Most Norman castles in Glamorgan (e.g. Caerphilly, Cardiff, Loughor) occupy sites which had previously been Roman forts and it is likely that the Norman castle at Coity occupied the site of an existing structure. Potential Roman military activity at the site is supported by the strategic importance of the location. A Roman fort would have controlled a number of early routes and Heol Spencer, which appears on the earliest maps of the area, has been proposed as a Roman Road because of its age, importance and remarkable straightness (which today, only deviates around the castle grounds itself).
Despite this archaeological interest, no excavation has been carried out to identify any Roman remains.


The castle began as a late 11th-century ringwork. A rectangular stone keep and the main curtain wall were added by the Normans in the 12th century, under the de Turberville family. The three-storey keep was primarily a defensive structure.
Extensive reworking took place in the 14th century, when a domestic range was attached to the keep by the middle gatehouse. New stone vaults replaced the earlier timber floors. The central octagonal pier for the vaults is still prominent among the castle ruins. An adjoining chapel wing with a tall east window was added to the first floor at the eastern end of the domestic range in the 15th century.


Thomas de la Bere died as a minor on 28 October 1414, following which the lordship reverted to Sarah de Turberville, the youngest sister of Richard de Turberville, who had apparently produced male progeny from her marriage to William Gamage. There was in the few years following Sir Lawrence Berkerolles's death much general reshuffling of property interests in Glamorgan, for example with the Stradling family. Sarah's marriage to Sir William Gamage of Roggiett, Gwent, brought the lordship into the Gamage family, where it remained until 1584. The Gamage succession was not, however, easily achieved for in September 1412, that is to say whilst the supposed true heir the minor Thomas de la Bere was still alive, William Gamage assisted by Sir Gilbert Denys (d. 1422) of Siston, Gloucestershire, and formerly of Waterton-by-Ewenny, in Coity lordship, besieged Coity for a month, trying to oust Lady Joan Verney, wife of Sir Richard Verney and daughter of Margaret de Turberville, from the Castle. Joan, it seems, had taken up residence to assert her own claim to Coity in the confusion following Berkerolles's death. As she was a female, a widow, and without a son, clearly her claim was deemed tenuous or rather completely spurious. The entry in the Patent Rolls is:
Westminster Sept. 16, 1412.
Commission to William Newport, Chivaler, Rees ap Thomas, John Organ, William Sparenore, Richard Delabere and Robert Wytney on information that Gilbert Denys, Chivaler, and William Gamedge, with no moderate multitude of armed men have gone to the castle of Coytif in Wales and besiege it and purpose to expel Joan, late the wife of Richard Vernon, Chivaler, from her possession of it, to go as quietly as they can to the castle and raise the siege, cause proclamation to be made that no one under pain of forfeiture shall besiege it, but those who pretend right and title in it shall sue according to law and custom. Arrest and imprison all who oppose them and certify thereon to the King in Chancery. By K.
The king had, therefore, given a commission to his local tenants-in-chief to raise the siege and gave another commission a month later to John Grendour for the same purpose. Denys and Gamage ended up in the Tower of London for having taken the law into their own hands, from 19 November 1412 until 3 June 1413, being released after the death of Henry IV. Their action, however, proved successful in enforcing the Gamage claim to Coity. Denys's eldest daughter Joan was the wife of a certain Thomas Gamage, possibly brother of William. Another of Denys's daughters, Matilda, by his 2nd. wife, married another Thomas Gamage, son or grandson of William and Sarah, and thereby became Lady of Coity on her husband's succession, producing a son and heir John Gamage.


During the 16th century, Coity Castle, by then owned by the Gamage family, underwent a complete remodelling of the living quarters, including the addition of a storey, new windows, and two chimney stacks. The principal chambers lay on the upper floors. The range of domestic apartments comprised a central first-floor hall set above a vaulted undercroft, from which it was reached by a grand spiral stair. To the west were ground-floor service rooms, probably including a kitchen, with ovens. The base of a ruined large malting kiln remains. On the far side of the range, a tower projecting from the curtain wall contained latrines. The second floor housed private apartments.
The Gamage family held Coity until the death of John Gamage in 1584.


The castle was abandoned around the 17th century. The castle was sold in the 18th century to the Edwins of Llanharry. Through the Edwins, the Coity lordship passed to the Earls of Dunraven.
The castle ruins are now in the care of Cadw.


Great Western Railway Castle Class steam locomotive number 5035 was named Coity Castle.


Col du Granon (el. 2,413 m or 7,917 ft) is a high mountain pass in the Alps in the department of Hautes-Alpes in France. A narrow tarmac road winds steeply up the southern approach. Gravel roads continue beyond the pass, in a military training zone.
It hosted the highest ever mountain-top stage finish in the Tour de France—once only—in 1986, until the 2011 Tour de France, that had a finish in the Col du Galibier, at 2,645 m (8,678 ft) of altitude. Eduardo Chozas of Spain won the stage after a long lone breakaway.
During the 2022 Tour de France Team Jumbo-Visma launched a relentless attack against two-time defending champion Tadej Pogačar, using Wout Van Aert, Christophe Laporte and Primoz Roglič, which allowed Jonas Vingegaard to seize the yellow jersey. Like LeMond in 1986, Vingegaard would defend his lead for the rest of the race.


Two roads lead to the pass at 2,645 m (8,678 ft). The D234T climbs 11.5 kilometres (7.1 mi) with a 9% average gradient from Saint-Chaffrey at an altitude of 1,364 metres (4,475 ft). From the east a dirt road to the military pass at Val-des-Prés climbs 15.3 kilometres (9.5 mi) at almost 7% gradient.


It was designed by Francesc de Paula Nebot, in an eclectic style closely related to the French Beaux Arts movement, and partially based upon the Opera Garnier in Paris. Among the artists in charge of its profuse ornamentation and luxurious decoration are Pere Ricart, Fernández Casals, Gonçal Batlle and Torra Pasan. It was severely endangered by the 1937 air raids during the Spanish Civil War.


WikiWeb_Collegiate Church of San Cristoforo_0

The Collegiate Church of San Cristoforo, Barga (Italian: Duomo di Barga; Collegiata di San Cristoforo) is the main Roman Catholic church of the town of Barga, located in the region of Tuscany, Italy.


WikiWeb_Collegiate Church of San Cristoforo_1

Construction of the church started in the 11th century, although work continued into the 16th century. The main layout is an example of Romanesque architecture.
The church was built with white marble from the quarries near the town, and sited on a hilltop acropolis. The west front is a square wall with a castle-like bell-tower. The main Romanesque portal has two semi-columns with carved lion capitals; above is an arch and decorations with leaf motifs. One façade block has a repeated cryptic inscription. The church has a central nave, and two lateral aisles. It contains some 12th- or 13th-century fonts, one with a carving depicting John the Baptist.
The first pilaster has an ancient degraded fresco of Saint Lucy. The pulpit is carved with scenes from both the Old and New Testaments, and two support columns have lion bases. One of the scenes is an Annunciation, another the Nativity. A polychrome wood statue of the patron saint, Saint Christopher (Cristofano), stands behind the main altar. The chapel on the right has terra cotta by the studio of Della Robbia. The left chapel is dedicated to the Madonna del Molino; a 14th-century image of the Madonna is on a canvas depicting Barga circa 1500.
In 1862, the nave ceiling was replaced with a new wooden one, in the same style.
The adjacent Palazzo Pretorio is now the Museo Civico. A stairwell outside the church leads to the church of the Santissimo Crocifisso. At the start of the 20th century, the church had canvases attributed to Santi di Tito, Giovanni Roselli, and Stefano Tofanelli.


The Collegium Novum (Latin: "New College") is the Neo-Gothic main building of the Jagiellonian University in Kraków, Poland, originally built between the year 1363 and 1365 and after its destruction, rebuilt in between 1873-1887. Based on a design by architect Feliks Księżarski to match the oldest building of the University, it was opened for the 500th anniversary of the University's foundation. The Collegium Novum replaced a former academic boarding school called Jeruzalem, consumed by fire in the mid-19th century.
The building contains lecture rooms including an impressive assembly hall (called Aula), Rector's, Deans', and other university authorities' offices as well as those of a number of prominent professors. It is the Jagiellonian University's administrative centre.
Collegium Novum was opened on June 14, 1887, commencing several years of debate and construction. The decision regarding the allocation of subsidies was made in the Austro-Hungarian capital of Vienna, with the University's vital interests defended by Julian Dunajewski, the then Austrian Finance Minister. The work might not have begun at all had it not been for his commitment, as well as that of his brother Cardinal Albin Dunajewski.
Already at the time of its grand opening, the assembly hall (Aula) of the new building was too small to accommodate all guests on all occasions, even though the number of students did not exceed 1200 with approximately one hundred professors. A debate arose whether it was necessary to invite professors' wives to grand ceremonies. Most academics, in keeping with the prevailing trend of the time, were against the inviting of women guests. In the University's archives there is a formal invitation reading: “Zoll requires no ticket and wishes the ceremony to be exclusively male.” In another statement, Edward Janczewski “expresses his opposition to the idea of admitting ladies to the ceremonies.”
Until the end of First World War, a portrait of emperor Franz Joseph I of Austria, painted by Kazimierz Pochwalski, hung in the Aula of the Collegium. On October 31, 1918 a group of University students tore it to pieces, manifesting their determination for the recreation of an independent Republic of Poland. However, a number of other paintings did survive, including portraits of the University's founding fathers Casimir the Great and Władysław Jagiełło dating back to the early 1860s, a picture of Queen Jadwiga painted in 1900 to celebrate her Jubilee, as well as the works of  Jan Matejko, including his painting entitled Copernicus: Conversation with God. The chairs in the assembly hall were designed by Tadeusz Stryjeński.
On the upper floor of the College there is a lecture hall named after Józef Szujski – now used by historians – with the commemorative plaque in remembrance of the events surrounding Nazi German action called Sonderaktion Krakau where 183 professors were arrested and later sent to camps in Sachsenhausen and Dachau. The plaque reads: "For the freedom of spirit and service to science and nation of Jagiellonian University professors deceitfully and forcefully taken away from this hall and imprisoned by the Nazi occupant on November 6, 1939."
The restoration of the Neo-Gothic architectural structure took place at the end of the 20th century. It was faced with a number of challenges, notably the task of reviving the original form of the building while simultaneously improving its functionality as an educational facility. The restoration was carried out on its façade in 1994 along with the modernization of the assembly hall, which was completed in 1999. The collaboration of specialists from various disciplines allowed for both restoration and functional needs of the Collegium to be met successfully.


