View allAll Photos Tagged Relieving
Relieve, Lonja de la Seda / Lonja de Mercaderes (Relief, Silk Exchange / Merchants' Market), Valencia, Spain
La Lonja de la Seda / Lonja de los Mercaderes (The Silk Exchange / Merchants' Market) was built between 1482 and 1498. It's a unique example of a Gothic style mercantile building indicating the power and wealth of Valencian merchants at that time. The gargoyles leave little doubt as to the secularity of the builders. It was declared World Heritage Site by UNESCO in 1996.
La Lonja de la Seda de Valencia o Lonja de los Mercaderes fue construida entre 1482 y 1498. Es un ejemplo único de un edificio mercantil de estilo gótico, y es una indicación del poder y la prosperidad de los mercaderes de entonces. Las gargolas no dejan duda de la secularidad del edificio. La Lonja fue declarada Patrimonio de la Humanidad por la UNESCO en 1996.
SAN DIEGO (June 11, 2018) Capt. Matthew Paradise, right, relieves Rear Adm. Doug Verissimo as commanding officer of Nimitz-class aircraft carrier USS Carl Vinson (CVN 70) during a change of command ceremony on the flight deck. Carl Vinson is pierside in its homeport of San Diego. (U.S. Navy photo by Mass Communication Specialist 2nd Class Sean M. Castellano/Released)
EDITOR: L. Roisin
FECHA: ca. 1920
TIPO DE DOCUMENTO: fototipia
SOPORTE FÍSICO: cartulina
TAMAÑO: 10x14 cm
MATERIA: tarjetas postales; relieve;
SIGNATURA: AMM / C.30 R.5750
Relieve en caliza con siete figuras de ambos sexos cogidas de la mano. Mide unos 35 cm de longitud. Procede del yacimiento de las Atalayuelas, Jaén, y se ha datado en los siglos II-I a.C. Inventario CE/DA01684.
Visita micamara.es/egipto/ para conocer mejor Egipto.
Conoce lugares de otros paises en micamara.es/.
Worshippers at Taipei's Longshan Temple. According to legend, the temple was built in 1738 when a merchant from Quanzhou, Fujian, stopped here to relieve himself and left his protective incense pouch hanging from a tree. Afterwards, residents noticed a bright light emanating from the spot. Upon investigation, they discovered the pouch and an inscription inside indicating it was from the renowned Quanzhou Longshan Temple. Believing it to be a sign that they should build a replica of the temple here, the locals dutifully began construction.
Today, Longshan Temple is one of Taiwan's most important places of worship. It attracts a synchretic following of Buddhist, Confucian, and Taoist devotees. The best time to observe their rituals is during major festivals, such as Chinese New Year, or on the first and fifteenth days of each month in the lunar calendar.
Longshan is also significant for its art and architecture. It combines a traditional Chinese siheyuan (four-building courtyard) plan with palace architecture. The interior is decorated with paintings, sculptures, and woodcarvings. The 12 carved-stone support columns in the main hall are especially noteworthy. No nails were used in the temple's construction. It is classified by the government as a Grade Two Historic Site. (Rick Green photo.)
Longshan Temple
No. 211, Guangzhou Street, Taipei
Tel: +886 (02) 2302-5162
Getting There
EVA Airways flies from Newark, Toronto, Los Angeles, San Francisco, Seattle, and Vancouver to Taipei. Visit EVA Air's Web site for flight information and booking.
Further Recommended Resources
Taiwan is an excellent destination for experiencing traditional Chinese culture, enjoying an exciting cuisine, and engaging in outdoor activities, such as cycling and hiking. Learn more about what makes the island of Formosa unique with Adventurocity's articles and video. Join our Forum to ask questions or share tips.
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Kyle: "What? You put the pictures on the internet!?"
Me: "Yea, but no-one who knows you personally will see them, and I didn't put up the peeing pictures."
Kyle: "Why not? I love that picture with me giving the thumbs up."
"Master of Puppets": "Taste me you will see, More is all you need."
Close-up of assorted colors of M&M's candies. These were my Christmas stress relievers for emergency de-stressing, except in red and green, of course!!
Klick Link For Read Online Or Download Blooms, Birds, and Butterflies Adult Coloring Book (31 stress-relieving designs) (Studio Series Artist's Coloring Book) Book : bit.ly/2guZaZt
Synopsis
Let your imagination take flight as you color a relaxing medley of wonderfully whimsical designs!Color 31 full-page complex yet calming images.Heavyweight paper is superior to that of other coloring books.Designs are printed on only one side of a page -- no bleed-through.Each page is micro-perforated for ease of removal and display of your artwork.Acid-free paper helps preserve your work. The fanciful flora and fauna in these soothing garden-inspired designs give your creativity plenty of room to blossom! Add your own artistic flair to the intricate patterns flitting across each petal and wing as you color away your worries.Book measures 9-1/2 inches wide by 9 inches high.For artists and colorists of all abilities.Designs by illustrator Andie Hanna.
Algunos senderos acarician el relieve. Avanzan con sutileza sobre su superficie. Se mimetizan y pasan inadvertidos. Forman parte de la naturaleza que los envuelve de tal forma, que el conjunto es perfecto.
Claro, los senderos los hacen los hombres, entonces...
Algunos senderos están hechos con el corazón. Las manos de sus constructores están llenas de respeto. Sus ojos observan y es obvio que "ven".
Algunos senderos te muestran que siempre hay algo nuevo por aprender.
Entre Cruzinha y Formiguinhas. Santo Antao. Cabo Verde.
The eight month campaign in Gallipoli was fought by Commonwealth and French forces in an attempt to force Turkey out of the war, to relieve the deadlock of the Western Front in France and Belgium, and to open a supply route to Russia through the Dardanelles and the Black Sea. The Allies landed on the peninsula on 25-26 April 1915; the 29th Division at Cape Helles in the south and the Australian and New Zealand Corps north of Gaba Tepe on the west coast, an area soon known as Anzac. At Helles, the 29th Division landed troops at 'S,' 'V,' 'W,' 'X' and 'Y' Beaches, five small coves at or near the southern end of the peninsula. The landing at 'Y' Beach (Gurkha Bluffs) was carried out by the 1st King's Own Scottish Borderers and the Plymouth Battalion of the Royal Naval Division, but these troops were forced to re-embark on the following day. The 2nd Royal Fusiliers landed at 'X' Beach, followed by the rest of the 87th Brigade. Under very severe fire, the 1st Lancashire Fusiliers landed on 'W' Beach and cut their way through wire entanglements and trenches to the edge of the cliff. They and the other battalions of the 88th Brigade established themselves on the hills of Tekke Burnu and Helles Burnu. The beach became known as Lancashire Landing. The greater part of the cemetery (Rows A to J and part of Row L) was made between the landing in April 1915 and the evacuation of the peninsula in January 1916. Row I contains the graves of over 80 men of the 1st Lancashire Fusiliers who died in the first two days following the landing. The 97 graves in Row K and graves 31 to 83 in Row L were brought in after the Armistice from the following Aegean islands cemeteries:- KEPHALOS BRITISH CEMETERY, on the island of Imbros (Imbroz), was 640 metres inland from Kephalos Pier. There were buried in it 84 British, Australian and New Zealand sailors and soldiers, three Greeks, and one German prisoner. KUSU BAY CEMETERY, on the island of Imbros (Imbroz), contained the graves of 45 officers and men (14 of them unidentified) of the monitors Raglan and M28, which were sunk by the German battle cruiser Goeben and cruiser Breslau as they attempted to break out into the Mediterranean from the Black Sea on 20 January 1918 (both the Breslau and the Goeben later struck mines, off Cape Kephalos, which resulted in the Breslau sinking and the Goeben being grounded of Chanak). PANAGHIA CHURCHYARD, on the island of Imbros (Imbroz), contained the graves of one officer and five men from the monitors and four airmen of the 62nd Wing, Royal Air Force. PARASKEVI CEMETERY, near the South-West shore of the island of Tenedos (Bozcaada), contained the graves of four sailors, one soldier and one marine. There are now 1,237 Commonwealth servicemen of the First World War buried or commemorated in this cemetery. 135 of the burials are unidentified but special memorials commemorate ten casualties who are known to be buried among them. The cemetery also contains 17 Greek war graves.
