (North East); this island is not inhabited. The other island, Canoga Island (North West), is located near the town of Canoga.  This island has several camps and is inhabited during the summer months. The only other island in any of the Finger Lakes is Squaw Island in Canandaigua Lake.


The major inflows to the lake are: Fall Creek, Cayuga Inlet, Salmon Creek, Taughannock Creek, and Six Mile Creek; while the lake outflows into the Seneca River and other tributaries. Ungaged tributaries that inflow to the lake include:
Demont Creek
Canoga Creek
Schuyler Creek
Red Creek
Big Hollow Creek
Mack Creek
Bloomer Creek
Barnum Creek
Groves Creek
Sheldrake Creek
Lively Run
Bergen Creek
Trumansburg Creek
Willow Creek
Glenwood Creek
Indian Creek
Williams Brook
Gulf Creek
Minnegar Brook
Morrow Creek
Paines Creek
Little Creek
Dean Creek
Glen Creek
Great Gully Brook
Yawger Creek


The Cebu Metropolitan Cathedral, officially known as the Metropolitan Cathedral and Parish of Saint Vitalis and of the Immaculate Conception (dedicated to Mary, under her title, Our Lady of the Immaculate Conception and to Saint Vitalis of Milan), is the ecclesiastical seat of the Metropolitan Archdiocese of Cebu in Cebu, Philippines. Cebu was established as a diocese on August 14, 1595. It was elevated as a metropolitan archdiocese on April 28, 1934, with the dioceses of Dumaguete, Maasin, Tagbilaran, and Talibon as suffragans. Before being raised as a primatial church in Cebu, the church was one of the first churches in the Philippines (besides the Basilica del Santo Niño) dedicated to St. Vitalis and built near the fort in April 1565 by Miguel Lopez de Legazpi, Fray Andrés de Urdaneta and Fray Diego de Herrera.
Construction of the cathedral took many years due to frequent interruptions, brought about by lack of funds and other unexpected events. At one time, funds meant for the building of the cathedral were diverted to the Moro wars. The death of an incumbent bishop who spearheaded the construction/reconstruction and vacancies in the office were also factors.
The architecture of the church is typical of Spanish colonial churches in the country, namely, squat and with thick walls to withstand typhoons and other natural calamities. The facade features a trefoil-shaped pediment, which is decorated with carved relieves of floral motifs, an IHS inscription and a pair of griffins. The Spanish Royal Coat of Arms is emblazoned in low relief above the main entrance, reflecting perhaps the contribution of the Spanish monarch to its construction.
During World War II, much of the cathedral was destroyed by Allied bombings of the city. Only the belfry (built in 1835), the façade, and the walls remained.  It was quickly rebuilt in the 1950s under the supervision of architect Jose Ma. Zaragosa, during the incumbency of Archbishop Gabriel Reyes.
In 1982, a mausoleum was built at the back of the sacristy at the initiation of Archbishop Julio Cardinal Rosales. It serves as a final resting place for the remains of Cebu's bishops and clergy. Cardinal Rosales, who died three months after inauguration of the mausoleum, is interred there along with Archbishop Manuel Salvador, a coadjutor archbishop of Cebu, Archbishop Mariano Gaviola, the archbishop of Lipa (1981–1993), and most recently, Cardinal Rosales' successor, Ricardo Cardinal Vidal. The remains of Bishop Juan Bautista Gorordo, the first Filipino and Cebuano bishop of Cebu, are also interred there.
The cathedral was renovated for the 75th anniversary celebration on April 28, 2009, of the elevation of Cebu into an archdiocese. An application is pending at the Vatican for the cathedral's elevation into a minor basilica in honor of St. Vitalis, an early Christian martyr. His feast day coincides with the day the image of the Sto. Niño de Cebu was found almost 450 years ago, as well as the anniversary of the elevation of Cebu into an archdiocese.
The present cathedral rector and moderator of the team of pastors is Reverend Monsignor Ruben C. Labajo, P.C., who was appointed in 2014. He succeeded Msgr. Roberto F. Alesna, P.A., who was named moderator of the team of pastors of the Archdiocesan Shrine and Parish of Saint Therese in Barangay Lahug, Cebu City.
Endowed with the status of a full-fledged parish, the Cebu Metropolitan Cathedral comprises the civil barangays of Tinago, San Roque, Santo Niño, T. Padilla, Day-as, Tejero, and Parian, all located in the southeastern and downtown area of Cebu City.