The Colman Building is a historic office building on First Avenue in downtown Seattle, Washington. It occupies a half of a block in proximity to Pioneer Square, and is bound by First Avenue, Marion, and Columbia Streets. It is listed on the National Register of Historic Places and is a City of Seattle landmark.
The building was built in several stages with a change of design between 1889 and 1906. It was commissioned by Scottish immigrant and master machinist James Murray Colman who arrived in Seattle in 1872 and would later build Seattle's first brick office building (1875) and Colman Dock which originally was the city's main coal shipping point. Colman owned large tracts of lands along Seattle's waterfront and was instrumental in bringing the first railroad (Seattle and Walla Walla Railroad) to the city as well as helping start the city's first street car line.
Architect Stephen J. Meany drew the original plans in a Victorian style while the reconstruction that is visible today was the work of August Tidemand, inspired by the Chicago School with less ornamentation and large pivoting windows. The architectural cast-iron elements from the original design remain on the first floor, while the second floor was re-faced rusticated stone. Four floors of red brick trimmed with marble were built on top of this. The building is crowned with a copper cornice. The Colman building was one of the largest office buildings in Seattle in the 1900s and was the centerpiece of Colman's multi-million dollar estate at the time of his death in 1906 shortly after its completion.


Among his numerous land holdings along Seattle's waterfront, James Colman owned the entire block of First Avenue between Columbia and Marion Streets. According to legend, he came to acquire the property when he towed the wrecked ship Windward to shore there intending to salvage it. When the Colman building was later built on the site, the ship's hull was surrounded by land and buried under the foundation where it still lies in the sub-basement.
In 1888, Colman commissioned architect Stephen Meany to design a large office building that would occupy his property. His design was an ornate five story Victorian/Romanesque edifice faced in cement and featuring a large central tower. While the cornerstone was laid and foundation begun in early 1889, a shortage of stone plaguing the city forced Colman to put off construction in order to keep collecting rents on buildings still on the property as long as possible. Construction of the building was made easier when the Great Seattle Fire of 1889 wiped out all of the buildings on the block. Construction commenced as soon as the debris was cleared.
During the rebuilding of Seattle in the aftermath of the fire, a huge surplus of office space was being created with all of the multi-story structures being built simultaneously. Noticing this, Colman halted construction of the building, which had only reached its second floor. It remained in this unfinished form for the next fifteen years. Despite its stunted growth, the Colman became an important business address in the city and housed many notable businesses and social clubs like the Elks and the Seattle Bureau of Information, whose sole purpose was to keep the newspapers in on the East coast supplied with good news about the city. The Customs House operated within the Colman Building as well as the Circuit Court. Architect Meany moved his offices into the building and The Dexter Horton Bank, a predecessor to Seafirst Bank, relocated to the building in 1890 while their new building was being built.
In July 1895 the corrugated iron-clad warehouses occupying the other half of the block burned to the ground. Colman replaced them with a 3-story stone warehouse building, known as The Colman Block Annex, which eventually functioned for many years as a candy factory, before being demolished in the mid-20th century for a parking lot. Today, this is the site of the Post Apartments.


Construction of the Colman Building was finally resumed in February 1904 and by this time, architectural tastes had changed, and Colman hired Norwegian architect August Tidemand, who had designed the Colman Block Annex ten years prior, to completely rebuild the building in a Chicago School style while still echoing the building's intended 1889 layout. Tenants were moved to the nearby Burke Building until construction finished. Perks of the new building would include 300 offices, fireproof construction and stair fire escapes. Another improvement over the old building would be the addition of three elevators with 24-hour operators. As construction began in early 1904 The Seattle Times noted the improved service over that of the Colman Building at the time:
In speaking of the new elevator service to be employed in this building recalls the fact that the lone elevator now used holds the record of being the slowest on earth.

Reconstruction of the building involved removing most of the brick facade and arches to be replaced with stone, with the floors above to be executed in brick trimmed with stone, all crowned by a projecting copper cornice. Several cast-iron elements from Meany's original design including the entrance arch and storefront columns were retained and integrated into the new facade. When completed in 1906, the new building rose six stories high and cost $150,000.
The Colman Building housed several businesses that catered to miners during the Alaska Gold Rush as well as housing several administrative offices for the Alaska-Yukon-Pacific Exposition in 1908-9.
The lobby of the building was completely rebuilt in 1930 with designs by Seattle architect Arthur Loveless.


On March 16, 1972, the Colman Building was listed on the National Register of Historic Places. In October 1978, the building was purchased by CHG-City Center Investors, who began a ten-year, three phase process of restoring the building to its original grandeur. On March 19, 1990, the Colman Building became a City of Seattle Landmark (Ordinance #114993) on nomination by CHG International of Federal Way, Washington, with James Mason as their agent.
The Colman Building was brought back to local ownership in 1997 when Triad Development purchased the building for $7.1 million from Plaza Realty Holdings Inc. of Long Beach, California. They had in turn purchased the building out of foreclosure in 1996. Triad spent over $2 million in renovations including new air conditioning and better interior lighting as well improving street level businesses. In 2019, Unico Properties purchased the Colman Building for approximately $37 million.


One of the largest Roman era villas in Switzerland was excavated from under the castle in 1840-42 by Frédéric Dubois de Montperreux.  It was built in multiple stages between the 1st and 3rd centuries AD into a palatial mansion with a peristyle, at least two baths with mosaics and frescoes and terraced gardens.  In the 11th or 12th century a fortified tower was built over the ruins of the Roman villa.  It expanded in the 13th Century and by the 16th century had reached its present appearance.
In 1806, Colombier Castle was converted into a military hospital.  Starting in 1824 it was used by the Federal militias as a parade ground and was converted into a barracks and given an expanded arsenal.  In 1877 it became the official barracks of the 2. Division, which later became Field Division 2.  In 2003, the Army XXI reforms dissolved the Division and in 2004 the barracks became an infantry training center.


Several collections kept in the "Archives de l'État de Neuchâtel" contain information about Colombier Castle :
PLA, Fonds: Plans et cartes. Archives de l'État de Neuchâtel.
RC, Fonds: Reconnaissances (1401-1836). Archives de l'État de Neuchâtel.
AS, Fonds: Archives seigneuriales (1143-1707). Archives de l'État de Neuchâtel.
NC, Fonds: Notes Courvoisier. Archives de l'État de Neuchâtel.


The colonial forum of Tarraco is an ancient Roman archaeological site located in the modern city of Tarragona in Catalonia, Spain.


The Colonne di San Lorenzo or Columns of San Lorenzo is a group of ancient Roman ruins, located in front of the Basilica of San Lorenzo in central Milan, region of Lombardy, northern Italy.


The colonnade, consisting mainly of 16 tall Corinthian columns in a row, now fronts an open square. In the 4th century, the columns were moved here, after removal from a likely 2nd century pagan temple or public bath house structure. South of the columns, one of the medieval gates still has some Roman marble decoration in place. In the 16th century, in preparations for a celebratory entrance into Milan of the monarch King Phillip II of Spain, it was proposed to raze the colonnade to widen the route; Ferrante Gonzaga declined the suggestion.
Up until 1935, the space between the church and columns was entirely occupied by old houses abutting onto the façade of the church itself. Indeed, the church complex was fully surrounded by old houses. Despite the plans to conserve this ancient urban fabric, the renovations led to the demolition of the old houses and the isolation of the monument on the front side. Following bombing during World War II, the church complex became isolated also on the rear side, where the fenced Basilicas Park now stands, allowing popular views of the Basilica.


In addition to the offices of the city government, when the building opened in 1892, it also housed the police department, the fire department, the jail and the city library. A public auditorium is located on in the building. It has hosted traveling theater troupes, class plays, graduation ceremonies and served as a movie theater until 1917 when a separate theater opened in the city.


Commencement Bay is a bay of Puget Sound in the U.S. state of Washington. The city of Tacoma is located on the bay, with the Port of Tacoma occupying the southeastern end. A line drawn from Point Defiance in the southwest to Browns Point in the northeast serves to mark the generally accepted division between the bay and the open sound. Commencement Bay has become home to one of the most active commercial ports in the world. The Port of Tacoma is the main port facility.
The Puyallup River is the largest freshwater stream emptying into the bay. Others include Ruston Creek, Mason Creek, Asarco Creek, Puget Creek, Hylebos Creek, and Wapato Creek.


Lieutenant Charles Wilkes of the United States Exploring Expedition
named Commencement Bay in 1841, commemorating the place where he started his survey of southern Puget Sound.
The first Euro-American habitation on Commencement Bay was by Swede Nicolas Delin (b. ca. 1817). He built a water-powered sawmill in 1852 where a creek entered the head of the bay. A small community grew up around the operation, but the settlers evacuated during the Puget Sound War of 1855–56 and did not return.
In 1873 the Northern Pacific Railway, the first transcontinental railroad in the northern United States, announced it would locate its terminus at Commencement Bay. When the railroad reached the bay in 1883 it caused a boom of development in Tacoma. The railroad facilities were located near the extensive tide flats by the mouth of the Puyallup River, about a mile from the original site of Tacoma. Not only did the tide flats provide level ground compared to the steep slopes surrounding the rest of the bay, but dredging work would quickly provide deep water access to the railyards and warehouses. A new town, called New Tacoma, quickly grew up by the railroad hub. "Old town" Tacoma and New Tacoma soon merged. Large land grants were provided to the Northern Pacific, including a significant part of the coast of Commencement Bay. Over time the city of Tacoma bought up this land.
Originally the boundary between Pierce and King counties ran east from the mouth of the Puyallup River, splitting Commencement Bay between the two counties. In 1901 the border was changed, giving Pierce County the entire bay.
Seattle-Tacoma Shipbuilding operated out of the bay during World War 2 producing escort carriers and auxiliaries as one of the yards belonging to the Todd Corporation, which included a nearby yard on Harbor Island, Seattle.


For much of the 20th century a large smelting facility was operated by ASARCO on the shore of Commencement Bay near Point Defiance. The town of Ruston surrounds the former ASARCO plant. Tailing waste was dumped into the bay, eventually forming a long peninsula. Today it is a project area within the Commencement Bay Superfund site.
The Thea Foss Waterway, an arm of Commencement Bay near downtown Tacoma, was declared a Superfund site in 1983. In 1991, the Environmental Protection Agency announced that the St. Paul Waterway, once among the most contaminated parts of Commencement Bay, had been the first marine Superfund site in the nation to be cleansed of pollution.