Built in 1912-1913, this Arts and Crafts-style hotel was designed by Fred Loring Seeley for Edwin Wiley Grove, and is known as the Grove Park Inn. Edwin Wiley Grove, whom had made his fortune selling Grove's Chill Tonic, used to help relieve symptoms brought on by malaria that was then endemic to the southern and midwestern United States, manufactured by his company, the Paris Medicine Company, which originated in Paris, Tennessee, before moving its operations to the larger city of St. Louis, Missouri. Grove had a summer house in Asheville, built circa 1897, prior to the construction of the inn, with Fred Loring Seeley, his son-in-law and business partner, having spent extensive time in the area with Grove and his wife, Evelyn Grove Seeley. The land upon which the hotel and nearby Kimberly Avenue neighborhood was later built was purchased by Grove in 1910, acquiring land all the way to the top of Sunset Mountain, as well as several tuberculosis sanatariums that Grove closed and demolished in order to change the reputation of Asheville’s health-focused resorts. Part of the land, atop Sunset Mountain, later became home to Seeley’s Castle, a large, Tudor Revival-style castle-like mansion built similarly of rough stone, and also designed by Seeley, but featuring more medieval appearance. The hotel went through several designs by various professional architects before Grove settled upon a design by Fred Loring Seeley, which featured a simple facade clad in rough granite stones, with a shingled cotswold cottage-style roof with dormers and curved edges, casement windows, and an all-concrete interior structure. The interior of the building was outfitted with Arts and Crafts furnishings and finishes designed and built by Roycrofters, a firm based in East Aurora, New York, and was opened in a ceremony with William Jennings Bryan as the keynote speaker. The hotel featured a large dining room in the northwest wing, with a tile floor and simple plaster walls, which sat next to the hotel’s original service wing, which housed the kitchen, laundry, and other service areas, a large Great Hall, serving as a lobby and lounge, in the center wing, with stone columns and massive stone fireplaces, a plaster ceiling, and a tile floor, and guest rooms on the upper floors, with a large atrium, known as the Palm Court, directly above the Great Hall, and four stories in height, crowned with a large skylight. The hotel was marketed as a health-conscious retreat for wealthy visitors. The hotel has hosted former United States Presidents William Howard Taft, Woodrow Wilson, Calvin Coolidge, Herbert Hoover, Franklin D. Roosevelt, Dwight D. Eisenhower, Richard M. Nixon, George H. W. Bush, Bill Clinton, George W. Bush, and Barack Obama in its over century-long history. The hotel was utilized during World War II to house diplomats from the Axis Powers, and later by the US Navy as a rest and rehabilitation center for returning sailors, and in 1944-45, as a US Army Redistribution Station, where soldiers rested before being assigned duties in other parts of the army. Following World War II, contingency plans in the event of a nuclear attack on the United States involved moving the US Supreme Court to the Hotel, as Asheville sat far inland in the midst of the Blue Ridge Mountains, a far more defensible location than many major cities, and had very little strategic value compared to most cities of its size. In 1955, the hotel was purchased by Sammons Enterprises, owned by Charles Sammons, and underwent a modernization, seeing the stone columns in the lobby stripped and clad in aqua-colored vinyl wallpaper, the addition of a pool to the southeast terrace, a large two-story concrete motel structure that sat southeast of the hotel along the hillside, and later, the addition of a wing to the southwest, which appears to have only lasted about a decade and a half before being demolished. In 1976, the Sammons family purchased the adjacent Asheville Country Club and Golf Course, before embarking on a major renovation and expansion of the hotel between 1982 and 1988, with the addition of the massive Vanderbilt Wing and Sammons Wing on the south facade of the building, obscuring the original service wing, northwest wing, and heavily altering the hotel’s appearance with their white EIFS-clad facades, postmodern rooflines based on the original hotel, bands of horizontal and vertical black-tinted glass curtain walls, and minimal usage of rough stone. The Sammons Wing contains conference spaces, a parking garage, and service areas for the hotel, with guest rooms along the southern and western edges of the building, with the Vanderbilt Wing containing hotel rooms along the southern and eastern edges of the building, wrapping around a central parking garage, and also containing a large multi-story atrium and restaurants. The original wing of the hotel was restored as part of this project, with the columns in the lobby being clad in oak surrounds, the stonework and roof being repaired, the palm court being brought back to its original appearance, and furnishings from the period of significance for the hotel being re-introduced to the interior. Around the turn of the millennium, the grounds in front of the historic inn and between the two modern wings was re-landscaped with waterfalls, terraces, and gardens, with a new Spa building being constructed below the hotel, partially underground, between the two wings, with the two previous swimming pools on the hotel grounds being closed at this time. In 2012, the hotel was purchased by KSL Resorts for $120 million, whom subsequently sold it to Omni Hotels in 2013, with the hotel being rebranded as The Omni Grove Park Inn. The hotel was listed on the National Register of Historic Places in 1973, though this would not have been possible following the massive alterations the building underwent in the 1980s, as the renovations have significantly and irreversibly altered the historic hotel, and have removed several character-defining features, though this is understandable in that it was done to keep the hotel economically viable in the modern age of larger resorts and economies of scale, which made the hotel in its previous form no longer economically viable.
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St Paul's Cathedral is an Anglican cathedral in London, England, and is the seat of the Bishop of London. The cathedral serves as the mother church of the Diocese of London. It is on Ludgate Hill at the highest point of the City of London. Its dedication in honour of Paul the Apostle dates back to the original church on this site, founded in AD 604. The present structure, which was completed in 1710, is a Grade I listed building that was designed in the English Baroque style by Sir Christopher Wren. The cathedral's reconstruction was part of a major rebuilding programme initiated in the aftermath of the Great Fire of London. The earlier Gothic cathedral (Old St Paul's Cathedral), largely destroyed in the Great Fire, was a central focus for medieval and early modern London, including Paul's walk and St Paul's Churchyard, being the site of St Paul's Cross.
The cathedral is one of the most famous and recognisable sights of London. Its dome, surrounded by the spires of Wren's City churches, has dominated the skyline for over 300 years. At 365 ft (111 m) high, it was the tallest building in London from 1710 to 1963. The dome is still one of the highest in the world. St Paul's is the second-largest church building in area in the United Kingdom, after Liverpool Cathedral.
Services held at St Paul's have included the funerals of Admiral Lord Nelson, the Duke of Wellington, Winston Churchill and Margaret Thatcher; jubilee celebrations for Queen Victoria; an inauguration service for the Metropolitan Hospital Sunday Fund; peace services marking the end of the First and Second World Wars; the wedding of Prince Charles and Lady Diana Spencer; the launch of the Festival of Britain; and the thanksgiving services for the Silver, Golden, Diamond, and Platinum Jubilees and the 80th and 90th birthdays of Queen Elizabeth II. St Paul's Cathedral is the central subject of much promotional material, as well as of images of the dome surrounded by the smoke and fire of the Blitz. The cathedral is a working church with hourly prayer and daily services. The tourist entry fee at the door is £23 for adults (January 2023, cheaper if booked online), but no charges are made to worshippers attending advertised services.
The nearest London Underground station is St Paul's, which is 130 yards (120 m) away from St Paul's Cathedral.
History
Before the cathedral
The location of Londinium's original cathedral is unknown, but legend and medieval tradition claims it was St Peter upon Cornhill. St Paul is an unusual attribution for a cathedral, and suggests there was another one in the Roman period. Legends of St Lucius link St Peter upon Cornhill as the centre of the Roman Londinium Christian community. It stands upon the highest point in the area of old Londinium, and it was given pre-eminence in medieval procession on account of the legends. There is, however, no other reliable evidence and the location of the site on the Forum makes it difficult for it to fit the legendary stories. In 1995, a large fifth-century building on Tower Hill was excavated, and has been claimed as a Roman basilica, possibly a cathedral, although this is speculative.
The Elizabethan antiquarian William Camden argued that a temple to the goddess Diana had stood during Roman times on the site occupied by the medieval St Paul's Cathedral. Wren reported that he had found no trace of any such temple during the works to build the new cathedral after the Great Fire, and Camden's hypothesis is no longer accepted by modern archaeologists.
Pre-Norman cathedral
There is evidence for Christianity in London during the Roman period, but no firm evidence for the location of churches or a cathedral. Bishop Restitutus is said to have represented London at the Council of Arles in 314 AD. A list of the 16 "archbishops" of London was recorded by Jocelyn of Furness in the 12th century, claiming London's Christian community was founded in the second century under the legendary King Lucius and his missionary saints Fagan, Deruvian, Elvanus and Medwin. None of that is considered credible by modern historians but, although the surviving text is problematic, either Bishop Restitutus or Adelphius at the 314 Council of Arles seems to have come from Londinium.
Bede records that in AD 604 Augustine of Canterbury consecrated Mellitus as the first bishop to the Anglo-Saxon kingdom of the East Saxons and their king, Sæberht. Sæberht's uncle and overlord, Æthelberht, king of Kent, built a church dedicated to St Paul in London, as the seat of the new bishop. It is assumed, although not proved, that this first Anglo-Saxon cathedral stood on the same site as the later medieval and the present cathedrals.
On the death of Sæberht in about 616, his pagan sons expelled Mellitus from London, and the East Saxons reverted to paganism. The fate of the first cathedral building is unknown. Christianity was restored among the East Saxons in the late seventh century and it is presumed that either the Anglo-Saxon cathedral was restored or a new building erected as the seat of bishops such as Cedd, Wine and Erkenwald, the last of whom was buried in the cathedral in 693.
Earconwald was consecrated bishop of London in 675, and is said to have bestowed great cost on the fabric, and in later times he almost occupied the place of traditionary, founder: the veneration paid to him is second only to that which was rendered to St. Paul. Erkenwald would become a subject of the important High Medieval poem St Erkenwald.
King Æthelred the Unready was buried in the cathedral on his death in 1016; the tomb is now lost. The cathedral was burnt, with much of the city, in a fire in 1087, as recorded in the Anglo-Saxon Chronicle.
Old St Paul's
The fourth St Paul's, generally referred to as Old St Paul's, was begun by the Normans after the 1087 fire. A further fire in 1135 disrupted the work, and the new cathedral was not consecrated until 1240. During the period of construction, the style of architecture had changed from Romanesque to Gothic and this was reflected in the pointed arches and larger windows of the upper parts and East End of the building. The Gothic ribbed vault was constructed, like that of York Minster, of wood rather than stone, which affected the ultimate fate of the building.
An enlargement programme commenced in 1256. This "New Work" was consecrated in 1300 but not complete until 1314. During the later Medieval period St Paul's was exceeded in length only by the Abbey Church of Cluny and in the height of its spire only by Lincoln Cathedral and St. Mary's Church, Stralsund. Excavations by Francis Penrose in 1878 showed that it was 585 feet (178 m) long and 100 feet (30 m) wide (290 feet (88 m) across the transepts and crossing). The spire was about 489 feet (149 m) in height.[citation needed] By the 16th century the building was deteriorating.
The English Reformation under Henry VIII and Edward VI (accelerated by the Chantries Acts) led to the destruction of elements of the interior ornamentation and the chapels, shrines, and chantries.
The would come to include the removal of the cathedral's collection of relics, which by the sixteenth century was understood to include:
the body of St Erkenwald
both arms of St Mellitus
a knife thought to belong to Jesus
hair of Mary Magdalen
blood of St Paul
milk of the Virgin Mary
the head of St John
the skull of Thomas Becket
the head and jaw of King Ethelbert
part of the wood of the cross,
a stone of the Holy Sepulchre,
a stone from the spot of the Ascension, and
some bones of the eleven thousand virgins of Cologne.
Old St Paul's in 1656 by Wenceslaus Hollar, showing the rebuilt west facade
In October 1538, an image of St Erkenwald, probably from the shrine, was delivered to the master of the king's jewels. Other images may have survived, at least for a time. More systematic iconoclasm happened in the reign of Edward VI: the Grey Friar's Chronicle reports that the rood and other images were destroyed in November 1547.
