ROCHESTER HIGH STREET TQ 7468 NW 7/56 No 44 24.10.50 GV II House with shop (not used as a dwelling at time of re-survey, 1988). Substantially late C16, re-modelled in the late C17 with C19 and C20 alterations. Timber framed with weatherboarding and brick cladding, and rubble plinth to side elevation. Kent tile gable end roof. Lateral brick stack. 2 unit end jetty plan, sub-divided into 3 units when present stairs inserted in late C17. 2 storeys and attic. 2 window range standing end-on to High Street. Front, weatherboarded throughout, deep 1st floor jetty. All windows with moulded wooden cornices and surrounds; hornless sashes (6 panes to single attic window, 12 panes elsewhere). Late C19 shop window, curved to corner with Two Posts Alley. Slender vertical glazing posts, contemporary door with modern glazing. Tiled floor to entrance. Left-hand return weatherboarded. Right hand return with brick and plaster infill; small 2-light casement window to 2nd floor, 12-pane hornless sash to 1st; windows blocked to ground floor. Side wall continues as rubble plinth and contains a C16 doorway, possibly not in situ, square-headed with cyma-recta moulded surround and chalice stops. (Note: the roof above this side is sprocketted, and the jettying towards Two Posts Alley represents a later alteration and is not part of the original plan; part of the rear extension may have been removed). Rear with 2-light attic casement window and 12- pane hornless sash to 1st and ground floor; weatherboarded throughout. Interior: little visible at ground floor level. Framing intact to 1st and 2nd floors. Principal intersecting ceiling beams (chamfered and stopped) divide the building into 2 rooms to each floor; later partitions introduced when lateral stair inserted; framed newel stair with turned balusters and ball finials (many missing) on square-section newels; side purlin roof with wind braces. Some later furnishings survive: late C18 fireplace with panelled frieze, dentilled cornice and moulded surround; moulded corner cupboard; some plank doors with spur hinges.

Timex has exceeded all of my expectations with this contemporary release! This is one of the highest quality pieces in this price range and a little above. 42mm stainless steel case with circular brushing on top of the lugs and a polished stepped bezel. Crisp chamfered edge next to horizontal brushing on the side of the case and a signed crown. The panda dial is light grey with quality print, indiglo and a black seconds sub dail is above the 6. Supple 20mm black leather strap with grey stitching and a signed buckle. No traditional loud ticking quartz movement here. $54 well spent.

Parish church. C12, C13, C14, C15; west porch, c.1461, (BOE). Restored by A Blomfield, 1870. South-west porch-tower, nave (originally aisle-less), north and south aisles, (under single nave roof), west porch, chancel and south vestry off chancel. Full-scale tower with west porch. Early C14 style west window. Early C14 south windows C15 north windows between deep buttresses. Two encircled quatrefoils in east gable of nave. C13 chancel with two north lancets with early C14 window to west. C15 east window, probably restored.

INTERIOR: C14 tower arch containing reset doors from C15 roodscreen. Four-bay arcades, round piers with double-hollow-chamfered pointed arches, probably early C14, (BOE). C14 chancel arch. Roll string-moulding round chancel, rising over sedilia and cut by C14 window. Triple sedilia under arch with free-standing cusps. Fittings: wall painting: early C14 crucifixion on a south pier. Monument: 1682, Martha Manley, scrollwork cartouche.

220727_193651_oly-PEN-f_England-Wales

Engineering Building

University of Leicester

University Road

Leicester

Leicestershire

United Kingdom

The Manhattan Savings Institution (right side) was first chartered in 1850 and the bank survived under that name for a surprisingly long time,until 1942.Then it became the Manhattan Savings Bank after some mergers,and after a few more it’s now part of the HSBC world bank conglomerate:it was founded as the Hong Kong and Shanghai Banking Corporation but is now based in London.UK.

In 1891 the bank’s new,Queen Anne-style sandstone palace, designed by architect Stephen Decatur Hatch,at 644 Broadway at Bleecker was completed.As with most Queen Annes.it’s visually interesting with bay windows,large arches on the ground floor and smaller ones on the top floors,a chamfered (slanted) entrance diagonally facing the corner,and a copper-topped corner tower. Hatch added some American-themed touches such as a Native-American looking visage peering above the front entrance.

As the area became industrial the entire building sunk into disrepair even after it was converted to residences in the 1980s,but in 1999 and 2000 the entire building was restored to original glory.

By renowned practice Peddie and Kinnear, Architects, 1859-61. 3-storey and attic Baronial tenements with shops to ground floor. Lightly stugged squared and snecked sandstone with polished dressings; continuous cornice to ground floor.