The Computerspielemuseum opened the first permanent exhibition in the world for digital interactive entertainment culture in 1997 in Berlin. After that, it became responsible for 30 national and international exhibitions. Among these was the project "pong.mythos" sponsored by the German Federal Cultural Foundation, Germany's most successful traveling exhibition in the history of computer games. In the last five years, over 470,000 visitors have seen this exhibition. The museum contains around 25,000 data storage devices with games, around 12,000 technical magazines, many historical arcade games, home computers and console systems and an extensive amount of other documents, for example: videos, posters and handbooks. It contains one of the largest collections of entertainment software and hardware in Europe.
The Computerspielemuseum's collection is the property of the Booster Club for Youth and Social Work. The museum itself is run by Gameshouse GmbH. Building the new permanent exhibition was financed by the German Lottery Fund in Berlin and from the Cultural Investment Program of Berlin's Cultural Affairs Department.
There are over 300 interactive exhibits illustrating the cultural history of computer gaming. One of the highlights is an actual video arcade from the 1980s with authentic arcade games from the decade that launched video games into popular culture.  All console game systems are on display from the original Magnavox Odyssey from 1972 to more recent household devices like the Nintendo systems and all versions of the PlayStation family.  An original exhibit in the museum is called the "PainStation", where the loser of the game is subject to physical punishment such as heat or a mild electric shock.
The Computerspielemuseum is a member of the International Council of Museums (ICOM) as well as the Nestor project, which is financed by the Federal Ministry of Education and Research.


The museum is a cooperative partner of the EU research project ''PLANETS (Preservation and Long-term Access through Networked Services). Besides that, it is also a contributor to the EU research project Keeping Emulation Environments Portable.


The Computerspielemuseum shows in special exhibitions chosen games, books, merchandise etc. to different topics.
Tell me more! Tell me more!- Fiction & Computergames (by we love old games, 2018)
Monsters Attack Planet Earth (by we love old games, 2018)
Bonus Level Japan (2019)


The museum won the German Children's Cultural Prize in 2002 and the Deutscher Computerspielpreis (German Computergames Prize) in 2017 in the category Special Award.


WikiWeb_Consulate General of the United States_0

The Consulate General of the United States of America in Hamburg is a diplomatic mission representing the United States of America to the city of Hamburg and the State of Schleswig Holstein in  the Federal Republic of Germany. The Government of Hamburg counts the promotion of the then Vice-Consul John Parish to the rank of a consul in 1793 as the establishment of the first mission. The consulate-general represents the interests of the United States government in the German states of Hamburg, Bremen, Lower Saxony, Mecklenburg-Vorpommern, and Schleswig-Holstein.


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In 1882 the larger one of the two houses was built, and in 1893 the smaller building was finished by architect Martin Haller, who also designed the Hamburg Rathaus. From 1933 until 1945 the Nazi Party used the houses as Hamburg headquarters. After the war, the British forces confiscated the houses, and in 1950 the US Government bought them from the heirs of the original owners.  Eventually a structure was built between the two houses to create one single building.
After a renovation the consulate moved into the house in 1951. The Consulate General is commonly called das Weiße Haus an der Alster (the White House on the Alster) in Hamburg. Since threats against American embassies, 9/11, and a direct threat against the consulate in Hamburg, the security of the US Consulate General in Hamburg was often strengthened. On 1 April 2009, the Hamburger Morgenpost used the consulate for an April Fools' Day news, that because of security reasons the consulate will move to a WW II shelter at Heiligengeistfeld.  In the late 1990s portions of what used to be a larger property belonging to and surrounding the Consulate were sold off to raise needed cash for the US Embassy in Berlin.  The Consulate is known for placing a large Christmas tree every year on the balcony over the entrance.


The Convent de Le Celle is a 13th-century Franciscan Convent located in Le Celle, just outside Cortona, region of Tuscany, Italy. It is also referred to as the Convento delle Celle or Eremo Le Celle.
A small hermitage was erected here in circa 1211 or 1221, and it briefly housed St Francis of Assisi himself in his lifetime. In 1235, Brother Elias of Cortona, Minister general of the Franciscans at the death of the founder, erected a sanctuary, refectory and five monk cells (rooms) of similar size to the one that Francis himself had used. Monks remained at the site for nearly a century, then the monastery was almost abandoned.
The structures passed to the parish and were occupied by the Order of Friars Minor Capuchin monks in 1537, who dedicated the church to the St Michael Archangel. This order was dedicated to a more eremitic lifestyle befitting this rural site.  In 1634, the church was rededicated to St Antony of Padua. From 1804 to 1811, the Napoleonic government expelled the monks. They returned later in the 19th century.
The rustic stone buildings nestle in terraces on a mountain-side with a Holly Oak and cypress grove. The main convent is accessed through a stone pedestrian bridge spanning a small spring stream. The church has a few ancient works, but many of the present artwork is modern. The Capuchin order is presently associated with the site, and manages the site as a rustic retreat for visitors interested in prayer and mediation.


WikiWeb_Convent of the Barefoot Trinitarians_0

The Convent of the Barefoot Trinitarians (Spanish: Convento de las Monjas Trinitarias Descalzas) is a convent located in Madrid, Spain. It was declared Bien de Interés Cultural in 1943.


WikiWeb_Coral Gables Congregational Church_0

The Coral Gables Congregational Church is a historic Congregational church in Coral Gables, Florida, United States. The church was designed by the architect Richard Kiehnel of Kiehnel and Elliott in 1923 and is regarded as a fine example of Spanish Colonial Revival architecture. It is located at 3010 DeSoto Boulevard. On October 10, 1978, it was added to the U.S. National Register of Historic Places.
It has been known to encourage artistic and musical pursuits for youths. In particular the Coral Gables Congregational Church Composition Prize which, in 2006, was won by Australian composer Gordon Hamilton.


The summit is very similar to that of Pen y Fan: flat and anvil-shaped. It is similarly formed from the relatively erosion-resistant Devonian age sandstones from the Upper Old Red Sandstone known as the Plateau Beds. The rock strata are clearly visible at the edge of the escarpment, where they form a resistant edge to the cliff. The same strata are visible all along the escarpment facing north, as well as the rearward edge facing south-east and lying behind the main peaks. The same Plateau Beds recur in the Black Mountain (range) to the west, and cap the summits of Picws Du and Fan Foel, as well as forming steep cliffs below the peaks.


The Coronation Cathedral (Romanian: Catedrala Încoronării), dedicated to the Holy Trinity and the Holy Archangels Michael and Gabriel, is a Romanian Orthodox cathedral located at 16 Mihai Viteazul Street, Alba Iulia, Romania. Built soon after and in commemoration of the Union of Transylvania with Romania, it is the seat of the Romanian Orthodox Archdiocese of Alba Iulia.


The cathedral and surrounding buildings were raised in the western part of the Alba Iulia Citadel, on the site of a gatehouse near the Roman Plateau. It was thought of as a continuation of the former metropolitan seat at Alba Iulia (then called Bălgrad), where Michael the Brave built a stone church in 1597. When the citadel was rebuilt in its current form in 1713–1714, the Habsburg authorities demolished this and its materials were used to build a new church near where the railway station is today. A wooden memorial church in the southeastern part of the citadel marks the site of the former metropolitan cathedral.
Built in 1921–1922, the cathedral was ready in time for the coronation of King Ferdinand and Queen Marie as monarchs of Greater Romania on October 15, 1922. This event, which took place in the same city where the Union of Transylvania with Romania occurred on December 1, 1918, was meant to give the union added symbolic and religious weight. Ferdinand, a Roman Catholic, objected to being crowned inside an Orthodox church, so the coronation ceremony was held outside in the courtyard. In commemoration of the event, busts of the king and queen were placed on the grounds in 2008.


The cathedral forms part of a group of buildings erected beginning in the late 19th century in the national style promoted by Ion Mincu and Petre Antonescu, incorporating traditional forms of Romanian architecture, in particular the Brâncovenesc style, and adapting them to modern tastes. The plan, an inscribed Greek cross, draws upon the Târgovişte Princely Church. Similarly, the exterior decorative elements, such as niches, beads about the column capitals and arcades, as well as the domes, resemble those found in Wallachian churches from the time of Matei Basarab and Constantin Brâncoveanu. The interior fresco painting, by Costin Petrescu and his apprentices, follows the dictates of traditional Byzantine Orthodox iconography while exhibiting Western influences.
The entrance to the building has an open porch with large arches supported by columns with capitals. The portal is decorated with traditional motifs, and above it are mosaic icons of the archangels Michael and Gabriel, while one side of the entrance has icons of Saints Peter and Paul and the other of Kings David and Solomon. The porch's niches have marble plates commemorating four events: Metropolitan Simion Ştefan printing the first Romanian-language New Testament in 1648; the union of the three Romanian principalities achieved by Michael the Brave in 1600; the execution of Horea, Cloşca and Crişan in 1785; and the merger of the Romanian Greek-Catholic Church into the Orthodox Church in 1948, an act forced by the new Communist regime, supported at the time by the Orthodox Church but denounced as unlawful by Greek-Catholics. Also during that period, the authorities had the edifice's name changed to Catedrală Reîntregirii Neamului ("Cathedral of the Unity of the People") in order to minimize associations with the abolished monarchy, but the "Coronation Cathedral" name staged somewhat of a comeback following the 1989 fall of the regime.
One special feature are the paintings of historical figures or individuals who played a role in local religious life. Paintings of the ktitor of the first metropolitan church in Bălgrad, Michael the Brave, and of his wife Lady Stanca appear in the narthex. The tall nave is dominated by a cupola painted with the image of Christ Pantocrator and held up by four octagonal columns coated in Moneasa marble. The western wall of the nave has paintings of clerics from the time when the cathedral was built: Nicolae Bălan, Metropolitan of Transylvania, and Miron Cristea, Patriarch of All Romania, as well as votive portraits of King Ferdinand and Queen Marie. The altar apse is painted with the Theotokos and scenes from the Bible. There are three octagonal spires, each lighted by eight windows, with an onion dome roof and a metal cross on top.
In front of the carved and painted oak iconostasis and adjacent to the triumphal arch, there are large portraits of former Metropolitans of Transylvania Ilie Iorest and Sava Brancovici, as well as of the monks Visarion Sarai and Sofronie of Cioara, and the martyr Oprea Miclăuş of Sălişte, all of whom were canonized in the cathedral in 1955. A pair of thrones inscribed with royal symbols was placed beside the iconostasis during the solemn coronation service. In addition to the iconostasis, the furniture and choir are also oak and decorated with Brâncovenesc motifs.
The cathedral lies on a rectangular lot which has four pavilions, one in each corner, linked by galleries that recall those found in monasteries, formed of open double arcades held up by columns. Some of the columns have Corinthian capitals with Brâncovenesc touches. The larger, eastern pavilions house the archdiocesan residence and administration. The smaller, western ones are used by those who run the building and grounds. The 58 m-high bell tower, with the entrance to the complex beneath it, lies between the western pavilions. From the early 1920s until 1948, the cathedral was the headquarters  of the Diocese of the Romanian Army. It is now the seat of the Archdiocese of Alba Iulia, which has held this rank since 1998, having previously been a diocese since 1975. The building was renovated in 1993, the 75th anniversary of the 1918 Union.