In late 1549, at the height of the iconoclasm of the reformation, Sir Rowland Hill altered the route of his Lord Mayor's day procession and said a de profundis at the tomb of Erkenwald. Later in Hill's mayoralty of (1550) the high altar of St Paul's was removed overnight to be destroyed, an occurrence that provoked a fight in which a man was killed. Hill had ordered, unusually for the time, that St Barnabus's Day would not be kept as a public holiday ahead of these events.
Three years later, by October 1553, "Alle the alteres and chappelles in alle Powlles churche" were taken down.[19] In August, 1553, the dean and chapter were cited to appear before Queen Mary's commissioners.
Some of the buildings in the St Paul's churchyard were sold as shops and rental properties, especially to printers and booksellers. In 1561 the spire was destroyed by a lightning strike, an event that Roman Catholic writers claimed was a sign of God's judgment on England's Protestant rulers. Bishop James Pilkington preached a sermon in response, claiming that the lightning strike was a judgement for the irreverent use of the cathedral building. Immediate steps were taken to repair the damage, with the citizens of London and the clergy offering money to support the rebuilding. However, the cost of repairing the building properly was too great for a country and city recovering from a trade depression. Instead, the roof was repaired and a timber "roo"’ put on the steeple.
In the 1630s a west front was added to the building by England's first classical architect, Inigo Jones. There was much defacing and mistreatment of the building by Parliamentarian forces during the Civil War, and the old documents and charters were dispersed and destroyed. During the Commonwealth, those churchyard buildings that were razed supplied ready-dressed building material for construction projects, such as the Lord Protector's city palace, Somerset House. Crowds were drawn to the north-east corner of the churchyard, St Paul's Cross, where open-air preaching took place.
In the Great Fire of London of 1666, Old St Paul's was gutted. While it might have been possible to reconstruct it, a decision was taken to build a new cathedral in a modern style. This course of action had been proposed even before the fire.
Present St Paul's
The task of designing a replacement structure was officially assigned to Sir Christopher Wren on 30 July 1669. He had previously been put in charge of the rebuilding of churches to replace those lost in the Great Fire. More than 50 city churches are attributable to Wren. Concurrent with designing St Paul's, Wren was engaged in the production of his five Tracts on Architecture.
Wren had begun advising on the repair of the Old St Paul's in 1661, five years before the fire in 1666. The proposed work included renovations to interior and exterior to complement the classical facade designed by Inigo Jones in 1630. Wren planned to replace the dilapidated tower with a dome, using the existing structure as a scaffold. He produced a drawing of the proposed dome which shows his idea that it should span nave and aisles at the crossing. After the Fire, it was at first thought possible to retain a substantial part of the old cathedral, but ultimately the entire structure was demolished in the early 1670s.
In July 1668 Dean William Sancroft wrote to Wren that he was charged by the Archbishop of Canterbury, in agreement with the Bishops of London and Oxford, to design a new cathedral that was "Handsome and noble to all the ends of it and to the reputation of the City and the nation". The design process took several years, but a design was finally settled and attached to a royal warrant, with the proviso that Wren was permitted to make any further changes that he deemed necessary. The result was the present St Paul's Cathedral, still the second largest church in Britain, with a dome proclaimed as the finest in the world. The building was financed by a tax on coal, and was completed within its architect's lifetime with many of the major contractors engaged for the duration.
The "topping out" of the cathedral (when the final stone was placed on the lantern) took place on 26 October 1708, performed by Wren's son Christopher Jr and the son of one of the masons. The cathedral was declared officially complete by Parliament on 25 December 1711 (Christmas Day). In fact, construction continued for several years after that, with the statues on the roof added in the 1720s. In 1716 the total costs amounted to £1,095,556 (£174 million in 2021).
Consecration
On 2 December 1697, 31 years and 3 months after the Great Fire destroyed Old St Paul's, the new cathedral was consecrated for use. The Right Reverend Henry Compton, Bishop of London, preached the sermon. It was based on the text of Psalm 122, "I was glad when they said unto me: Let us go into the house of the Lord." The first regular service was held on the following Sunday.
Opinions of Wren's cathedral differed, with some loving it: "Without, within, below, above, the eye / Is filled with unrestrained delight", while others hated it: "There was an air of Popery about the gilded capitals, the heavy arches ... They were unfamiliar, un-English ...".
Since 1900
St. Paul's was the target of two suffragette bombing attacks in 1913 and 1914 respectively, which nearly caused the destruction of the cathedral. This was as part of the suffragette bombing and arson campaign between 1912 and 1914, in which suffragettes from the Women's Social and Political Union, as part of their campaign for women's suffrage, carried out a series of politically motivated bombings and arson nationwide. Churches were explicitly targeted by the suffragettes as they believed the Church of England was complicit in reinforcing opposition to women's suffrage. Between 1913 and 1914, 32 churches across Britain were attacked.
The first attack on St. Paul's occurred on 8 May 1913, at the start of a sermon. A bomb was heard ticking and discovered as people were entering the cathedral. It was made out of potassium nitrate. Had it exploded, the bomb likely would have destroyed the historic bishop's throne and other parts of the cathedral. The remains of the device, which was made partly out of a mustard tin, are now on display at the City of London Police Museum.
A second bombing of the cathedral by the suffragettes was attempted on 13 June 1914, however the bomb was again discovered before it could explode. This attempted bombing occurred two days after a bomb had exploded at Westminster Abbey, which damaged the Coronation Chair and caused a mass panic for the exits. Several other churches were bombed at this time, such as St Martin-in-the-Fields church in Trafalgar Square and the Metropolitan Tabernacle.
War damage
The cathedral survived the Blitz although struck by bombs on 10 October 1940 and 17 April 1941. The first strike destroyed the high altar, while the second strike on the north transept left a hole in the floor above the crypt. The latter bomb is believed to have detonated in the upper interior above the north transept and the force was sufficient to shift the entire dome laterally by a small amount.
On 12 September 1940 a time-delayed bomb that had struck the cathedral was successfully defused and removed by a bomb disposal detachment of Royal Engineers under the command of Temporary Lieutenant Robert Davies. Had this bomb detonated, it would have totally destroyed the cathedral; it left a 100-foot (30 m) crater when later remotely detonated in a secure location. As a result of this action, Davies and Sapper George Cameron Wylie were each awarded the George Cross. Davies' George Cross and other medals are on display at the Imperial War Museum, London.
One of the best known images of London during the war was a photograph of St Paul's taken on 29 December 1940 during the "Second Great Fire of London" by photographer Herbert Mason, from the roof of a building in Tudor Street showing the cathedral shrouded in smoke. Lisa Jardine of Queen Mary, University of London, has written:
Wreathed in billowing smoke, amidst the chaos and destruction of war, the pale dome stands proud and glorious—indomitable. At the height of that air-raid, Sir Winston Churchill telephoned the Guildhall to insist that all fire-fighting resources be directed at St Paul's. The cathedral must be saved, he said, damage to the fabric would sap the morale of the country.
Post-war
On 29 July 1981, the wedding of Prince Charles and Lady Diana Spencer was held at the cathedral. The couple selected St Paul's over Westminster Abbey, the traditional site of royal weddings, because the cathedral offered more seating.
Extensive copper, lead and slate renovation work was carried out on the Dome in 1996 by John B. Chambers. A 15-year restoration project—one of the largest ever undertaken in the UK—was completed on 15 June 2011.
Occupy London
In October 2011 an anti-capitalism Occupy London encampment was established in front of the cathedral, after failing to gain access to the London Stock Exchange at Paternoster Square nearby. The cathedral's finances were affected by the ensuing closure. It was claimed that the cathedral was losing revenue of £20,000 per day. Canon Chancellor Giles Fraser resigned, asserting his view that "evicting the anti-capitalist activists would constitute violence in the name of the Church". The Dean of St Paul's, the Right Revd Graeme Knowles, then resigned too. The encampment was evicted at the end of February 2012, by court order and without violence, as a result of legal action by the City of London Corporation.
2019 terrorist plot
On 10 October 2019, Safiyya Amira Shaikh, a Muslim convert, was arrested following an MI5 and Metropolitan Police investigation. In September 2019, she had taken photos of the cathedral's interior. While trying to radicalise others using the Telegram messaging software, she planned to attack the cathedral and other targets such as a hotel and a train station using explosives. Shaikh pleaded guilty and was sentenced to life imprisonment.
National events
The size and location of St Paul's has made it an ideal setting for Christian services marking great national events. The opportunity for long processions culminating in the dramatic approach up Ludgate Hill, the open area and steps at the west front, the great nave and the space under the dome are all well suited for ceremonial occasions. St Paul's can seat many more people than any other church in London, and in past centuries, the erection of temporary wooden galleries inside allowed for congregations exceeding 10,000. In 1935, the dean, Walter Matthews, wrote:
No description in words can convey an adequate idea of the majestic beauty of a solemn national religious ceremony in St Paul's. It is hard to believe that there is any other building in the world that is so well adapted to be the setting of such symbolical acts of communal worship.
National events attended by the royal family, government ministers and officers of state include national services of thanksgiving, state funerals and a royal wedding. Some of the most notable examples are:
Thanksgiving service for the Acts of Union 1707, 1 May 1707
State funeral of Horatio Nelson, 9 January 1806
State funeral of the Duke of Wellington, 18 November 1852
Diamond Jubilee of Queen Victoria, 22 June 1897
Thanksgiving service for the Treaty of Versailles, 6 July 1919
Silver Jubilee of George V, 6 May 1935
Thanksgiving services for VE Day and VJ Day, 13 May and 19 August 1945
Silver Jubilee of Elizabeth II, 7 June 1977
Wedding of Prince Charles and Lady Diana Spencer, 29 July 1981
Golden Jubilee of Elizabeth II, 4 June 2002
Diamond Jubilee of Elizabeth II, 5 June 2012
Ceremonial funeral of Margaret Thatcher, 17 April 2013
Thanksgiving service for the Queen's 90th Birthday, 10 June 2016
Platinum Jubilee National Service of Thanksgiving, 3 June 2022
Ministry and functions
St Paul's Cathedral is a busy church with four or five services every day, including Matins, Eucharist and Evening Prayer or Choral Evensong. In addition, the cathedral has many special services associated with the City of London, its corporation, guilds and institutions. The cathedral, as the largest church in London, also has a role in many state functions such as the service celebrating the Diamond Jubilee of Queen Elizabeth II. The cathedral is generally open daily to tourists and has a regular programme of organ recitals and other performances. The Bishop of London is Sarah Mullally, whose appointment was announced in December 2017 and whose enthronement took place in May 2018.