1598. Bishop Pedro de Agurto (1591–1608), an Augustinian, arrives in Cebu from Mexico, following his appointment as the Diocese of Cebu's first Bishop. He starts to reside in the cathedral.
1665. Bishop Juan Lopez writes the King of Spain requesting that an encomienda with an annual income of 2,000 pesos be assigned to the diocese to subsidize construction of a new cathedral. It is approved five years later. A royal grant of 10,000 pesos is also added, to be given on a staggered basis over the next 10 years.
1689. Having accumulated 17,718 pesos from the encomienda and royal grant, Bishop Diego de Aguilar (1680–92) begins the construction of a cathedral. A typhoon soon destroys the incomplete structure. His successor, Bishop Miguel Bayod (1696–1700) decides to build the foundations for another cathedral.
1692. The annual encomienda income of at least 2,000 pesos assigned to the diocese of Cebu is withheld, putting a heavy toll on the cathedral construction project.
1699-1700. Following a decree, the governor-general sends Juan Antonio de Ayco (reportedly the only mason in Cebu) and master-carpenters Jeronimo Quibon and Jacinto Caba to assess the construction project to estimate how much it would cost to finish it. Probably due to the absence of a competent assessor, the accounting is very confused, with no correct estimate as to how much had already been spent. What is known is that materials for the construction were reportedly already in place, like stones for the pavement, molave beams and posts, and various timbers.
1700. Following the death of Bishop Bayod, the construction of the cathedral is halted.
1719. Bishop Sebastian de Foronda (1723–1728) describes the cathedral as "nothing but a barn overrun by plants and grasses." He sees the futility of continuing the old construction due to its dimensions. He later orders the demolition of the old cathedral.
1719. Juan de Ciscara, a military engineer in Cebu (probably at the invitation of the bishop), draws up plans for a new cathedral. The Ciscara plan shows a rectangular form with three naves and two collateral chapels, suggesting the arms of a transept, and twin bell towers flanking the façade.
1720. With the appointment of a new alcade mayor of Cebu appreciative of the Bishop's concerns over the cathedral, preparations for the fourth attempt at construction, now estimated at 70,523 pesos begins. Materials are gathered and laborers contracted when the new mayor receives an order from Manila to use all disposable funds for the Moro-suppression effort in Mindanao, thus causing the abandonment of the new project. At this time, the alcadia of Cebu owes the diocese 35,336 pesos from the suspended encomienda subsidy.
1733. Bishop Manuel de Osio y Ocampo (1733–1737) commences the fifth attempt at construction of the cathedral begins under the direction of Lazaro Buyco, a master-builder based in Cebu. Some 40,000 blocks of stones are gathered and cut as 10,000 cavanes of lime are stored. The project does not see much headway and progress is slowed down because the foundations of the new cathedral had to be dug deeper as the area on which it stands is far too soft and wet, requiring more time and more money. The new cathedral is now estimated to cost P50,000 to P60,000 more in order to be finished.
1737. Bishop Ocampo dies and construction ceases. The diocese is once again placed under the administration of the Manila Archdiocese while awaiting the appointment of a new bishop. Fr. Miguel Angel Rodriguez, now assigned to oversee the project deems the planned Cebu cathedral as too big for the diocese and decides to cease its construction altogether.
1741. Bishop Protasio Cabezas (1741–1752) assumes as the eleventh bishop of Cebu. He resumes the construction of the cathedral which, against all odds, continues until 1784.
April 28, 1767. Bishop Miguel Lino de Espeleta (1759–1771) sends a letter to the King of Spain informing him of the need for 90,000 pesos to build the cathedral. The bishop also reminds the king of a promise made by his predecessors, apparently referring to the stalled amortizations on payments accrued from the income of the encomienda. As a final appeal, the bishop requests if funds could obtained from Mexico as well as the other islands under the Diocese of Cebu.
June 7, 1785. Bishop Joaquin de Arevalo (1776–1787), successor to Espeleta, informs the king that the amount of 8,000 pesos left by his predecessor to continue work on the cathedral was not enough. The construction, however, is now not only plagued by lack of funds but also by the near-absence of available labor in the city to work on the church.
1786. The façade and principal portions of the new cathedral is finished. Construction now takes on a much more regular pace.
1815. Bishop Joaquin Encabe de la Virgen de Sopetran (1805–1818) consecrates the cathedral which he dedicates to the Holy Angels of Custody even as construction never comes to completion and deterioration due to the elements creeps gradually.
1829. Bishop Santos Gomez Marañon (1829–1840) begins his term of office. He deems the cathedral far too deteriorated to be useful and begins plans for a reconstruction. The bishop, better known as priest-builder, supervises the construction of the churches of Oslob and Naga, the Episcopal Palace across the cathedral, the bell tower of Argao and the convent of Sibonga (and most probably the cathedral convent) during his reign.