(in Romanian) "Catedrala Arhiepiscopală Ortodoxă Română din Alba Iulia" at the Romanian Orthodox Archdiocese of Alba Iulia site; accessed November 13, 2011
(in Romanian) Gheorghe Fleșer and Alexandra M. Băiețan, "Alba Iulia – Oraşul şi Monumentele sale" Archived 2012-04-25 at the Wayback Machine at the Association of Localities and Historic Art Zones of Romania site; accessed November 13, 2011
(in Romanian) "Visiting the Coronation Cathedral" Archived 2017-02-11 at the Wayback Machine at the Alba Iulia City Hall's Visit Alba Iulia site; accessed February 8, 2017
(in Romanian) Magda Andron, "Alba Iulia: Catedrala Încoronării regilor Ferdinand şi Maria", Adevărul, 12 July 2009; accessed February 21, 2012
(in Romanian) "Catedrala Arhiepiscopală din Alba Iulia (Reîntregirii Neamului)" at the Alba County Directorate for Culture, Religious Affairs and National Cultural Patrimony site; accessed November 14, 2011
Lavinia Stan and Lucian Turcescu, Religion and Politics in Post-communist Romania, p. 92. Oxford University Press, Oxford, 2007. ISBN 0-19-530853-0.
(in Romanian) Claudiu Pădurean, "Catedrala Încoronării versus Catedrala Reîntregirii" Archived 2011-09-16 at the Wayback Machine, România Liberă, 13 April 2011; accessed February 21, 2012
Marius-Cătălin Mitrea, “Episcopia Armatei Române — apostolat în slujba patriei”, in Misiunea, nr. 1/2014, p. 55


Corpus Christi Church is a heritage-listed Roman Catholic church at 136 Buckland Road, Nundah, City of Brisbane, Queensland, Australia. It was designed by Hennessey, Hennessey, Keesing and Co and built from 1925 to 1926 by Stanley Samuel Carrick. It was added to the Queensland Heritage Register on 6 July 1995.


The Corpus Christi Church was constructed in 1925-1926, for the Roman Catholic parish at Nundah, who formerly practiced in a small timber church on another site. The church was constructed under the guidance of the then Archbishop James Duhig, who promoted Catholic presence in Brisbane by exploiting prominent sites, to produce landmarks. Corpus Christi may have been designed as a scale model for the Holy Name Cathedral which was in the planning stages at this time. The architects for the project were Hennessey, Hennessey, Keesing and Co.
Settlement in the Nundah area began with a Moravian mission set up for Aborigines in the area in 1838. Although the mission was closed by 1848 many of the missionaries and their families remained in the Nundah area. In the 1860s a strong German presence was felt in the area, particularly as a result of immigration. The first Lutheran and Methodist services in Queensland were held in Nundah.
It was not until 1903 that the catholic community in the area, who attended church at Wooloowin, Sandgate, or inner city areas, met to discuss the construction of a church. On June 19, 1904, Archbishop Robert Dunne blessed The Church of the Real Presence, and spoke of the momentous occasion, which saw the opening of a Catholic church in what was the birthplace of Protestantism in Queensland. The church cost £600, which was paid off before the opening and was located on the corner of Duke Street and Buckland Road.
A strong Catholic presence in Nundah by 1915, dictated the need for a school, and the Sisters of St Joseph of the Sacred Heart were asked to join the parish, to open this school. Previously, property in the area had been purchased by the church as a more suitable church site, due to its position on the crest of a hill. The property previously belonged to a Mr Henry Donkin who had constructed a large house, Marsten, which was used by the sisters as the first school and convent.
A presbytery was built on the grounds of Marsten, soon after 1920, when the Rev Archbishop James Duhig became the registered owner. The first parish priest was Father Jordan, who stayed with the Nundah parish until 1941. Previously, priests cycled from the Wooloowin presbytery to say mass in the small timber church. A site was chosen on the grounds near the school and presbytery for a more imposing church.
It was part of Duhig's grand plan for the development of the Catholic Church in Brisbane that a number of churches be built to manifest the strength of the church. Many of the sites Duhig sought were on hill tops. By 1940, when Duhig had been controlling the estate for twenty-eight years, forty-six new churches in Brisbane had been built since 1912, including St Joseph's at Kangaroo Point, Church of Saint Ignatius Loyola at Toowong and St Agatha's at Clayfield. Duhig favoured certain architects, particular the designers of Corpus Christi, Hennessey and Hennessey, who planned the ill-fated Holy Name Cathedral with the Archbishop. Duhig felt that the construction of churches enhanced the catholic presence and signified the strength and wealth of the church.
Corpus Christi Church was planned to be a golden link in the chain of churches around Brisbane. Some sources state that it was a scale model for the Holy Name Cathedral, which was planned for a site in Ann Street, across the street from All Hallows' School. The design of both of these Hennessey and Hennessey buildings was thought to be reminiscent of St. Peter's Basilica in Rome, which has the characteristic dome, surmounted by a lantern and cross.
The laying of the foundation stone of the Corpus Christi Church on June 14, 1925 attracted 20,000 people, who donated £2000 to the construction of the church, although the church was not fully paid off until the 1940s.
The church was designed by Hennessey, Hennessey, Keesing and Co, architects in Sydney, Brisbane and Melbourne. Jack Hennessy, junior had recently completed the additions to St Mary's Cathedral in Sydney, and was a friend and colleague of the archbishop at the time. The work was completed by local contractor, Stanley Samuel Carrick, for a total cost of £16,840. Corpus Christi Church was opened on 21 November 1926 in a ceremony which saw eight tiers of lights illuminating the dome.
The original house, Marsten was demolished in 1959 to make way for a new convent. The church remains intact with very little alteration.


Corpus Christi Church is a brick building situated on the crest of a hill, in Bage Street, Nundah, with expansive views to the north and east. The design of the church was influenced by the Romanesque Revival style, in its massing and detailing. Several large trees and established gardens surround the building.
Corpus Christi Church is a symmetrically composed, polychrome brick building, with traditional Latin Cross plan and a polygonal chancel extending from the western end. The terracotta tiled roof, is gabled over the front and two transept entrances and hipped over the chancel. The dominant feature of the church is the copper sheeted dome, which extends about 100 feet (30 m) above ground level above the junction of the transepts and nave. Surmounted on the dome is an octagonal lantern, with a Celtic cross finial. The dome rests on an octagonal drum, supported square planned arcade. The drum, of polychrome brick, features tripartite arched window openings on each of the eight faces.
The church features polychrome brickwork patterning, including chequer pattern banding on the gables, banding on external columns, dark brick quoining and a dark brick plinth. The external walls are buttressed with shallow attached piers.
The eastern elevation features an open portal, with a vaulted covering sheltered by a gabled awning, supported on coupled columns, featuring plaster cast capitals and bases. The portal opens onto an arcaded entrance porch, defined by similar columns, from which a closed timber quarter turn stair runs to the gallery. Panelled timber doors open off the entrance bay to the church. Above the portal are three round headed arched window openings, glazed with leadlight.
The entrances to the north and south transepts are similar to the main eastern entrance, but with vaulted awnings supported on moulded corbels. The western facade has a brick arcaded verandah echoing the octagonally shaped chancel.
Internally the church is dominated by the coffered interior of the dome at the intersection of the nave and transepts. This is supported on four wide arches, which span the internal width of the church, one of which forms the chancel arch. The chancel features an ornate marble altar and a large Italian painting. Flanking the chancel are two side chapels with religious statues. Unusually, a marble altar rail has survived, as have two confessional bays on the north and south walls. A gallery sits over the eastern end of the interior, with a large Whitehouse Brothers pipe organ. The interior is carpeted and has rendered brick walls with a timber boarded ceiling.


Corpus Christi Church was listed on the Queensland Heritage Register on 6 July 1995 having satisfied the following criteria.
The place is important in demonstrating the evolution or pattern of Queensland's history.
The Corpus Christi Church was built during a time of expansion of the Catholic Church in Queensland during Archbishop Duhig's time, when an effort was made to create a strong Catholic presence, particularly in those areas of traditional Protestant dominance.
The design of Corpus Christi is significant as it paralleled the design of the ill-fated Holy Name Cathedral and may have been planned as a scale model for the cathedral. The Corpus Christi Church is a manifestation of the Catholic ethos of exploiting imposing sites to produce prominent landmarks. This is particularly true of churches built during the time of Archbishop James Duhig.
The place is important because of its aesthetic significance.
The church is a particularly good example of an inter-war church, influenced by the fashionable Romanesque revival of church architecture in Australia, with its feature dome, picturesque massing and polychrome brickwork, a style favoured by Archbishop Duhig.
The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.
It is symbolically important to the catholic parish of Nundah.
The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland's history.
The church has special associations with Archbishop James Duhig and the architects Hennessey and Hennessey.