Dean and chapter
The cathedral chapter is currently composed of seven individuals: the dean, three residentiary canons (one of whom is, exceptionally, lay), one "additional member of chapter and canon non-residentiary" (ordained), and two lay canons. Each has a different responsibility in the running of the cathedral. As of October 2022:
Dean — Andrew Tremlett (since 25 September 2022)
Precentor — James Milne (since 9 May 2019)
Treasurer — vacant
Chancellor — Paula Gooder (since 9 May 2019; lay reader since 23 February 2019)
Steward — Neil Evans (since June 2022)
Additional member of chapter and canon non-residentiary — Sheila Watson (since January 2017).
Lay Canon — Pamela (Pim) Jane Baxter (since March 2014). Deputy Director at the National Portrait Gallery, with experience in opera, theatre and the visual arts.
Lay Canon — Sheila Nicoll (since October 2018). She is Head of Public Policy at Schroder Investment Management.
Lay Canon — Clement Hutton-Mills (since March 2021). He is also a Managing Director at Goldman Sachs.
Lay Canon — Gillian Bowen (since June 2022). She is Chief Executive Officer of YMCA London City and North and is a magistrate.
Director of Music
The Director of Music is Andrew Carwood. Carwood was appointed to succeed Malcolm Archer as Director of Music, taking up the post in September 2007. He is the first non-organist to hold the post since the 12th century.
Paul's Cathedral
Organs
An organ was commissioned from Bernard Smith in 1694.
In 1862 the organ from the Panopticon of Science and Art (the Panopticon Organ) was installed in a gallery over the south transept door.
The Grand Organ was completed in 1872, and the Panopticon Organ moved to the Victoria Rooms in Clifton in 1873.
The Grand Organ is the fifth-largest in Great Britain, in terms of number of pipes (7,256), with 5 manuals, 136 ranks of pipes and 137 stops, principally enclosed in an impressive case designed in Wren's workshop and decorated by Grinling Gibbons.
Details of the organ can be found online at the National Pipe Organ Register.
Choir
St Paul's Cathedral has a full professional choir, which sings regularly at services. The earliest records of the choir date from 1127. The present choir consists of up to 30 boy choristers, eight probationers and the vicars choral, 12 professional singers. In February 2017 the cathedral announced the appointment of the first female vicar choral, Carris Jones (a mezzo-soprano), to take up the role in September 2017. In 2022, it was announced that girls would be admitted to a cathedral choir in 2025.
During school terms the choir sings Evensong six times per week, the service on Mondays being sung by a visiting choir (or occasionally said) and that on Thursdays being sung by the vicars choral alone. On Sundays the choir also sings at Mattins and the 11:30 am Eucharist.
Many distinguished musicians have been organists, choir masters and choristers at St Paul's Cathedral, including the composers John Redford, Thomas Morley, John Blow, Jeremiah Clarke, Maurice Greene and John Stainer, while well-known performers have included Alfred Deller, John Shirley-Quirk and Anthony Way as well as the conductors Charles Groves and Paul Hillier and the poet Walter de la Mare.
Wren's cathedral
In designing St Paul's, Christopher Wren had to meet many challenges. He had to create a fitting cathedral to replace Old St Paul's, as a place of worship and as a landmark within the City of London. He had to satisfy the requirements of the church and the tastes of a royal patron, as well as respecting the essentially medieval tradition of English church building which developed to accommodate the liturgy. Wren was familiar with contemporary Renaissance and Baroque trends in Italian architecture and had visited France, where he studied the work of François Mansart.
Wren's design developed through five general stages. The first survives only as a single drawing and part of a model. The scheme (usually called the First Model Design) appears to have consisted of a circular domed vestibule (possibly based on the Pantheon in Rome) and a rectangular church of basilica form. The plan may have been influenced by the Temple Church. It was rejected because it was not thought "stately enough". Wren's second design was a Greek cross, which was thought by the clerics not to fulfil the requirements of Anglican liturgy.
Wren's third design is embodied in the "Great Model" of 1673. The model, made of oak and plaster, cost over £500 (approximately £32,000 today) and is over 13 feet (4 m) tall and 21 feet (6 m) long. This design retained the form of the Greek-Cross design but extended it with a nave. His critics, members of a committee commissioned to rebuild the church, and clergy decried the design as too dissimilar to other English churches to suggest any continuity within the Church of England. Another problem was that the entire design would have to be completed all at once because of the eight central piers that supported the dome, instead of being completed in stages and opened for use before construction finished, as was customary. The Great Model was Wren's favourite design; he thought it a reflection of Renaissance beauty. After the Great Model, Wren resolved not to make further models and not to expose his drawings publicly, which he found did nothing but "lose time, and subject [his] business many times, to incompetent judges". The Great Model survives and is housed within the cathedral itself.
Wren's fourth design is known as the Warrant design because it received a Royal warrant for the rebuilding. In this design Wren sought to reconcile Gothic, the predominant style of English churches, to a "better manner of architecture". It has the longitudinal Latin Cross plan of a medieval cathedral. It is of 1+1⁄2 storeys and has classical porticos at the west and transept ends, influenced by Inigo Jones's addition to Old St Paul's. It is roofed at the crossing by a wide shallow dome supporting a drum with a second cupola, from which rises a spire of seven diminishing stages. Vaughan Hart has suggested that influence in the design of the spire may have been drawn from the oriental pagoda. Not used at St Paul's, the concept was applied in the spire of St Bride's, Fleet Street. This plan was rotated slightly on its site so that it aligned, not with true east, but with sunrise on Easter of the year construction began. This small change in configuration was informed by Wren's knowledge of astronomy.
Final design
The final design as built differs substantially from the official Warrant design. Wren received permission from the king to make "ornamental changes" to the submitted design, and Wren took great advantage of this. Many of these changes were made over the course of the thirty years as the church was constructed, and the most significant was to the dome: "He raised another structure over the first cupola, a cone of brick, so as to support a stone lantern of an elegant figure ... And he covered and hid out of sight the brick cone with another cupola of timber and lead; and between this and the cone are easy stairs that ascend to the lantern" (Christopher Wren, son of Sir Christopher Wren). The final design was strongly rooted in St. Peter's Basilica in Rome. The saucer domes over the nave were inspired by François Mansart's Church of the Val-de-Grâce, which Wren had seen during a trip to Paris in 1665.
The date of the laying of the first stone of the cathedral is disputed. One contemporary account says it was 21 June 1675, another 25 June and a third on 28 June. There is, however, general agreement that it was laid in June 1675. Edward Strong later claimed it was laid by his elder brother, Thomas Strong, one of the two master stonemasons appointed by Wren at the beginning of the work.
Structural engineering
Wren's challenge was to construct a large cathedral on the relatively weak clay soil of London. St Paul's is unusual among cathedrals in that there is a crypt, the largest in Europe, under the entire building rather than just under the eastern end. The crypt serves a structural purpose. Although it is extensive, half the space of the crypt is taken up by massive piers which spread the weight of the much slimmer piers of the church above. While the towers and domes of most cathedrals are supported on four piers, Wren designed the dome of St Paul's to be supported on eight, achieving a broader distribution of weight at the level of the foundations. The foundations settled as the building progressed, and Wren made structural changes in response.
One of the design problems that confronted Wren was to create a landmark dome, tall enough to visually replace the lost tower of St Paul's, while at the same time appearing visually satisfying when viewed from inside the building. Wren planned a double-shelled dome, as at St Peter's Basilica. His solution to the visual problem was to separate the heights of the inner and outer dome to a much greater extent than had been done by Michelangelo at St Peter's, drafting both as catenary curves, rather than as hemispheres. Between the inner and outer domes, Wren inserted a brick cone which supports both the timbers of the outer, lead-covered dome and the weight of the ornate stone lantern that rises above it. Both the cone and the inner dome are 18 inches thick and are supported by wrought iron chains at intervals in the brick cone and around the cornice of the peristyle of the inner dome to prevent spreading and cracking.
The Warrant Design showed external buttresses on the ground floor level. These were not a classical feature and were one of the first elements Wren changed. Instead he made the walls of the cathedral particularly thick to avoid the need for external buttresses altogether. The clerestory and vault are reinforced with flying buttresses, which were added at a relatively late stage in the design to give extra strength. These are concealed behind the screen wall of the upper story, which was added to keep the building's classical style intact, to add sufficient visual mass to balance the appearance of the dome and which, by its weight, counters the thrust of the buttresses on the lower walls.
Designers, builders and craftsmen
During the extensive period of design and rationalisation, Wren employed from 1684 Nicholas Hawksmoor as his principal assistant. Between 1696 and 1711 William Dickinson was measuring clerk. Joshua Marshall (until his early death in 1678) and Thomas and his brother Edward Strong were master masons, the latter two working on the construction for its entirety. John Langland was the master carpenter for over thirty years. Grinling Gibbons was the chief sculptor, working in both stone on the building itself, including the pediment of the north portal, and wood on the internal fittings. The sculptor Caius Gabriel Cibber created the pediment of the south transept while Francis Bird was responsible for the relief in the west pediment depicting the Conversion of St Paul, as well as the seven large statues on the west front. The floor was paved by William Dickinson in black and white marble in 1709–10 Jean Tijou was responsible for the decorative wrought ironwork of gates and balustrades. The ball and cross on the dome were provided by an armorer, Andrew Niblett. Following the war damage mentioned above, many craftsmen were employed to restore the wood carvings and stone work that had been destroyed by the bomb impact. One of particular note is Master Carver, Gino Masero who was commissioned to carve the replacement figure of Christ, an eight-foot sculpture in lime which currently stands on the High Altar.