1863 Following a letter by Bishop Romualdo Jimeno (1846–1872) to Governor General Rafael Echague on the urgent need to repair the cathedral, an architect, Don Domingo de Escondrillas, who is connected with the Office of Public Works based in Cebu is ordered to do a plan for the widening of the cathedral. In his plan, Escondrillas proposes tearing down of the walls of the cruceros and the main altar in order to follow the Greek cross style. The arches are also extended so that it can accommodate 1,400 people more than the 4,300 residents that can be accommodated inside the church. The altar mayor is moved so that it can be seen from any point inside the church. Included in the plan is the renovation of the sacristy. All these would cost 33,298 pesos which Escondrillas describes as economical and will make the church worthy of the honor of being the seat of the Diocese of Cebu.
December 11, 1865. The Administracion Central de Rentas Estancadas de Filipinas authorizes the release of 66,546 escudos for the enlargement of the cathedral by authority of Queen Isabella.
1878-1879. The demolition of the Parian church nearby increases the number of churchgoers (and proceeds from offerings) to the cathedral. The church has had a strained relationship with the cathedral due to its patronage by the local mestizo Chinese elite who lived in and around Parian district, making the church the richest in the diocese.
1886. The cleric Felipe Redondo y Sendino publishes Breve Reseña de lo que fue y de lo que es la Diocesis de Cebu en Islas Filipinas and provides a description of the cathedral in the book: “The Cathedral has thick and strong walls made of mamposteria (rubblework) of 3 varas; it’s crucero measures 73.91 meters in length and its sacristy 17.67 meters in width with the interior part having 12.35 meters in length and its front walls with 21.36. The roofing is made of clay tiles; there is also a spacious sacristy which keeps paintings of the Bishops of the Diocese and a wide ante-sacristy with a room on the upper portion where the religious vessels are kept. Its belfry is also made of mamposteria in three levels reaching 28 meters in height and decorated with a clock."
December 7, 1891. Bishop Martin Garcia Alcocer consecrates the first stone of the new cathedral of Cebu, probably the seventh construction-reconstruction attempt. The project proceeds in earnest but is halted with the onset of the Revolution of 1898.
1904. Bishop Thomas Hendrick (1904–1909), the only American bishop of Cebu, continues the cathedral rebuilding project started by his predecessor.
1909. Bishop Juan Bautista Gorordo (1909–1932) begins his ministry marked by the completion of the cathedral construction.
1933. Following the elevation of the diocese into an archdiocese and the consecration of the new archbishop Msgr. Gabriel Reyes (1932–1950), the cathedral undergoes renovation. The project is supervised by Chinese Cebuano engineer Gavino Unchuan based on plans made by Cebu and Manila architects Eulogio Tablante Jr., Felino C.T. Lepon and Julio Ancheta. During the renovation, the retablo of the 1860s is torn down and replaced with a simple altar made of Carrara marble imported from Italy. Above the marble altar are placed three stained glass windows portraying the archangels Michael and Gabriel with the Lord in the center. The façade is extended to the camarin delos campaneros or the enclosed passageway to the belfry which used to be the bell-ringer's quarters, thus making the church look even bigger. The entire church is also plastered with cement covering the walls which are painted later.
1940. The newly renovated cathedral is consecrated by Archbishop Gabriel Reyes.
September 12, 1944. USAFFE air raids on Cebu commence. Among the bombing casualties are the recently renovated cathedral and the Episcopal Palace across, with its contents of centuries-old archives and records of the archdiocese lost forever.
1945. Archbishop Reyes begins the reconstruction of the bombed cathedral, with only its façade, walls and belfry still intact.
1993. Under the incumbency of Msgr. Manuel Salvador as parish priest, the cathedral once again undergoes a major renovation in preparation for the visit of Pope John Paul II to the Philippines for the 400th anniversary of the founding of the Archdiocese of Manila and the dioceses of Cebu, Nueva Caceres, and Nueva Segovia.
November 18, 1994. Archbishop Ricardo Cardinal Vidal consecrates the cathedral on to the Most Holy Name of Jesus, recalling the days when Cebu was called Ciudad del Santisimo Nombre de Jesus.
2008-2009. The cathedral undergoes another major renovation in time for the 75th anniversary celebration of the archdiocese on April 28, 2009. An application was also sent to the Vatican for its elevation into a minor basilica.
2010. The cathedral underwent a minor renovation which involved the cleaning of the facade for the installation of Jose S. Palma as the new archbishop of Cebu, succeeding Ricardo Cardinal Vidal who had been archbishop for 29 years.
October 15, 2013. The cathedral has been closed to the public after a magnitude 7.2 earthquake hit Visayas which also destroyed several century-old churches in the island such as Loboc Church, Baclayon Church, and the Sto. Nino de Cebu Minor Basilica.
December 13, 2015. The Jubilee Door of Mercy of the cathedral was opened in local observance of the Extraordinary Jubilee of Mercy proclaimed by Pope Francis. It was closed on November 20, 2016, coinciding the Feast of Christ the King.
January 27, 2016. The cathedral became one of the venues of the parish encounter during the 51st International Eucharistic Congress wherein the local parishioners were able to celebrate the Mass with and interact with the international delegates of the congress. Most Reverend Michael Kennedy, Bishop of Armidale, New South Wales in Australia, presided the Mass.