Corso Vittorio Emanuele II, commonly known as Corso Vittorio, is a wide east–west thoroughfare that courses through Rome. It connects a bridge over the Tiber, Ponte Vittorio Emanuele II, to both the Via Torre Argentina and Via del Plebiscito. The latter Via continues east from Piazza del Gesù and along Palazzo Venezia to reach Piazza Venezia which sits below the massive white Monument to Vittorio Emanuele II.
In its traverse from the Tiber through central Rome, Corso Vittorio runs along the Piazza della Chiesa Nuova standing before the facade of the church of Santa Maria in Vallicella (the Chiesa Nuova), past the Palazzo della Cancelleria on the right, past the Palazzo Braschi and the Rome Commune (City Hall), and then past the curving Palazzo Massimo alle Colonne and Sant' Andrea della Valle, until it splits into two streets at Largo di Torre Argentina, where the easterly direction continues up to the Piazza of the Gesù.
It was created by a resolution of 1886 and was named after Vittorio Emanuele II, the first King of Italy.


The gatehouse at Coughton was built at the earliest in 1536, as it is built of stones which came from Bordesley Abbey and Evesham Abbey (both in Worcestershire) after the Dissolution of the Monasteries Act in 1536. As with other Tudor houses, it was built around a courtyard, with the gatehouse used for deliveries and coaches to travel through to the courtyard. The courtyard was closed on all four sides until 1651, when Parliamentary soldiers burnt the fourth (east) wing, along with many of the Throckmorton's family papers, during the English Civil War.
After the Roman Catholic Relief Act was passed in 1829, the Throckmorton family were able to afford large-scale building works, allowing them to remodel the west front.


The house was used as a filming location for the BBC One series Father Brown in the episode The Mask of the Demon.


Crâng Park  (Romanian: Parcul Crâng)  is the largest and most important park in the city of Buzău, Romania.


The park is located on the western outskirts of the city. It has an area of about 100,000 square metres (25 acres). It represents only a part of a 1.89 square kilometre forest, named the Crâng forest, which is a remainder of the Codrii Vlăsiei. The forest is made up mostly of local broadleaf trees, with rather few gymnosperms, and it is known for its oaks, ash trees, lime trees, birches and maple. The park area is also populated with some foreign species of trees and other plants.


The park features an artificial lake, named the Heleşteu lake (in Romanian, heleşteu=pond). The lake was created when the park was built, in order to provide boat rides. Its water is brought in from the Buzău river via a small channel that circles the city. It features three equally-sized islands, one of which is reachable via a bridge, while the other two are reachable only by boat.
In 1976, an obelisk was raised in the center of the park, marking 1,600 years since the earliest documentary attestation of Buzău.
Crâng's attractions also include discothèques, children's playgrounds, a chess and tables players corner (used even during winter days by some enthusiastic players), and boat rides on the lake.


The park took the name of the forest in which it was built. In turn, the forest's name, crâng is a Romanian word which can be translated as young forest, which may suggest that at some point in time, the forest was a portion of the Codrii Vlăsiei particularly populated by young trees. Ironically, nowadays, the forest, and the park in particular, contain many century-old oaks.


The first reference to this forest by the name "Crâng" dates back to 23 October 1568, when Alexandru II Mircea, domn of Wallachia gave the market's crâng to the bishopric of Buzău. At the time, the area was merely a forest located near Buzău.
The first time when the city's inhabitants used the forest for leisure and party purposes was in 1828 In 1850, a part of the Crâng forest was ceded by the Bishopric to the city, for use as public garden. In 1863, the Secularization of monastic estates act was proposed by Alexander John Cuza and adopted by the Romanian Parliament. Thus, the Crâng forest was handed over by the Bishopric to the Romanian central government, while the city kept its part of the forest where the public garden was located. Later on, however, prime minister Ion C. Brătianu agreed to a request by the city council for the Buzău municipality to be given ownership over the entire Crâng forest:
After taking over the forest, the city took steps to enlarge the public garden and create a large park. In 1890, three sculptures were placed in the park, Lion and boar, Lion and deer and Horseman attacked by lion. In 1897, the Crâng Restaurant building was erected. The Restaurant is built in an architectural style inspired by peasant houses from the Chiojdu region. At the same time, the lake was set up, with an island in the middle, and a bridge to provide access to the island. Also, a pavilion was prepared for a fanfare band to perform. Near the lake, the municipality built a water tower, to provide the city with running water.
By 1898, the Park Boulevard was finished. The boulevard, nowadays named the Nicolae Bălcescu Boulevard runs from the city center to the Crâng Park. At the time, it had five lanes, of which the center one was used by horse-driven coaches, two by pedestrians and the outer two were for horseback riders. Nowadays, the boulevard has two lanes for automobiles, and large sidewalks. The part of the boulevard next to the park is closed to the traffic on Sundays, to be used only by pedestrians.
In 1922, a small church, named the St. Filofteea church was built.
In 1957, the lake was expanded, and included two more islands, located East of the previous one. The initial island lost the bridge connection and became isolated. One of the new islands (the central one) is now connected to the mainland via a metal bridge.
The Buzău 1600 Obelisk, designed by sculptor Gheorghe Coman, was inaugurated in 1976, to celebrate 1,600 years since Buzău's first recorded historical attestation. The obelisk is 26.8 meters tall and has a foundation 14 meters deep.


Petcu, 2002, p.25
Petcu, 2002, p.36
Ion C. Brătianu, quoted in Petcu, 2002, p.52


Cradley Heath Baptist Church began as an offshoot of Cradley Baptist Church in 1833.  The Minister, Rev. Jabez Tunnicliff, read a verse from the Bible which challenged his theology.  He paused so long in his sermon that some of the officers thought he was ill.  He continued the sermon, but began Bible study which led him to part, amicably, with Cradley Baptist Church.  A total of 34 others (though one returned) left with him that year.  In December 1833 they began to meet and formed a new Church.  Other people, from Cradley Heath, joined them at such a rate that in 1834 they had to build a substantial chapel. This first building was enlarged in 1850 by adding a gallery on the ground within the iron railings fence shown in the sketch of the first building.  This is the side entrance as shown on the right hand side of the photograph.


Of the original 4 deacons, church officers responsible for practical administration, two deserve mention.  Benjamin Fellows also served as a lay preacher, and performed baptisms.  This is usually done by the Minister, but Mr Fellows officiated at two baptism services during 1838 when George Cosens was the minister.  This may have been for practical reasons.  Until a baptistry inside the building had been provided, baptisms were often carried out in "the cut" - a branch of a local canal.
Samuel Hallam, with his wife Ann, were not local to Cradley Heath.  They were milliners, and had shops in Stourbridge, then Dudley, and finally in Birmingham before emigrating to Canada.  Samuel came from Cromford, Ann from Sheffield, and they married in Tamworth. Jabez Tunnicliff's wife, Mary, was in the same trade, and probably worked in the Hallam's shop.  Before joining the new Cradley Heath Baptist Church, Samuel had been a Deacon in the Baptist Church in Stourbridge.  He served as secretary and treasurer in the Sunday School until 1841.


An explanation is needed of the doctrinal issue which led Tunnicliff to leave Cradley Baptist Church.  British Baptists form two main groups according to one specific point of Protestant doctrine.  This concerns Calvinism, which teaches that the work of Christ was not for everyone, but only for a few, the elect.  The theological term here is Particular Atonement.  Related to this is a concept that the elect are "born-again" by a work of God, which John Calvin thought to have happened to him when he was baptised as a baby by an Augustinian monk.  This enables them to believe when they hear the gospel.  Related to this is another concept, "Irresistible Grace", which teaches that the elect cannot resist the call of God, and that the non-elect cannot respond to it.
The General Baptists follow Arminian theology, in that the work of Christ was for all, but not everyone believes and benefits from it.  Being born again is a work of God which follows believing in Jesus Christ. But believing is not something one can do unaided.  Conversion begins with a work of God to call, and to awaken to hear the call, and to give the faith with which one believes.  But in contrast to Calvinism, the call of God is not irresistible, but people still have the freedom to refuse.  In many respects, however, as expressions of Protestant thinking in the 16th century, Arminianism and Calvinism have much in common and are like brothers from the same family.
The challenge to Tunnicliff's theology began with a challenge to the determinism implied by Irresistible Grace.  This led to his finding from Bible study that he considered that the General Baptist doctrines were right, and that he could no longer, with good conscience, continue to be salaried by a Particular Baptist congregation.


Although the Baptists were first to build a chapel in Cradley Heath, Primitive Methodists met in homes and workshops, from about 1820, but did not build until 1841.  Some headlines in the history of Cradley Heath Baptist Church relate to the Ministers and others involved there.


Cradley Heath Baptist Church is notable for having had the first Afro-Caribbean Minister in the Black Country, said to be the first known in Britain.  In 1837, Rev. George Cosens was called to be minister.  He was very popular, and served in various other churches in the area.  His first time there was from 1837 to 1839.  But he later served at Cradley Heath Baptist Church from 1869 to 1879.  His second term was very successful at first, but later the health problems of old age were such that he was to be asked to resign.  A meeting of the Deacons of the Church held on 2 June 1879 accepted his resignation. He moved to a less onerous pastorate at Brierley Hill.
Born in 1805 He was said to have come from Jamaica to study in a London college.  In 1823, he was converted to Christianity while he and another student spent some free time in a church.  He was disowned by his family, but clung to his Christian faith.  He never returned to his native Jamaica, but served various churches as their pastor.  His first church activity was with the Primitive Methodists from 1824.  In May 1830 he married Mary Burnett, who died in June 1831  In 1832, he was sent by the Sunderland Circuit to the Norman Isles.  Extracts from his journal published in the Primitive Methodist Magazine show 6 months successful work in Jersey and Gurnsey.  But Kendall in his 1906 history says Cosens had to be recalled after being fined for tactless comments about young people in his audience.  During mission work with John Nelson in Weymouth he left the Primitive Methodists after a disagreement, and joined the Baptists.  His first appointment with the Baptists was as an assistant pastor at the New Connexion General Baptist Church at Aylesbury in 1837.  His first pastorate at Cradley Heath began in November 1837.
Cosens died in 1881, and was buried in the cemetery of Brierley Hill Baptist Church (DY5 2RR) where he was then the Minister.  The life of George Cosens is becoming celebrated in Britain's black community.
The variant spelling George Cousens is found in the 1933 Centenary Souvenir history by Rev. Idris Williams.  The spelling Cosens is found in the minutes in the Secretary's Book from 1876 to 1889 and on the inscription on the 1876 photograph.