Description
St Paul's Cathedral is built in a restrained Baroque style which represents Wren's rationalisation of the traditions of English medieval cathedrals with the inspiration of Palladio, the classical style of Inigo Jones, the baroque style of 17th century Rome, and the buildings by Mansart and others that he had seen in France. It is particularly in its plan that St Paul's reveals medieval influences. Like the great medieval cathedrals of York and Winchester, St Paul's is comparatively long for its width, and has strongly projecting transepts. It has much emphasis on its facade, which has been designed to define rather than conceal the form of the building behind it. In plan, the towers jut beyond the width of the aisles as they do at Wells Cathedral. Wren's uncle Matthew Wren was the Bishop of Ely, and, having worked for his uncle, Wren was familiar with the unique octagonal lantern tower over the crossing of Ely Cathedral, which spans the aisles as well as the central nave, unlike the central towers and domes of most churches. Wren adapted this characteristic in designing the dome of St Paul's.[91] In section St Paul's also maintains a medieval form, having the aisles much lower than the nave, and a defined clerestory.
Exterior
The most renowned exterior feature is the dome, which rises 365 feet (111 m) to the cross at its summit, and dominates views of the city. The height of 365 feet is explained by Wren's interest in astronomy. Until the late 20th century St Paul's was the tallest building on the City skyline, designed to be seen surrounded by the delicate spires of Wren's other city churches. The dome is described by Sir Banister Fletcher as "probably the finest in Europe", by Helen Gardner as "majestic", and by Sir Nikolaus Pevsner as "one of the most perfect in the world". Sir John Summerson said that Englishmen and "even some foreigners" consider it to be without equal.
Dome
Wren drew inspiration from Michelangelo's dome of St Peter's Basilica, and that of Mansart's Church of the Val-de-Grâce, which he had visited. Unlike those of St Peter's and Val-de-Grâce, the dome of St Paul's rises in two clearly defined storeys of masonry, which, together with a lower unadorned footing, equal a height of about 95 feet. From the time of the Greek Cross Design it is clear that Wren favoured a continuous colonnade (peristyle) around the drum of the dome, rather than the arrangement of alternating windows and projecting columns that Michelangelo had used and which had also been employed by Mansart. Summerson suggests that he was influenced by Bramante's "Tempietto" in the courtyard of San Pietro in Montorio. In the finished structure, Wren creates a diversity and appearance of strength by placing niches between the columns in every fourth opening. The peristyle serves to buttress both the inner dome and the brick cone which rises internally to support the lantern.
Above the peristyle rises the second stage surrounded by a balustraded balcony called the "Stone Gallery". This attic stage is ornamented with alternating pilasters and rectangular windows which are set just below the cornice, creating a sense of lightness. Above this attic rises the dome, covered with lead, and ribbed in accordance with the spacing of the pilasters. It is pierced by eight light wells just below the lantern, but these are barely visible. They allow light to penetrate through openings in the brick cone, which illuminates the interior apex of this shell, partly visible from within the cathedral through the ocular opening of the lower dome.
The lantern, like the visible masonry of the dome, rises in stages. The most unusual characteristic of this structure is that it is of square plan, rather than circular or octagonal. The tallest stage takes the form of a tempietto with four columned porticos facing the cardinal points. Its lowest level is surrounded by the "Golden Gallery" and its upper level supports a small dome from which rises a cross on a golden ball. The total weight of the lantern is about 850 tons.
West front
For the Renaissance architect designing the west front of a large church or cathedral, the universal problem was how to use a facade to unite the high central nave with the lower aisles in a visually harmonious whole. Since Alberti's additions to Santa Maria Novella in Florence, this was usually achieved by the simple expedient of linking the sides to the centre with large brackets. This is the solution that Wren saw employed by Mansart at Val-de-Grâce. Another feature employed by Mansart was a boldly projecting Classical portico with paired columns. Wren faced the additional challenge of incorporating towers into the design, as had been planned at St Peter's Basilica. At St Peter's, Carlo Maderno had solved this problem by constructing a narthex and stretching a huge screen facade across it, differentiated at the centre by a pediment. The towers at St Peter's were not built above the parapet.
Wren's solution was to employ a Classical portico, as at Val-de-Grâce, but rising through two storeys, and supported on paired columns. The remarkable feature here is that the lower story of this portico extends to the full width of the aisles, while the upper section defines the nave that lies behind it. The gaps between the upper stage of the portico and the towers on either side are bridged by a narrow section of wall with an arch-topped window.
The towers stand outside the width of the aisles, but screen two chapels located immediately behind them. The lower parts of the towers continue the theme of the outer walls, but are differentiated from them in order to create an appearance of strength. The windows of the lower story are smaller than those of the side walls and are deeply recessed, a visual indication of the thickness of the wall. The paired pilasters at each corner project boldly.
Above the main cornice, which unites the towers with the portico and the outer walls, the details are boldly scaled, in order to read well from the street below and from a distance. The towers rise above the cornice from a square block plinth which is plain apart from large oculi, that on the south being filled by the clock, while that on the north is void. The towers are composed of two complementary elements, a central cylinder rising through the tiers in a series of stacked drums, and paired Corinthian columns at the corners, with buttresses above them, which serve to unify the drum shape with the square plinth on which it stands. The entablature above the columns breaks forward over them to express both elements, tying them together in a single horizontal band. The cap, an ogee-shaped dome, supports a gilded finial in the form of a pineapple.
The transepts each have a semi-circular entrance portico. Wren was inspired in the design by studying engravings of Pietro da Cortona's Baroque facade of Santa Maria della Pace in Rome. These projecting arcs echo the shape of the apse at the eastern end of the building.
Walls
The building is of two storeys of ashlar masonry, above a basement, and surrounded by a balustrade above the upper cornice. The balustrade was added, against Wren's wishes, in 1718. The internal bays are marked externally by paired pilasters with Corinthian capitals at the lower level and Composite at the upper level. Where the building behind is of only one story (at the aisles of both nave and choir) the upper story of the exterior wall is sham. It serves a dual purpose of supporting the buttresses of the vault, and providing a satisfying appearance when viewed rising above buildings of the height of the 17th-century city. This appearance may still be seen from across the River Thames.
Between the pilasters on both levels are windows. Those of the lower storey have semi-circular heads and are surrounded by continuous mouldings of a Roman style, rising to decorative keystones. Beneath each window is a floral swag by Grinling Gibbons, constituting the finest stone carving on the building and some of the greatest architectural sculpture in England. A frieze with similar swags runs in a band below the cornice, tying the arches of the windows and the capitals. The upper windows are of a restrained Classical form, with pediments set on columns, but are blind and contain niches. Beneath these niches, and in the basement level, are small windows with segmental tops, the glazing of which catches the light and visually links them to the large windows of the aisles. The height from ground level to the top of the parapet is approximately 110 feet.
Fencing
The original fencing, designed by Wren, was dismantled in the 1870s. The surveyor for the government of Toronto had it shipped to Toronto, where it has since adorned High Park.
Interior
Internally, St Paul's has a nave and choir in each of its three bays. The entrance from the west portico is through a square domed narthex, flanked by chapels: the Chapel of St Dunstan to the north and the Chapel of the Order of St Michael and St George to the south. The nave is 91 feet (28 m) in height and is separated from the aisles by an arcade of piers with attached Corinthian pilasters rising to an entablature. The bays, and therefore the vault compartments, are rectangular, but Wren roofed these spaces with saucer-shaped domes and surrounded the clerestory windows with lunettes. The vaults of the choir are decorated with mosaics by Sir William Blake Richmond. The dome and the apse of the choir are all approached through wide arches with coffered vaults which contrast with the smooth surface of the domes and punctuate the division between the main spaces. The transepts extend to the north and south of the dome and are called (in this instance) the North Choir and the South Choir.
The choir holds the stalls for the clergy, cathedral officers and the choir, and the organ. These wooden fittings, including the pulpit and Bishop's throne, were designed in Wren's office and built by joiners. The carvings are the work of Grinling Gibbons whom Summerson describes as having "astonishing facility", suggesting that Gibbons aim was to reproduce popular Dutch flower painting in wood. Jean Tijou, a French metalworker, provided various wrought iron and gilt grilles, gates and balustrades of elaborate design, of which many pieces have now been combined into the gates near the sanctuary.
The cathedral is some 574 feet (175 m) in length (including the portico of the Great West Door), of which 223 feet (68 m) is the nave and 167 feet (51 m) is the choir. The width of the nave is 121 feet (37 m) and across the transepts is 246 feet (75 m). The cathedral is slightly shorter but somewhat wider than Old St Paul's.
Dome
The main internal space of the cathedral is that under the central dome which extends the full width of the nave and aisles. The dome is supported on pendentives rising between eight arches spanning the nave, choir, transepts, and aisles. The eight piers that carry them are not evenly spaced. Wren has maintained an appearance of eight equal spans by inserting segmental arches to carry galleries across the ends of the aisles, and has extended the mouldings of the upper arch to appear equal to the wider arches.
Above the keystones of the arches, at 99 feet (30 m) above the floor and 112 feet (34 m) wide, runs a cornice which supports the Whispering Gallery so called because of its acoustic properties: a whisper or low murmur against its wall at any point is audible to a listener with an ear held to the wall at any other point around the gallery. It is reached by 259 steps from ground level.
The dome is raised on a tall drum surrounded by pilasters and pierced with windows in groups of three, separated by eight gilded niches containing statues, and repeating the pattern of the peristyle on the exterior. The dome rises above a gilded cornice at 173 feet (53 m) to a height of 214 feet (65 m). Its painted decoration by Sir James Thornhill shows eight scenes from the life of St Paul set in illusionistic architecture which continues the forms of the eight niches of the drum. At the apex of the dome is an oculus inspired by that of the Pantheon in Rome. Through this hole can be seen the decorated inner surface of the cone which supports the lantern. This upper space is lit by the light wells in the outer dome and openings in the brick cone. Engravings of Thornhill's paintings were published in 1720.