No.41-45: Conical-roofed circular tourelle to Anchor Close. Stepped moulded string course beneath 2nd floor windows. Roll-moulded basket-arched openings to ground floor; stop-chamfered depressed-arched windows to 1st floor. Finialled gable to attic at centre with 2 small wallhead stacks, flanked by 2 finialled timber dormers.

No.47-51: Corbelled-out bowed oriels to 1st and 2nd floors in outer bays, corbelled to square ogee-roofed caphouses with weathervanes. Machicolated corbel course to eaves. Roll-moulded segmental-arched openings to ground floor. 5 finialled, gabled segmental-arched dormer windows to attic.

No.53-57: Central crowstepped gable with tall fluted apex stack. Stepped string course beneath 2nd floor windows; rhones supported by metal brackets and carved owl and gryphon. Swept pyramidal-roofed 2-light dormers to attic.

No.59-63: Cantilevered gabled hood to 2-leaf timber door at No 59 (former hotel entrance). Stone-mullioned bipartite windows and date plaque (1864) to 1st floor; basket-arched windows to 2nd and attic floors. Fluted wallhead stack between asymmetrical crowstepped gable to left and conical roof with pedimented dormers and weathervane to right. Formerly the Star Hotel.

Cockburn Street was built by the High Street and Railway Station Access Company to provide access to Waverley Station from the High Street. Stylistically, the intention was 'to preserve as far as possible the architectural style and antique character of the locality.' Peddie and Kinnear's Cockburn Street designs are an innovative application (much imitated later) of the Scots Baronial style, previously used and perfected by David Bryce in country houses, to the urban situation, with shops and tenements enlivened by crowstepped gables, corbelling and turrets. This comes as little surprise as Charles Kinnear was apprentice to Bryce.

Teatro Arriaga, Bilbao, Vizcaya, País Vasco, España.

El Teatro Arriaga es un teatro de Bilbao, capital de Vizcaya, en el País Vasco (España). Es un edificio neobarroco de finales del siglo XIX, obra del arquitecto Joaquín de Rucoba y dedicado al compositor bilbaíno Juan Crisóstomo de Arriaga, a quien se le ha denominado el "Mozart español". Fue inaugurado el 31 de mayo de 1890.

Es uno de los principales teatros bilbaínos y también de los edificios más notables de la villa. Ha sufrido diferentes avatares que han obligado a su reconstrucción y reforma, desde el incendio de 1914 hasta las inundaciones de 1983.

Se trata de una construcción exenta de planta trapezoidal que presenta alzados con cuerpo basamental almohadillado, cuerpo principal de orden gigante con vanos rectangulares y óculos profusamente decorados, y tercer cuerpo de remate separado del anterior por cornisa corrida.

La parte central de la fachada principal es de forma curvo-convexa, con balcón corrido sobre ménsulas profusamente decoradas, y cuerpo de remate con abundante decoración escultórica, ubicándose en su centro el gran frontón curvo decorado con lira bajo el que se encuentra el reloj. Esta parte central está flanqueada por cuerpos a modo de torrecillas y otros dos cuerpos laterales achaflanados y de menor altura. En estos últimos, así como en fachadas laterales y traseras, los balcones del piso principal se sustentan sobre ménsulas en forma de atlantes o titanes. Se cuenta que estas esculturas se importaron de Francia, donde se producían en serie con el uso de moldes. Son de hormigón imitando piedra.

La cubierta de la parte central es a doble vertiente tanto en su parte delantera en la que se remata por pequeño cimborrio como en cuerpo rectangular de mitad zaguera del edificio. Presenta cúpulas en torrecillas laterales y cubrición inclinada con mansardas en todo el perímetro del edificio.

Hay un palco para autoridades con decoración inspirada en el Orient Express que se abre en ocasiones especiales. También hay dos palcos en el escenario con entrada independiente y sin decoración alguna que se construyeron destinados a las viudas que en aquella época exigían discreción.

The Arriaga Theater is a theater in Bilbao, capital of Vizcaya, in the Basque Country (Spain). It is a neo-baroque building from the late 19th century, the work of architect Joaquín de Rucoba and dedicated to the Bilbao composer Juan Crisóstomo de Arriaga, who has been called the "Spanish Mozart". It was inaugurated on May 31, 1890.

It is one of the main theaters in Bilbao and also one of the most notable buildings in the town. It has suffered different vicissitudes that have forced its reconstruction and reform, from the fire of 1914 to the floods of 1983.

It is a free-standing construction with a trapezoidal plan that presents elevations with a padded basement body, a main body of a giant order with rectangular openings and profusely decorated oculi, and a third finishing body separated from the previous one by a continuous cornice.