Tinker Bell introduces the show as she appears flying over the castle's turrets. The castle is transformed into a paper canvas as Walt Disney appears sketching Mickey Mouse in his iconic Steamboat Willie appearance. Tinkerbell enchants a paintbrush, which then becomes the host of the show. A kaleidoscope featuring images of Mickey, Donald Duck and Goofy are projected followed soon after by short clips from Cinderella, Pinocchio and The Princess and the Frog. The show then progresses into longer, classic scenes from Disney films, including; Alice in Wonderland, Dumbo, Wreck-It Ralph, The Lion King, Tarzan,  The Jungle Book, Lady and the Tramp, Tangled, Toy Story, Pirates of the Caribbean and Frozen. The show's climax features a fast-paced montage of characters and scenes from such other Disney films as Snow White and the Seven Dwarfs, Bambi, Sleeping Beauty, Pocahontas, Up, Peter Pan, The Little Mermaid, Finding Nemo, Beauty and the Beast, Aladdin, and Tangled. During the montage Walt Disney appears again, via archival footage, reciting one of his most famous quotes; "I only hope that we never lose sight of one thing – that it was all started by a mouse". The show then proceeds into a synchronized pyrotechnic finale.


Similar to its predecessor, Celebrate the Magic will showcase sequences from that will be appropriately themed to seasonal parts of the year. The show premiered with the original Christmas segment from The Magic, the Memories and You. The summer months show films such as Phineas and Ferb, The Little Mermaid and Lilo & Stitch, in addition, segments featuring Disney Princesses and couples for Valentine's Day and Disney Villains for Halloween are shown, and in the winter, Frozen is showcased.
The summer edition debuted during the Monstrous Summer All-Nighter event on May 24, 2013 until August 31, 2013. The Halloween edition featuring the Disney villains debuted on September 1, 2013 until October 31, 2013.
A new segment based on Frozen debuted on November 17, 2013 replacing a segment based on Brave.


Architecturally, many of the houses have been remodeled under the Baroque and Classical architecture styles. Some buildings still have Romanesque and Gothic architecture foundations. The House of the Black Madonna is located on the street.


The Cellular Jail, also known as Kālā Pānī (lit. 'Black Water'), was a colonial prison in the Andaman and Nicobar Islands, India. The prison was used by the British government for the purpose of exiling political prisoners to the remote archipelago. Many notable independence activists, including Diwan Singh Kalepani, Fazl-e-Haq Khairabadi, Yogendra Shukla, Batukeshwar Dutt, Shadan Chandra Chatterjee, Sohan Singh, Hare Krishna Konar, Shiv Verma, Vinayak  Damodar Savarkar, Sudhanshu Dasgupta were imprisoned here during the struggle for India's independence. Today, the complex serves as a national memorial monument.