Apse
The eastern apse extends the width of the choir and is the full height of the main arches across choir and nave. It is decorated with mosaics, in keeping with the choir vaults. The original reredos and high altar were destroyed by bombing in 1940. The present high altar and baldacchino are the work of W. Godfrey Allen and Stephen Dykes Bower. The apse was dedicated in 1958 as the American Memorial Chapel. It was paid for entirely by donations from British people. The Roll of Honour contains the names of more than 28,000 Americans who gave their lives while on their way to, or stationed in, the United Kingdom during the Second World War. It is in front of the chapel's altar. The three windows of the apse date from 1960 and depict themes of service and sacrifice, while the insignia around the edges represent the American states and the US armed forces. The limewood panelling incorporates a rocket—a tribute to America's achievements in space.
Artworks, tombs and memorials
St Paul's at the time of its completion, was adorned by sculpture in stone and wood, most notably that of Grinling Gibbons, by the paintings in the dome by Thornhill, and by Jean Tijou's elaborate metalwork. It has been further enhanced by Sir William Richmond's mosaics and the fittings by Dykes Bower and Godfrey Allen. Other artworks in the cathedral include, in the south aisle, William Holman Hunt's copy of his painting The Light of the World, the original of which hangs in Keble College, Oxford. The St. Paul's version was completed with a significant input from Edward Robert Hughes as Hunt was now suffering from glaucoma. In the north choir aisle is a limestone sculpture of the Madonna and Child by Henry Moore, carved in 1943. The crypt contains over 200 memorials and numerous burials. Christopher Wren was the first person to be interred, in 1723. On the wall above his tomb in the crypt is written in Latin: Lector, si monumentum requiris, circumspice ("Reader, if you seek his monument, look around you").
The largest monument in the cathedral is that to the Duke of Wellington by Alfred Stevens. It stands on the north side of the nave and has on top a statue of Wellington astride his horse "Copenhagen". Although the equestrian figure was planned at the outset, objections to the notion of having a horse in the church prevented its installation until 1912. The horse and rider are by John Tweed. The Duke is buried in the crypt. The tomb of Horatio, Lord Nelson is located in the crypt, next to that of Wellington. The marble sarcophagus which holds his remains was made for Cardinal Wolsey but not used as the cardinal had fallen from favour. At the eastern end of the crypt is the Chapel of the Order of the British Empire, instigated in 1917, and designed by John Seely, Lord Mottistone. There are many other memorials commemorating the British military, including several lists of servicemen who died in action, the most recent being the Gulf War.
Also remembered are Florence Nightingale, J. M. W. Turner, Arthur Sullivan, Hubert Parry, Samuel Johnson, Lawrence of Arabia, William Blake, William Jones and Sir Alexander Fleming as well as clergy and residents of the local parish. There are lists of the Bishops and cathedral Deans for the last thousand years. One of the most remarkable sculptures is that of the Dean and poet, John Donne. Before his death, Donne posed for his own memorial statue and was depicted by Nicholas Stone as wrapped in a burial shroud, and standing on a funeral urn. The sculpture, carved around 1630, is the only one to have survived the conflagration of 1666 intact. The treasury is also in the crypt but the cathedral has very few treasures as many have been lost, and on 22 December 1810 a major robbery took almost all of the remaining precious artefacts.
The funerals of many notable figures have been held in the cathedral, including those of Lord Nelson, the Duke of Wellington, Winston Churchill, George Mallory and Margaret Thatcher.
Clock and bells
A clock was installed in the south-west tower by Langley Bradley in 1709 but was worn out by the end of the 19th century. The present mechanism was built in 1893 by Smith of Derby incorporating a design of escapement by Edmund Denison Beckett similar to that used by Edward Dent on Big Ben's mechanism in 1895. The clock mechanism is 19 feet (5.8 m) long and is the most recent of the clocks introduced to St Paul's Cathedral over the centuries. Since 1969 the clock has been electrically wound with equipment designed and installed by Smith of Derby, relieving the clock custodian from the work of cranking up the heavy drive weights.
The south-west tower also contains four bells, of which Great Paul, cast in 1881 by J. W. Taylor of Taylor's bell foundry of Loughborough, at 16+1⁄2 long tons (16,800 kg) was the largest bell in the British Isles until the casting of the Olympic Bell for the 2012 London Olympics. Although the bell is traditionally sounded at 1 pm each day, Great Paul had not been rung for several years because of a broken chiming mechanism. In the 1970s the fastening mechanism that secured the clapper had fractured, sending both through the clock mechanism below and causing damage which cost £30,000 to repair. In about 1989 the clapper fractured completely, although less damage was sustained. On 31 July 2021, during the London Festival of the Bells, Great Paul rang for the first time in two decades, being hand swung by the bell ringers. The clock bells included Great Tom, which was moved from St Stephen's Chapel at the Palace of Westminster and has been recast several times, the last time by Richard Phelps. It chimes the hour and is traditionally tolled on occasions of a death in the royal family, the Bishop of London, or the Lord Mayor of London, although an exception was made at the death of the US president James Garfield. It was last tolled for the death of Queen Elizabeth II in 2022, ringing once every minute along with other bells across the country in honor of the 96 years of her life. In 1717, Richard Phelps cast two more bells that were added as "quarter jacks" that ring on the quarter hour. Still in use today, the first weighs 13 long cwt (1,500 lb; 660 kg), is 41 inches (100 cm) in diameter and is tuned to A♭; the second weighs 35 long cwt (3,900 lb; 1,800 kg), is 58 inches (150 cm) in diameter and is tuned to E♭.
The north-west tower contains a ring of 12 bells by John Taylor & Co of Loughborough hung for change ringing. In January 2018 the bells were removed for refurbishment and were rehung in September that year, being rung again for the first time on All Saints' Day. The original service or "Communion" bell dating from 1700 and known as "the Banger" is rung before 8 am services.
Plaque acknowledging amalgamation of Port Adelaide & Alberton Primary Schools Jan 2005.
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Port Adelaide Grammar School opened 1862 with Rev Frank Garrett as master, closed 1868, re-opened by Allen Martin 1870. It was one of several private schools in area taken over 1876 by the government. Then named Port Adelaide Public School, later renamed Port Adelaide Primary School, closed Dec 2004. The Alberton school opened 1892 to relieve crowding in the Port district. And so the Wheel of Fortune turns. . . these 2 schools amalgamated Jan 2005. There were several private schools in Port Adelaide in 1860s; Mr Leslie’s was one (see below).
“Port Adelaide Grammar School. . . may now be considered established. . . the sum of £350 having been guaranteed for three years, they should commence operations. A Committee, consisting of Messrs. Hart, Gliddon, Marryat, Duncan, and Dempster, was appointed to write home at once respecting a master. . . to be a graduate of one of the English Universities, and in holy orders. At the same time the following regulations were agreed to for his general guidance:— That he is not to hold a cure of souls; but may engage in such occasional ministerial work as will not interfere with his scholastic engagements. The school hours, holidays, &c, to be the same as those of St. Peters College.” [Register 25 Mar 1862]
“Port Adelaide Grammar School.— The Rev. Frank Garrett, M.A., Worcester College, Oxford, who was selected by the London Committee as Head Master of this school, arrived on the 19th instant, by the Venilia. . . The subscribers have secured a house at Queenstown as a residence, and have obtained the temporary use of rooms at Port Adelaide until a schoolroom is built. It is expected that the school will open on Monday, the 2nd February, with about 30 scholars, the children of the subscribers.” [Register 27 Jan 1863]
“Port Adelaide Grammar School opens on Monday, February 2, 1863, at 9 o'clock a.m., for the present in rooms attached to the Marine Board. . . Terms for Tuition (payable in advance) £3 3s. per quarter.” [Advertiser 28 Jan 1863 advert]
“the Port Adelaide Grammar School, which has been in operation experimentally for three years, has now been permanently founded, and is about to be incorporated as one of the first endowed schools in this colony. . . to provide the elements of a liberal education by instruction in Latin, Greek, English, arithmetic, and mathematics. . . the desire of its founders is not to advance information, but education. It does not seek to teach trades or practical arts; it doubts whether such specialities can he taught to children. It believes that, if they can be, the children themselves are left as they were found, as nature made them, in the strictest sense uneducated, however much informed. It hopes to give that general training which fits a boy for all pursuits in good time.” [Adelaide Observer 6 Jan 1866]
“This valuable Property comprises a Block of Land; portion of Section 212, having a frontage to the Grand Junction Road. . . on which are erected those substantial Buildings known as the Port Adelaide Grammar School, built of Stone and Brick, and situated only a short distance from the Railway Terminus. The above is admirably adapted for a School or Public Building.” [Register 22 Oct 1868 advert]
“The Rev. Frank Garratt, M.A., Incumbent of All Saint's Church, Hindmarsh, and head master of the Port Adelaide Grammar School, who left the colony for England in the Darra, in the hope of improving his health, prior to leaving was presented with an address and purse containing more than £80.” [Express & Telegraph 4 Jan 1869]
“Port Adelaide Grammar School.—Mr. A. Martin will Open the above School on Wednesday, January 12, as a Boys' Day School, where a good English education will be taught, including algebra, geometry, and plane trigonometry. An Evening Class will be in attendance three evenings of the week, from 7 to 9. Navigation, &c., also taught. For terms apply to Mr. Martin, at the above school.” [Express & Telegraph 12 Jan 1870]
“Port Adelaide Grammar School. . . was originally conducted by the Rev. F. Garrett, under the auspices of a Committee, was closed about two years ago, but at the commencement of the present year was reopened as a private school by Mr. A. Martin, who has now about 50 pupils. . . The first examination took place on Thursday, December 8. . . The classes were carefully examined by the Principal in English history, geography, Scripture history, grammar, and geometry. . . reading and recitations. . . writing. . . [The Chairman] counselled them to be submissive to their teacher.” [Evening Journal 9 Dec 1870]
“the Council of Education have agreed to purchase the building known as the Port Adelaide Grammar School with the house adjoining for £1,300, for the purposes of a public school for the town.” [Register 13 Apr 1876]
Alberton Primary School
“Owing to the overcrowded condition of the Port Adelaide and Lefevre's Peninsula public schools the Government were compelled a few months ago to provide additional accommodation and money was voted for a building in the Alberton district. . . The contractors for the Alberton school, Messrs. Mattinson & Cleave, are making good progress with their work. The contract time will be up next month, but as the ground had to be raised 3 ft. extra precautions had to be taken with the foundations on account of the treacherous nature of the soil, and difficulty was experienced in obtaining freestone the contractors will exceed their time by a few weeks. The building is of brick with freestone dressings. The inside will be colored and divided into seven classrooms. The roof of the building is now on, and the carpenters are working at the inside fixtures. Part of the ground will be asphalted and the rest will be covered with ashes. The school is situated at Long-street, Queenstown, and when completed will accommodate 500 children.” [Advertiser 23 Jun 1892]
“The Alberton school will be opened for work on Monday next under the charge of Mr. Alfred Hardy, late headmaster of the Terowie school.” [Express & Telegraph 29 Sep 1892]
“Two new schools were authorized to be built, and one at Alberton was opened for the admission of scholars on Monday. The morning was a busy one for the teachers, and the work of getting the children into order occupied the greater part of the forenoon. When the scholars were classified the roll was taken, with the following result:— Infants, 50; 1st Class, 80; 2nd Class, 64; 3rd Class, 40; 4th Class, 42; 5th Class, 27; total, 303. About one-third of this number came from private schools in the district, while the others were drawn from tho Port and Woodville Public Schools.” [Register4 Oct 1892]
“in reference to the new school at Alberton. Evidently the school was needed, and with you I congratulate the headmaster on the favorable commencement. But why call it Alberton School when it is in the township of Queenstown? It seems to me to be misleading. There is the same misnomer in regard to the post-office here.” [Express & Telegraph 6 Oct 1892]
Leslie Schoolroom
Built 1856 on (the now) Port Rd, Queenstown by William Wood Leslie, who ran the school until he retired 1880. Used 1860s by Baptist & Church of England until their own churches built and for various meetings in district.