The first meeting place, after Tunnicliff's own home, was on 23 December 1833, "the wheelwright's smithy" near Five-Ways.  This has been identified as in the yard of Heath Cottage, Grainger's Lane.
In September 1834, they bought a piece of ground in the "Quarry Piece", Cradley Heath.  The first building was erected in December 1834, "a fine new chapel seated for about 300".  It was on the site of most of the present schoolroom.  The gallery was added later.  This extension is at the right-hand side of the above photograph.  Neighbouring St Luke's Church was built in 1847.
The present main building was opened in December 1904.  It is a substantial brick building with a spire and ornaments both inside and outside.  A two-manual plus pedals pipe organ adorns one side.
The original chapel now serves as the schoolroom and hall.  At various times in cold winters, the congregation have returned to the old building.
In the 1987, Sandwell Council made it a Grade II Listed Building, as being a significant landmark.


In spite of dwindling numbers, the congregation has continued to meet.  During 2007, the question of continuing in the present building was discussed.  After much debate, it was decided to continue.  The 175th Anniversary was celebrated in December 2008.
As well as the Sunday morning meeting, Cradley Heath Baptist Church is involved in providing for the needs of people in local nursing homes who cannot get to a place of worship.  There is also a short open-air meeting for hymn singing on some Saturdays, sometimes in the market, or on other open spaces just before Christmas.
Community activities include a "Toddlers Group" on Friday mornings, and a gardening club on the first Thursday evening of the month.  The Cradley Heath Flower & Gardening Club was originally planned for the summer of 2009, but is so popular that it continues to meet during the winter.  On 5 November 2009, the Special Demonstrator at the Club's Open Evening was Andrew Lloyd, Florist from Stourbridge.  He is the NAFAS Area Chairman for Three Counties & South Wales and has been in the Floristry Business for 27 years.  He presented 'A Floral Sparkler' and it was a sell-out event, with an audience of nearly 90 people.
The Christmas activities in December 2009 included a "Christmas Spectacular" concert featuring children from nearby Springfield Primary School and a special guest appearance from international rising star Charlie Green, a semi-finalist on "Britain's Got Talent" in 2008.  250 tickets were sold to raise funds for urgent repairs to this listed building.
The Church is involved in an annual Christmas toy collection.  In 2010, this was donated to local charity Loaves 'N' Fishes to provide toys to needy children.  The collection was boosted by the generosity of the people of Cradley Heath through the local Tesco's supermarket which kindly provided a collection point.
During the winter of 2009-2010, the church building suffered from thieves taking lead from the roof.  This was at about the same time as lead was taken, twice, from the roof of the nearby public library building, and from a number of private houses.  The church building suffered from significant amounts of water leaking in.  The pipe organ alone required repairs estimated at about £4,000
During the first quarter of 2011, a disabled standard toilet was built in the Choir Vestry, as part of upgrading the building to 21st century standards.  Being a listed building, the construction had to be such that the original building features were not damaged.  A grant application to English Heritage was made during 2010.  The building was judged to be of sufficient historical interest that a grant of £106,000 was awarded in March 2011, leaving an estimated £60,000 to be found to cover major building repairs including dry rot damage and the first replacement roof on the original 19th century building.
The first phase of general renovation took place during the first 6 months of 2013.  This repaired the front (west end) and north side of the 1904 building, including replacement of ornamental terra-cotta features, and the floor on the north side.


Cradley Heath Baptist Church blogspot site with notice board including samples of messages by various preachers.
Baptist Union of Great Britain


The site was originally occupied by an almshouse for the poor, and was founded by the Augustinians as a priory in the 12th century. Voluntary grants of alms by the leading families of Nerford and Creake and by the faithful of the neighbourhood seem to have built up resources sufficiently to warrant elevation from Hospital to Priory and thence to Abbey, which happened in 1231. Henry III made a number of grants to Creake in its early years. Gifts of parish churches included Hapton and Wreningham, Gateley and St Martin at Quarles and later in 1365 of St Andrew, Great Ringstead.
The heyday of the Abbey was during the fourteenth century when there were but six canons, though the Rule required in addition to the abbot, prior and cellarer, a cantor, sacrist and kitchener, refectorian, infirmarian, almoner, master of novices and guest master. According to AL Bedingfield, these posts may have been filled in rotation or plurality. There will have been junior canons and, from time to time, novices. There would finally be numerous servants, tailors, laundresses and their assistants, the messor (harvest reaper), shepherds and cowherds for the farm, as well as residents of the hospital. Unlike some of the abbeys in the region, it was still fulfilling its hospital function as late as 1397.
In 1483, a fire swept through the abbey, damaging the church and several of the other buildings, such that it was beyond the capacity of the convent to restore it. The abbot appealed to the king as patron of the house, and Richard III, 'moved with pite' gave the abbey by way of alms towards the rebuilding of the handsome sum of £46 13s.4d., to be paid out the revenues of the lordship of Fakenham. Robert Walsingham, appointed abbot in 1491, began extensive rebuilding of the quire and presbytery, and Sir William Calthorpe left £74 towards the completion of the work. By 1503 the work was well advanced and lands given by Walter Aslake were used for the completion of the north side of the quire. By this time the abbot was Giles Sherington. However, in 1506 an outbreak of the 'sweating sickness' wiped out the monastic community, the abbot himself being the last to die.  The abbey site and estate was given to Lady Margaret Beaufort in 1507, and ended up in the ownership of Christ's College, Cambridge.


A few sections of the church walls remain standing, and demonstrate their traditional Norfolk flintwork. There are some remaining carved details in the window arches and doorways. However, little else survives apart from foundations. The site is now in the care of English Heritage, and freely accessible to the public. The abbey ruins are Grade I listed, originally listed as St Mary's Abbey. Four bays of the 6-bay chancel survive to roof height. There were some restorations in 1864 by RM Phipson, Chief Architect of the Diocese of Norwich.
They form part of a wider heritage site, which is a Scheduled Monument. Within that wider site there are two further Grade I listings: the mixed medieaval-19th-century farmhouse called Creake Abbey Farmhouse (but which was originally itself listed as Creake Abbey) and the garden walls between the abbey ruins and Creake Abbey Farmhouse.
There is a separate commercial enterprise, adjacent to the abbey ruins and Creake Abbey Farmhouse, which is called Creake Abbey. This is a café and farm shop, and hosts a farmers' market on the first Saturday of each month.


Creevelea Abbey is located west of Dromahair, on the west bank of the Bonet River.


The remains consist of the church (nave, chancel, transept and choir), chapter house, cloister and domestic buildings. The bell-tower was converted to living quarters in the 17th century. At one point in its history the church was covered with a thatched roof. Carved in the cloister is an image of Saint Francis of Assisi preaching to birds.


Sunflower Guides (1 March 2004). Ireland. Hunter Publishing, Inc. ISBN 9781856912433 – via Google Books.
TripAdvisor. "Creevelea Friary (Leitrim, Ireland): Top Tips Before You Go - TripAdvisor". TripAdvisor.
Brewer, Stephen (29 September 2008). Attraction on Lough Gill. Vol. The Unofficial Guide to Ireland. John Wiley & Sons. ISBN 9780470285688 – via Google Books.
Day, Catharina (1 January 2006). The province of Connacht, Around Drumahair. Vol. Ireland. New Holland Publishers. ISBN 9781860113277. Archived from the original on 16 January 2017. Retrieved 30 September 2016 – via Google Books.
megalithicireland. "Creevelea Abbey". megalithicireland.com.
Higgins, Gerard. "Creevelea Abbey". sligotours.com.
"Creevelea Abbey in Dromahair". The Sligo Town Website.
Manorhamilton.ie (2012). "Creevelea Abbey". manorhamilton.ie. Retrieved 27 June 2012.


Crestone Peak is the seventh-highest summit of the Rocky Mountains of North America and the U.S. state of Colorado.  The prominent 14,300-foot (4,359 m) fourteener is the highest summit of the Crestones and the second-highest summit in the Sangre de Cristo Range after Blanca Peak.  The summit is located in the Sangre de Cristo Wilderness of Rio Grande National Forest, 5.0 miles (8.1 km) east by south (bearing 102°) of the Town of Crestone in Saguache County, Colorado, United States.
Crestone Peak rises 7,000 feet (2,100 m) above the east side of the San Luis Valley.  It shares its name with the nearby Crestone Needle, another fourteener of the Crestones.  The Crestones are a cluster of high summits in the Sangre de Cristo Range, comprising Crestone Peak, Crestone Needle, Kit Carson Peak, Challenger Point, Humboldt Peak, and Columbia Point.  They are usually accessed from common trailheads.


Generally climbs of Crestone Peak or Crestone Needle start from a base camp at South Colony Lakes, east of the peak, accessed from the Wet Mountain Valley on the northeast side of the range.  This route involves nearly 6,000 ft (1,800 m) of elevation gain, and ascends to a large relatively flat area called "The Pool Table" (a few large rocks lie on the tundra, as if billiard balls) or the "Bears' Playground." Then it ascends a long gully on the northwest side of Crestone Peak, which involves some rockfall danger (hence a climbing helmet is suggested). Crestone Peak is one of the more dangerous fourteener climbs in Colorado; accidents occur often in the Crestones, some caused by falls or lightning (a daily summer occurrence in the Sangre de Cristos).
Alternatively, the Cottonwood Creek route begins in the San Luis Valley and approaches the Crestones from the west. The route follows Cottonwood Creek to Cottonwood Lake. The trail starts out well defined, but after passing a south eastern tributary at approximately 11,1000ft it becomes faint, poorly maintained, and hard to follow for much of the upper route prior to rejoining the standard route from South Colony Lakes. From there, the South Face route of Crestone Peak is accessible.
From Crestone Peak, it is a mildly technical (Class 5—rope recommended) ridge scramble to the summit of Crestone Needle, similarly in the other direction. However, Crestone Peak and Crestone Needle are more commonly climbed separately.


The reserve lies on the main ridge of the Crimean Mountains along the southern edge of the Crimean Peninsula.  The highest mountain in Crimea is in the reserve - Roman-Kosh at 1,545 metres (5,069 ft).  The northern slopes of the mountains are long and gentle, the southern slopes drop steeply towards the sea.  The higher ridges are frequently flat, grassy plateaus.  The geology of the mountains is mixture of shales, sandstones, limestones and conglomerates, from different times in the Jurassic.  The variety of rocks have eroded to form a diversity of soils at the lower elevations, supporting mountain-steppe and meadow-steppe.  The headwaters of the Alma River are in the reserve.