“the new schoolroom lately erected by Mr. W. W. Leslie, Queenstown.” [Register 26 May 1856]
“The Chief Inspector handed in his report of schools visited. . . Mr. Leslie, Queenstown— Pupils present when inspected, 53; pupils attending school, 60; state of schoolroom, very good; supply of school requisites, good; quality of instruction, good; general discipline, good.” [Register 17 Jun 1857]
“A meeting of the residents of Alberton and Queenstown was held on Thursday evening, at Leslie's schoolroom, Queenstown, to take into consideration the expediency of petitioning Parliament now assembled to erect forthwith a Lock-up, and also to appoint four policemen to protect the properties and persons of the inhabitants in that district.” [Register 8 Aug 1857]
“Northern Star Tent — On Good Friday the Members of this Order will attend Divine Service in the Congregational Chapel, Port. . . a sumptuous repast will be served in Mr. Leslie's School room, Queenstown ; and at a quarter past 7 a Public Meeting will be held.” [Register 1 Apr 1858]
“Alberton and Queenstown School. —The first public examination of this seminary, under the management of Mr. W. W. Leslie, took place on Friday, 24th instant, in the large building erected by Mr. Leslie at his own expense, for this purpose. The school-house situated in Queenstown is large and commodious, the front room measuring 40 feet in length by about 20 feet in breadth, and 11 feet in height. The number of pupils during the last three months has averaged about 70 scholars,” [Advertiser 28 Dec 1858]
“Alberton and Queenstown School, Conducted by Mr. W. W. Leslie. Mr. Leslie begs to inform the inhabitants of Alberton and Queenstown that the duties of his School will be Resumed on Monday, January 3, 1859, when he hopes to see a full attendance of his former pupils,' with such others as may be placed under his care.” [Register 1 Jan 1859]
“Alberton and Queenstown School. The first public examination of this seminary, under the management of Mr. W. W. Leslie, took place on Friday, 24th instant, in the large building erected by Mr. Leslie at his own expense, for this purpose. The school-house situated in Queenstown is large and commodious, the front room measuring 40 feet in length by about 20 feet in breadth, and 11 feet in height. The number of pupils during the last three months has averaged about 70 scholars, and the attendance has been very regular. . . The children were very clean, orderly and attentive, and their progress in the various branches of education was watched throughout the examination with much interest. The classes were examined in scriptural knowledge and history, reading, grammar, etymology, geography, writing, arithmetic, and singing.” [Advertiser 26 Jan 1859]
“Rechabite Festival. . . members assembled at Queenstown, and proceeded to the Wesleyan Chapel. . . then marched in procession to the Port, headed by the band of the Band of Hope. On returning to Queenstown. . . sat down to a dinner provided in Mr. Leslie's schoolroom. A public meeting was afterwards held.” [Register 2 Apr 1861]
“The pupils attending the Alberton and Queenstown Commercial School were publicly examined. . . the attendance has not been so regular as could be desired. . . The school has been open 239 days during the year; 130 pupils have been in attendance, of whom 75 are now on the books. . . prizes were distributed by the Chairman at the conclusion of the proceedings. The pupils then gave three cheers for Mr. Leslie and for his assistant, Miss Nell.” [Register 21 Dec 1861]
“Baptist Chapel near Alberton. . . at present worshipping in Mr. Leslie's schoolroom, Queenstown.” [Register 1 Sep 1863]
“District Council. . . Queenstown and Alberton. . . Clerk, Wm. Wood Leslie, Queenstown.” [Register 26 Mar 1868 advert]
“a meeting was held in Mr. Leslie's schoolroom, Alberton, for the purpose of considering the best means of carrying out a plan for a proposed Church of England in the District of Queenstown and Alberton. . . it was resolved to request the use of the schoolroom for the above purpose, and the Chairman was desired to communicate with the Lord Bishop.” [Advertiser 21 May 1869]
“A pleasing and successful entertainment was given on Monday evening at Queenstown, in Mr. Leslie's schoolroom, by former pupils, who have formed themselves into an Old Scholars' Association. The proceeds were in aid of a prize fund for the school.” [Register 25 Aug 1869]
“A lengthy communication was received from W. W. Leslie. With reference to the discontinuance of Mr. Leslie's licence, he mentioned for the consideration of the Board— That soon after the commencement of his school in 1855, he found it necessary to draft off the younger children into a room built for the purpose at considerable expense to himself. The room had been worn out in the service, and replaced by another room and gallery at a further cost. Without such an auxiliary it was impossible to convey that amount of instruction and learning to the number of children they had that the children are capable of receiving. He had long previous to the proclamation of a District Council in the neighbourhood, and in the absence of any local organization for the promotion of education there expended m the erection of schoolrooms more money than was usually expended by a District Council and the Board jointly. He also gave other reasons for the continuance of the licence. Tho Board wore aware of the satisfactory way in which the school had been conducted, and expressed their regret at having to reduce the number of licences in Queenstown.” [Register 22 Feb 1870]
“Queenstown Commercial School. At the annual examination on December 23 the schoolroom, though spacious and airy, presented a crowded appearance from the number of pupils and the large attendance of parents and friends. . . The examination was conducted by Mr. King in mental arithmetic, geography, astronomy, and the use of the globes; German, by Mr. Burgan; and English, &c, by the Chairman. The result showed that a good system is being wrought out, and that much care is bestowed by Mr. and Mrs. Leslie in training to habits of application and diligence. . . It was also noted that children of parents in reduced circumstances, or of those who had died, had been educated free of charge.” [Register 3 Jan 1871]
“Alberton and Queenstown Building Society.— The first half-yearly meeting of this Building Society was recently held at Mr. Leslie's Schoolroom, Queenstown.” [Adelaide Observer 16 Sep 1876]
“Pupil Teachers.— Wanted at the Queenstown Public School (within ten minutes' walk from Alberton Railway Station), two Pupil Teachers holding certificates under the Council of Education. Duties to commence on 15th inst. W. W. Leslie, Queenstown,” [Express & Telegraph 8 Jan 1877 advert]
“Another instance of the good feeling existing between teachers and scholars was exhibited at the Queenstown Public School on Friday, December 21. It being the eve of the breaking up for the holidays, Messrs. Cooper and Edwards, pupil teachers, on behalf of themselves and the scholars, presented Mr. W. W. Leslie, the master, with a handsomely ornamented cigar and cigarette stand, and at the same time wished him the compliments of the season.” [Express & Telegraph 26 Dec 1877]
“Queenstown Public School.— Evening School will Re-open on Tuesday, 14th May, at 7 o'clock. W. W. Leslie.” [Register 13 May 1878 advert]
“Mr. Leslie terminated his work as a public school teacher on the 3rd.September, 1880, after laboring in that vocation since 3rd September, 1855.” [Port Adelaide News 11 Sep 1880]
“Mr. W. W. Leslie intimates that his school will be re-opened on Monday, January 16.” [Port Adelaide News 13 Jan 1882]
“Mr. W. W. Leslie applied for an auctioneers licence. Granted.” [Register 8 Jul 1882]
“The Queenstown and Alberton District Council have recently been directing their attention to the question of the necessity of re-opening the school formerly kept by Mr. Leslie, and closed four or five years ago. The Council are unanimously of opinion that necessity exists for re-opening the school, as the distance to the Woodville and Port Adelaide schools is too great for children residing in newly-formed intermediate townships in the summer, and the roads utterly unfit for young children to walk over in the winter. . . a report from the Inspector General of Schools, to the effect that there is ample accommodation for additional children at the Port Adelaide School. Under these circumstances the Council's request cannot be acceded to.” [Port Adelaide News 8 Jun 1883]
“A meeting of ratepayers of the district of Queenstown and Alberton, convened by requisition, was held in Mr. W. W. Leslie's schoolroom, at Queenstown, on Thursday evening, for the purpose of considering the advisability of annexing the district with the Corporation of Port Adelaide.” [Advertiser 13 Aug 1886]
“The Queenstown and Alberton District Council have recently been directing their attention to the question of the necessity of re-opening the school formerly kept by Mr. Leslie, and closed four or five years ago.” [Port Adelaide News 8 Jun 1883]
“In May 26, 1856 Mr. W. W. Leslie erected a schoolroom in Queenistown. He was the only schoolmaster my brother and I had. For about 25 years he continued his work. The building still stands.” [News 22 Feb 1929]
“A meeting of old scholars of Mr. W. W. Leslie will be held at the Commercial Hotel, Port Adelaide, this evening, to consider what steps should be taken to recognise Mr. Leslie's long and faithful service in the cause of education in the Port Adelaide district. Mr. Leslie recently celebrated the 90th anniversary of his birthday and a number of leading citizens of the seaport, who owe their present positions in life in a large measure to the instruction imparted by him are expected to attend the meeting.” [Advertiser 29 May 1914]
“A social to Mr. W. W. Leslie, one of Port Adelaide's earliest educationists, and Mrs. Leslie was tendered at the Foresters' Hall, Port Adelaide, on Wednesday evening by their old scholars. There was an attendance of over 200 ladies and gentlemen. . . As a teacher he had won the respect of all with whom he had, been associated. . . Mr. W. Copley handed to Mr. Leslie a purse of sovereigns, subscribed by old scholars and sympathisers.” [Advertiser 6 Aug 1914]
WILLIAM WOOD LESLIE
“LESLIE—NELL.— [Married] On the 27th June, at St. Paul's Church, Port Adelaide, by the Rev. C. Marryat, Mr. W. W. Leslie, of Queenstown, to Miss Emma Nell, of Lefevre's Peninsula.” [Register29 Jun 1863]
“LESLIE.— [Died] On the 18th September, at his residence, High street, Queenstown, William Wood Leslie (late schoolmaster), beloved husband of Emma Leslie, aged 91 years.” [Register 20 Sep 1915]
“Mr. William Wood Leslie, an old and highly-respected resident of Port Adelaide. . . For 38 years he conducted a school at Alberton, and. several wellknown Portonians owe their earlier education to his teaching. . . When he relinquished teaching he began business in a general store which, he managed in connection with the Alberton post office. He was born in the Isle of Sanday (one of the Orkney Isles) and had resided in this State 63 years. His widow, five sons, and two daughters survive him.” [Port Adelaide News 24 Sep 1915]
“William Wood Leslie, of Queenstown. . . was a sound Scotsman, who had the gift of imparting what he knew, and of making tbe matter interesting to the boys and girls, the latter being taught by Miss Nell, her surname, who became Mrs. W. W. Leslie.” [Observer 29 Mar 1924]
“LESLIE (nee Emma Nell). — [Died] On the 12th August, the wife of late W. W. Leslie, High street, Queenstown, and loving mother of Mrs. W.E. Gordon, Aldgate, and Mrs. T. Aveling, Main Ridge, Redfield, Victoria, aged 85 years.” [Register 26 Aug 1926]
Título: Relieve blanco
Técnica: Técnica mixta sobre madera
Medidas: 50 x 40 cm. (marco recortado)
Año: 2010
Colección privada, New York
Visita micamara.es/alemania/ para conocer más sobre ALEMANIA.
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Built in 1912-1913, this Arts and Crafts-style hotel was designed by Fred Loring Seeley for Edwin Wiley Grove, and is known as the Grove Park Inn. Edwin Wiley Grove, whom had made his fortune selling Grove's Chill Tonic, used to help relieve symptoms brought on by malaria that was then endemic to the southern and midwestern United States, manufactured by his company, the Paris Medicine Company, which originated in Paris, Tennessee, before moving its operations to the larger city of St. Louis, Missouri. Grove had a summer house in Asheville, built circa 1897, prior to the construction of the inn, with Fred Loring Seeley, his son-in-law and business partner, having spent extensive time in the area with Grove and his wife, Evelyn Grove Seeley. The land upon which the hotel and nearby Kimberly Avenue neighborhood was later built was purchased by Grove in 1910, acquiring land all the way to the top of Sunset Mountain, as well as several tuberculosis sanatariums that Grove closed and demolished in order to change the reputation of Asheville’s health-focused resorts. Part of the land, atop Sunset Mountain, later became home to Seeley’s Castle, a large, Tudor Revival-style castle-like mansion built similarly of rough stone, and also designed by Seeley, but featuring more medieval appearance. The hotel went through several designs by various professional architects before Grove settled upon a design by Fred Loring Seeley, which featured a simple facade clad in rough granite stones, with a shingled cotswold cottage-style roof with dormers and curved edges, casement windows, and an all-concrete interior structure. The interior of the building was outfitted with Arts and Crafts furnishings and finishes designed and built by Roycrofters, a firm based in East Aurora, New York, and was opened in a ceremony with William Jennings Bryan as the keynote speaker. The hotel featured a large dining room in the northwest wing, with a tile floor and simple plaster walls, which sat next to the hotel’s original service wing, which housed the kitchen, laundry, and other service areas, a large Great Hall, serving as a lobby and lounge, in the center wing, with stone columns and massive stone fireplaces, a plaster ceiling, and a tile floor, and guest rooms on the upper floors, with a large atrium, known as the Palm Court, directly above the Great Hall, and four stories in height, crowned with a large skylight. The hotel was marketed as a health-conscious retreat for wealthy visitors. The hotel has hosted former United States Presidents William Howard Taft, Woodrow Wilson, Calvin Coolidge, Herbert Hoover, Franklin D. Roosevelt, Dwight D. Eisenhower, Richard M. Nixon, George H. W. Bush, Bill Clinton, George W. Bush, and Barack Obama in its over century-long history. The hotel was utilized during World War II to house diplomats from the Axis Powers, and later by the US Navy as a rest and rehabilitation center for returning sailors, and in 1944-45, as a US Army Redistribution Station, where soldiers rested before being assigned duties in other parts of the army. Following World War II, contingency plans in the event of a nuclear attack on the United States involved moving the US Supreme Court to the Hotel, as Asheville sat far inland in the midst of the Blue Ridge Mountains, a far more defensible location than many major cities, and had very little strategic value compared to most cities of its size. In 1955, the hotel was purchased by Sammons Enterprises, owned by Charles Sammons, and underwent a modernization, seeing the stone columns in the lobby stripped and clad in aqua-colored vinyl wallpaper, the addition of a pool to the southeast terrace, a large two-story concrete motel structure that sat southeast of the hotel along the hillside, and later, the addition of a wing to the southwest, which appears to have only lasted about a decade and a half before being demolished. In 1976, the Sammons family purchased the adjacent Asheville Country Club and Golf Course, before embarking on a major renovation and expansion of the hotel between 1982 and 1988, with the addition of the massive Vanderbilt Wing and Sammons Wing on the south facade of the building, obscuring the original service wing, northwest wing, and heavily altering the hotel’s appearance with their white EIFS-clad facades, postmodern rooflines based on the original hotel, bands of horizontal and vertical black-tinted glass curtain walls, and minimal usage of rough stone. The Sammons Wing contains conference spaces, a parking garage, and service areas for the hotel, with guest rooms along the southern and western edges of the building, with the Vanderbilt Wing containing hotel rooms along the southern and eastern edges of the building, wrapping around a central parking garage, and also containing a large multi-story atrium and restaurants. The original wing of the hotel was restored as part of this project, with the columns in the lobby being clad in oak surrounds, the stonework and roof being repaired, the palm court being brought back to its original appearance, and furnishings from the period of significance for the hotel being re-introduced to the interior. Around the turn of the millennium, the grounds in front of the historic inn and between the two modern wings was re-landscaped with waterfalls, terraces, and gardens, with a new Spa building being constructed below the hotel, partially underground, between the two wings, with the two previous swimming pools on the hotel grounds being closed at this time. In 2012, the hotel was purchased by KSL Resorts for $120 million, whom subsequently sold it to Omni Hotels in 2013, with the hotel being rebranded as The Omni Grove Park Inn. The hotel was listed on the National Register of Historic Places in 1973, though this would not have been possible following the massive alterations the building underwent in the 1980s, as the renovations have significantly and irreversibly altered the historic hotel, and have removed several character-defining features, though this is understandable in that it was done to keep the hotel economically viable in the modern age of larger resorts and economies of scale, which made the hotel in its previous form no longer economically viable.
OMTimes Magazine & SACREDspace Yoga :
Pose of the Month March 2011
An inversion pose such as the downward facing dog causes a temporary increase in blood circulation to the head. This increased blood flow triggers the body's calming mechanism, which slows the heart rate and respiration. Initiate the downward dog by balancing with your hands and knees on the ground. Your knees should be directly underneath your hips, while your hands should sit just in front of your shoulders. On an inhale, straighten your legs and lift your sit bones toward the ceiling. Allow your entire body to stretch away from the ground; your body should look like a triangle. Hold the pose for one to three minutes.
The Practice
The preparatory position is with the hands and knees on the floor, hands under the shoulders, fingers spread wide, knees under the hips and typically about seven inches (17 cm) apart, with the spine straightened and relaxed.
On a deep exhale, the hips are pushed toward the ceiling, the body forming an inverted V-shape, with an arch in the back. The legs and arms are straight, the elbows engaged, the shoulders wide and relaxed. The heels move toward the floor. The hands and feet remain hip-width apart. If the hamstrings are very strong or tight, the knees are bent to allow the spine to lengthen fully.
Stress on the wrists is reduced by pressing down with the fingers and borders of the palms, and pushing the hips up and backwards. The head drops slightly. The heart moves toward the back.
The hips move up and back. Focus is on the breath while holding the posture, with deep, steady inhalation and exhalation creating a flow of energy through the body. On an exhale, the practitioner releases onto the hands and knees and rests.
BKS Iyengar asserts that this posture stretches the shoulders, legs, spine and whole body; builds strength throughout the body, particularly the arms, legs, and feet; relieves fatigue and rejuvenates the body; improves the immune system, digestion and blood flow to the sinuses, and calms the mind and lifts the spirits.
This posture is not recommended if the wrists are sensitive or injured. A modified posture may be appropriate, such as placing the hands against a wall rather than the floor.