The climate of the Crimean Reserve is Humid continental climate - Hot summer sub-type (Köppen climate classification Dfa), with large seasonal temperature differentials and a hot summer (at least one month averaging over 22 °C (72 °F)), and mild winters.  In the reserve, the average temperature in February is 2 °C (36 °F), and 22 °C (72 °F) in July.  Precipitation ranges from 470 mm/year at the lower elevations to 1,000 mm/year on the peaks.
The reserve is in the western extreme of the Crimean Submediterranean forest complex ecoregion, a small band of territory that stretches from the southern Crimean peninsula to the northern Caucasus Mountains.


The reserve supports mountain-steppe and forest-steppe floral communities. Over 29,000 hectares are forested, with over half being oak. The oak forests are found at elevations of 600-900 meters above sea level. Beech forests cover 7,500 hectares, with some groves as much as 300 years old. Other common trees are pine, linden, hornbeam, and ash. Scientists in the reserve have recorded 1,357 species of vascular plants in 535 genera, an indication of high biodiversity. Common mammals are red deer, wild boar, European mouflon, and roe deer.


The reserve has been designated a Important Bird Area (IBA) by BirdLife International because it supports populations of corncrakes, tawny owls, griffon vultures, cinereous vultures and eastern imperial eagles.


As a strict nature reserve, the Crimean Reserve's primary purpose is protection of nature and scientific study.  Public access is limited: mass recreation and construction of facilities is prohibited as are hunting and fishing.  This is, however, an ecological excursion route ("Crimea Reserve") on which reserve staff provided guided tours on buses and automobiles; this route follows the Romanov Trail.  These guided tours are limited by law to protect the natural settings of the reserve.  Just outside of the reserve in the town of Alushta, the reserve sponsors a Museum of Nature, and a Dendrozoological Park.


The Crocker Art Museum, formerly the E. B. Crocker Art Gallery, founded in 1885, is the oldest art museum west of the Mississippi River. Located in Sacramento, California, the museum holds one of the state's premier collections of Californian art. The collection includes American works dating from the Gold Rush to the present, European paintings and master drawings, one of the largest international ceramics collections in the U.S., and collections of Asian, African, and Oceanic art. The Crocker Art Museum has been accredited by the American Alliance of Museums, a high standard for US museums.


Edwin B. Crocker (1818–1875), a wealthy California lawyer and judge, and his wife, Margaret Crocker (1822–1901), began to assemble a significant collection of paintings and drawings during an extended trip to Europe, from 1869 to 1871. Upon their return to Sacramento, they set about creating an art gallery in part of their grand home at the corner of Third and O streets. When the gallery was completed they opened it to the public to fund the Sacramento Library. When it opened with 694 paintings the gallery boasted the largest privately collection in the country, and held more paintings than the Metropolitan Museum of Art. The gallery became of the hub of social activity in Sacramento, hosting benefits for local organizations and welcoming prominent visitors including the Hawaiian queen, Liliʻuokalani (1878), President Ulysses S. Grant (1879), and Oscar Wilde (1882).
E. B. Crocker died in 1875. In 1885, his widow loaned the gallery to the California Museum Association (CMA) for Central California's first Art and Curio Loan Exhibition. This exhibition went on for two weeks and was a complete success. When it finished, the CMA's President, David Lubin, asked that Margaret (and E.B. Crocker's three daughters, who had equal rights to the gallery through Crocker's will) donate the space to the museum association to ensure the long term preservation of the gallery. They agreed, but on the condition that they raised funds for upkeep that they were not able to reach. Instead, she gave the property to the city, which gave the association the right to occupy the property, and made Margaret Crocker the director. She presented the E. B. Crocker Art Gallery and collection to the City of Sacramento and the California Museum Association, "in trust for the public," the contents of which were valued at the time at more than $500,000. A school of art was established at the gallery in 1886.
In 1978, the Crocker Art Gallery was renamed the Crocker Art Museum. In 2002, to accommodate a burgeoning collection and the needs of the growing population of Sacramento and California's Central Valley region, the museum commissioned the firm of Gwathmey Siegel & Associates to design a major addition.  The greatly expanded Crocker Art Museum opened on October 10, 2010.


The Californian art collection includes works dating from statehood to the present. The core collection of early Californian art was assembled by Judge E. B. and Margaret Crocker in the early 1870s. Prominent in their collection are works by the German-American artist Charles Christian Nahl, who brought the large scale and copious detail of European history painting to works depicting the California Gold Rush. The Crockers commissioned five major works from Nahl, including Sunday Morning in the Mines (1872).
The Californian collection continued to expand, and now contains 150 years of painting, sculpture, and craft media covering genres that include Impressionism, Abstract Expressionism, and Pop Art, and features artists including early Sacramento painter Amanda Austin, Norton Bush, William Keith, Thomas Hill, Granville Redmond, Edwin Deakin, Guy Rose, Gottardo Piazzoni, Joan Brown, Elmer Bischoff, Roland Petersen, David Park, Jess, Richard Diebenkorn, Mel Ramos, and Wayne Thiebaud.
The collection also includes American art from the late 19th century to the present. American impressionists and modernists are a particular strength, with artists including Childe Hassam, Robert Henri, Georgia O'Keeffe, Maynard Dixon, Marsden Hartley, Hans Hofmann, and Luis Cruz Azaceta.


The collection of European art began with the Crocker family's trip to Europe, from 1869 to 1871. It was not a Grand Tour. The Crockers rented lodgings in Dresden for over a year, and traveled mostly in Germany. As a later director of the museum would write, "Mr. Crocker was a novice and completely susceptible to a kind of fraud in his anxiety to become the possessor of a large collection of masterpieces. He acquired in his wholesale search a collection of more than 700 paintings,"  most of them "not by the few famous names given him by the dealers in Munich and Dresden." (Works said to be by Rembrandt, Rubens, Poussin, Salvator Rosa, and even Leonardo da Vinci appear in the initial 1876 catalogue, but were reattributed in following decades.) However, among Crocker's purchases were a number of genuinely rare works by a broader array of artists than he realized, and for a brief time the Crockers possessed the largest private art collection in the United States.
Along with paintings, the Crockers also acquired 1344 Old Master drawings "and untold numbers of prints of rare craftsmanship." Systematic study of the origin and significance of these drawings began only in the 21st century.
Of more certain provenance were the numerous German and Central European paintings Crocker purchased, many by artists who were alive and working at the time. These 19th-century paintings would form the core of the European collection, along with a number of 17th-century Flemish and Dutch Golden Age still lives and genre scenes, as well as French and Italian works of the 17th and 18th centuries. Artists represented in Crocker's original collection include Maarten van Heemskerck, Jan Brueghel the Elder, Klaes Molenaer, Pieter Quast, Antonio Joli, Francesco Solimena, Paolo de Matteis, Claude-Joseph Vernet, Jacques-Louis David, Andreas Achenbach, and Karl von Piloty.


Recent gifts by philanthropist Alan Templeton have expanded the scope of the European collection to include works by Italian artists Guercino, il Morazzone, and Bernardo Strozzi, the Swedish portrait painter Alexander Roslin, and French artists Simon Vouet, Philippe de Champaigne, Charles Poërson, Pierre-Alexandre Wille, Louis-Jean-François Lagrenée, and Robert Lefèvre, as well as English portraitist Sir Thomas Lawrence, Austrian painter Josef Danhauser, and
Dutch artist Abraham Hondius.
Gifts and promised gifts by the Beekhuis family of 67 19th-century Dutch landscapes are presented in the Beekhuis Foundation Gallery, including works by Johannes Hermanus Koekkoek and his descendants, and various painters of the Hague School.
The Crocker's holdings of European art after 1900 are small, but include one of Northern California's most significant collections of works by Renoir, in part due to gifts from the artist's grandson, Alain Renoir, a professor at the University of California, Berkeley. These include three small bronzes, two terra cotta relief sculptures, a Cagnes landscape painting, and works on paper, and also a ceramic vase by Jean Renoir. Works after 1900 also include two portraits of Crocker family members by Giovanni Boldini.


The collection of approximately 1,500 Old Master drawings include examples from the major European schools. Collection strengths include European drawings from the 17th and 18th centuries. Major drawings by artists such as Albrecht Dürer, Fra Bartolommeo, François Boucher, and Jean-Honoré Fragonard are represented. American photography and modern and contemporary California prints are also strengths of the works on paper collection.


The collection began with a gift of Korean ceramics by Judge E.B. and Margaret Crocker's daughter Jennie Crocker Fassett in the 1920s. The collection of Asian art is noted for its holdings of Chinese tomb furnishings and trade ceramics, and Japanese armor and tea ware. South and Southeast Asia are well represented through the William and Edith Cleary gift of more than 600 Indian and Persian miniature paintings and drawings, as well as Buddhist art from the region between Pakistan and Southeast Asia.


Since mid-century, the Museum has followed the development of notable Californian, American, and international ceramists such as Hamada Shoji and Lucie Rie. The history of ceramics is also explored through a collection of 18th-century Meissen porcelain tableware and in the works of ancient cultures dating to the Neolithic period.


The collection of African and Oceanic art features a variety of objects created for daily life and traditional ceremonies. The art of the Asmat of New Guinea is strikingly evidenced in the towering memorials to ancestors, called bis poles.


A biennial exhibition has been held by the museum in cooperation with the Kingsley Art Club since 1927, and juried since 1940. Artists whose works have appeared include Robert Arneson, Elmer Bischoff, David Gilhooly, Ralph Goings, Roland Petersen, Mel Ramos, Fritz Scholder, and Wayne Thiebaud.


In 1868, Judge Edwin B. Crocker purchased the property and existing building, built by B. F. Hastings in 1853, on the corner of Third and O Streets. In 1871 he commissioned Seth Babson (1830–1908), a local architect, to add a new building to the home to hold his growing art collection. (Babson had previously designed the home now known as the Leland Stanford Mansion in Sacramento.) Crocker asked Babson to design an elaborate gallery building in the Italianate style that would sit adjacent to the mansion and display the family's growing art collection.
Babson saw the home and gallery as an integrated complex, unique in design and demanding the finest materials. The gallery building included a bowling alley, skating rink and billiards room on the ground floor; a natural history museum and a library on the first floor; a 60 ft long ballroom, and a grand staircase. Public rooms were decorated with gold-leafed and frescoed panels, separated by long mirrors. Completed in 1874, the Crocker family mansion and art gallery are considered the masterpieces of Babson's career.
The family mansion went through several uses and reconstructions until a 1989 renovation restored the historic façade and created a modern gallery interior.


On October 10, 2010 the Crocker Art Museum opened a new 100,000-square-foot (9,300 m²) building designed by Gwathmey Siegel & Associates Architects founded by architect Charles Gwathmey of group The New York Five. The custom facade system was designed and supplied by Overgaard Ltd., Hong Kong. The new building, named the Teel Family Pavilion, is attached to the museum's historic structures.
The expansion more than tripled the Crocker's size, from 45,000 to 145,000 square feet (4,200 to 13,500 m²), adding four times the space for traveling exhibitions and three times the space for the Museum to showcase its permanent collection. The original museum accommodated only 4 percent of the museum's collection; 15 percent was displayed at the opening of the new section.

The expanded Museum includes a new education center with four studio art classrooms, an art education resource room for teachers and docents, an expanded library, and student and community exhibition galleries, as well as an auditorium and public gathering places.


The Cromarty Bridge is a road bridge over the Cromarty Firth in Scotland.


The bridge joins a junction with the B9163 to the south in Ross and Cromarty with a junction with the A862 to the north at Ardullie Point. It can clearly be seen from the north from the Far North Line.


The £4.5 million contract for the bridge was awarded in November 1976 from the Scottish Development Department.
The parapets were built by of Hi-Fab Ltd of Muir of Ord. The waterproofing was by Sifran Civil Engineering Ltd of Stourbridge. The site investigation was by Wimpey Laboratories of Broxburn, West Lothian.
A temporary structure was pushed out over the bridge piers, and from this, five pre-stressed concrete beams were placed between each pier. The temporary structure was removed and the road deck made with concrete.


The bridge was opened from the southern end on 12 April 1979. It became part of the A9 in 1982.


The Crossness Pumping Station is a former sewage pumping station designed by the Metropolitan Board of Works's chief engineer Sir Joseph Bazalgette and architect Charles Henry Driver. It is located at Crossness Sewage Treatment Works, at the eastern end of the Southern Outfall Sewer and the Ridgeway path in the London Borough of Bexley. Constructed between 1859 and 1865 by William Webster, as part of Bazalgette's redevelopment of the London sewerage system, it features spectacular ornamental cast ironwork, that Nikolaus Pevsner described as "a masterpiece of engineering – a Victorian cathedral of ironwork".
It is adjacent to Erith Marshes, a grazing marsh, the northern part of which is designated as Crossness Nature Reserve. This provides a valuable habitat for creatures ranging from moths to small amphibians and water voles.


The Southern Outfall Works, as the complex was originally called, was officially opened on 4 April 1865, by Edward, Prince of Wales, attended by Prince Alfred, the Duke of Cambridge, Prince Edward of Saxe-Weimar, the Archbishop of Canterbury, the Archbishop of York and the Lord Mayor of London, and many other persons of rank.
Following an address by Joseph Bazalgette, the Royal party toured the works and reservoirs, and the Prince then turned the wheel which started the engines and, as the Illustrated London News observed, "a sensible vibration was felt throughout the building, showing that the enormous beams, lifting-rods and flywheels were in operation."


At Crossness, the incoming liquid was raised some 30 to 40 feet (9–12 m) by the application of four large steam driven pumps. The engines were of enormous size and power. They were built by James Watt & Co. to Joseph Bazalgette's designs and specification, and were named "Victoria", "Prince Consort", "Albert Edward" and "Alexandra".
At 11 revolutions per minute, 6 tons (approximately 1,500 imp gal or 6,800 l) of sewage per stroke per engine were pumped up into a 27-million-imperial-gallon (120,000 m³) reservoir, and was released into the Thames during the ebbing tide. The steam required to power these engines was raised by 12 Cornish boilers with single "straight-through" flues situated in the Boiler House to the south of the Engine House, and which consumed 5,000 tons of Welsh coal annually.
The Crossness Works merely disposed of raw sewage into the river seawards, and in 1882, a Royal Commission recommended that the solid matter in the sewage should be separated out, and that only the liquid portion remaining should be allowed, as a temporary measure, to pass into the river. In 1891, sedimentation tanks were added to the works, and the sludge was carried by steam boats and dumped further out into the estuary, at sea.
During the 1880s, chemical engineer William Webster developed a system for the electrolytic purification of sewage (patent application filed on 22 December 1887; US patent awarded on 19 February 1889), trialled in 1888 at the Southern Outfall works which had been built by his father's firm over 20 years earlier.
By 1897, additional pumping capacity was needed, and four extra pumps operated by triple-expansion steam engines were installed in an extension, designed to fit in with Bazalgette's main engine house, to the north of the older building. Later, in 1899, a further increase in London's population necessitated an increase in the efficiency of the original Watt engines, and considerable alteration to their design was carried out by Goodfellow & Co of Hyde, Manchester, for London County Council. They were converted from simple to compound engines with the original single cylinders were augmented by high and intermediate pressure cylinders. The additional steam required was provided by replacing the earlier Cornish boilers by more efficient Lancashire boilers with double flues and in 1901, the improved engines were fully working.
In 1913, the triple expansion steam engines were replaced by diesel engines, which are still to be seen in the triple expansion engine house, and by 1956, the Watt-Goodfellow engines had been decommissioned, (Prince Consort having been temporarily put back in steam in 1953 to assist with draining the flooding of the eastern Royal Arsenal and Abbey Wood) and were left, with the rest of the ironwork, to rust and to vandals.


The pumping station became a Grade I listed building in 1970 and will remain on the Heritage at Risk Register until the restoration is completed. The Crossness Engines Trust, a registered charity, was formed in 1987 to oversee the restoration project which was due to be completed in 2013.
When the pumping station was decommissioned in the 1950s, it was not considered economic to dismantle the engines, as the cost of doing so far exceeded any scrap value. The more valuable metal items (made from brass), such as the engine oilers, much pipework, and even the handrails from the stairs, were removed. The remaining building and engines were left to suffer considerable vandalism and decay.
As Prince Consort was the last steam engine decommissioned, in 1953, it is this engine on which the restoration activity has been concentrated.  After some fifteen years of effort the engine is now working again and is run on the open days organised by the Trust.
When the buildings were abandoned, the pumps and culverts and all the subterranean areas below the Beam Engine House were filled with sand to reduce the risks from methane. This has meant that some 100 tons of this sand has had to be excavated from around and underneath the pumps before there was any hope of moving the beam and flywheel. Further, there was a considerable ingress of rain water which resulted in serious rusting of the engine parts.
The station contains the four original pumping engines, which are thought to be the largest remaining rotative beam engines in the world, with 52-ton flywheels and 47-ton beams. Although the engines are original, they are not in their original 1864 configuration, as all four were converted from single-cylinder to triple-expansion operation in 1901 and 1902. Prince Consort was returned to steam in 2003 and now runs on Trust Open Days. The other engines are not in working order, although work has begun on the restoration of Victoria.
The original boilers did not survive and Prince Consort is now steamed by a small 'off the shelf' boiler.  This boiler has nowhere near the steam capacity of the originals, but this is not a problem as the engine no longer operates under load.


Having received over £2 million in initial funding, including, in 2008, £1.5 million from the Heritage Lottery Fund, £150,000 from English Heritage and £700,000 in match funding from the Department for Communities and Local Government, work began at the site to build an access road, protect the buildings and to develop a museum. Financial and other support was also provided by Thames Water, Tilfen Land, the London Borough of Bexley and the City Bridge Trust.
A further £1.5 million in funding from the Heritage Lottery Fund was secured in April 2015, the 150th anniversary of Crossness's official opening. This was to help fund a museum exhibition focused on the "Great Stink" of 1858 and the role of Crossness in improving London's sewerage system.


The pumping station has been used as a filming location for the 2009 film Sherlock Holmes and for the 2011 BBC production of Michel Faber's The Crimson Petal and the White. The building was also used as the setting for the final mission of the video game The Getaway: Black Monday. The 2003 BBC Series Seven Wonders of the Industrial World: The Sewer King episode featured a segment filmed in the pumping station. The pumping station is used as the interior of Gustafson's factory in Jingle Jangle: A Christmas Journey starring Forest Whitaker and Keegan-Michael Key which premiered on Netflix on 13 November 2020.


Crown Hill Cemetery is a historic rural cemetery located at 700 West 38th Street in Indianapolis, Marion County, Indiana. The privately owned cemetery was established in 1863 at Strawberry Hill, whose summit was renamed "The Crown", a high point overlooking Indianapolis. It is approximately 2.8 miles (4.5 km) northwest of the city's center. Crown Hill was dedicated on June 1, 1864, and encompasses 555 acres (225 ha), making it the third largest non-governmental cemetery in the United States. Its grounds are based on the landscape designs of Pittsburgh landscape architect and cemetery superintendent John Chislett Sr and Prussian horticulturalist Adolph Strauch. In 1866, the U.S. government authorized a U.S. National Cemetery for Indianapolis. The 1.4-acre (0.57 ha) Crown Hill National Cemetery is located in Sections 9 and 10.
Crown Hill contains 25 miles (40 km) of paved road, over 150 species of trees and plants, over 225,000 graves, and services roughly 1,500 burials per year. Crown Hill is the final resting place for individuals from all walks of life, from political and civic leaders to ordinary citizens, infamous criminals, and unknowns. Benjamin Harrison, 23rd president of the United States, and Vice Presidents Charles W. Fairbanks, Thomas A. Hendricks, and Thomas R. Marshall are buried at Crown Hill. Infamous bank robber and "Public Enemy #1" John Dillinger is another internee. The gravesite of Hoosier poet James Whitcomb Riley overlooks the city from "The Crown".
Many of the cemetery's mausoleums, monuments, memorials, and structures were designed by architects, landscape designers, and sculptors such as Diedrich A. Bohlen, George Kessler, Rudolf Schwarz, Adolph Scherrer, and the architectural firms of D. A. Bolen and Son and Vonnegut and Bohn, among others. Works by contemporary sculptors include David L. Rodgers, Michael B. Wilson, and Eric Nordgulen.
The cemetery's administrative offices, mortuary, and crematorium are located at 38th Street and Clarendon Road on the cemetery's north grounds. Crown Hill's Waiting Station, built in 1885 at its east entrance on 34th Street and Boulevard Place, serves as a meeting place for tours and programs. The Crown Hill Heritage Foundation, a nonprofit corporation established in 1984, raises funds to preserve the cemetery's historic buildings and grounds. Crown Hill Cemetery was listed on the National Register of Historic Places on February 28, 1973.