The central part of the main façade is curved-convex in shape, with a continuous balcony on profusely decorated corbels, and a finishing body with abundant sculptural decoration, with the large curved pediment decorated with a lyre located in its center, under which the clock is located. This central part is flanked by turret-like bodies and two other chamfered lateral bodies of lesser height. In the latter, as well as in the side and rear facades, the balconies of the main floor are supported on corbels in the shape of atlantes or titans. It is said that these sculptures were imported from France, where they were mass produced with the use of molds. They are made of concrete imitating stone.

The roof of the central part has a double slope, both in its front part, where it is topped by a small dome, and in the rectangular body of the rear half of the building. It has domes in side turrets and a sloping roof with mansards around the entire perimeter of the building.

There is a box for authorities with decoration inspired by the Orient Express that opens on special occasions. There are also two boxes on the stage with independent entrances and without any decoration that were built for widows who at that time required discretion.

The Barbican to Lewes Castle and the wall to the south has a Grade I Building listing. Situated in the South Downs National Park within the Sussex town of Lewes.

Early C14 for John de Warenne, 8th Earl of Surrey. Flint with stone dressings and quoins, with chequer stone and flint work in lower parts of turrets. Central arch with corner turrets corbelled out on moulded stone squinches roughly at impost level of the southern arch. mbattled parapets with machicolations to the south on triple-stepped rounded corbels. Almost central window with cusped ogee-arched head and leaded glazing hard up under machicolations on south side. Various cross-loops in lowest parts of side-turrets and single cross-loops adjacent in main body of gate flanking the archway. Central pointed arched gateway with double-chamfered southern outer arch. (Historic England)

To view more images of Lower Slaughter, please click "here" !

In the early 16th century a chantry of St. Mary, whose date of foundation is unknown, provided in theory for an additional priest, though the stipend was evidently not sufficient to keep the priest in the parish. In 1933 the £150 realized by the sale of the schoolroom was invested in trust for ecclesiastical purposes. The Church of ST. MARY, a building of stone with a Cotswold stone roof, comprising chancel, nave, north aisle, organ chamber, and vestry, and a western tower with spire, was almost completely rebuilt in 1867 by the lord of the manor, Charles Shapland Whitmore, in the Early English and Decorated styles. It contains, however, an early 13th-century arcade of four bays and a piscina of the same period. The arches of the arcade are of two chamfered orders supported on plain round columns with octagonal scalloped cushion capitals; the easternmost bay may be a 19th-century copy. The piscina has a semi-octagonal projecting basin, scalloped inside. The arcade suggests that the rebuilding was roughly to the plan of the earlier church, and c. 1700 the church had a north aisle and a western tower with a saddleback roof. By 1851 there was a gallery. The church contains monuments, from the late 17th century, to members of the Whitmore family buried in the north aisle. Of the six bells, one is thought to be by Robert Hendley of Gloucester , two are by Edward Neale of Burford, 1683, and three were made in 1866. The plate includes a chalice and paten cover of 1576. Baptisms, marriages, and burials at Lower Slaughter were entered in the registers of Bourton-on-the-Water until 1813.

Lower Slaughter is a village in the English county of Gloucestershire, located in the Cotswold district, 4 miles (6.4 km) south west of the town of Stow-on-the-Wold. The village is built on both banks of the River Eye, which also flows through Upper Slaughter. At the west end of the village there is a 19th-century water mill with an undershot waterwheel and a chimney for additional steam power. There is a ford where the river widens in the village and several small stone footbridges join the two sides of the community. While the mill is built of red brick most of the 16th and 17th century homes in the village use Cotswold sandstone and are adorned with mullioned windows and often with other embellishments such as projecting gables. Records exist showing that Lower Slaughter has been inhabited for over 1000 years. The Domesday Book entry has the village name as “Sclostre”. It further notes that in 1066 and 1086 that the manor was in the sheriff's hands. Lower Slaughter Manor, a Grade-II listed 17th-century house, was granted to Sir George Whitmore in 1611 and remained in his family until 1964. The 13th century Anglican parish church is dedicated to St. Mary the Virgin. Much of the current structure was built in 1866; however, the spire and peal of six bells was recently restored. In May 2013 it was reported in the national news that the Parish Council were fiercely opposed to the presence of an icebox tricycle selling ice creams for seven days a week, six months of the year, citing that the trading times were excessive, increased footfall would prevent the grass from growing and that children could climb on the trike and fall into the nearby river.

From Wikipedia, the free encyclopedia

The Slaughters Country Inn is privately owned and offers a relaxed ambience, a style that is sympathetically balanced between the original features of a 17th Century building and contemporary design. The blend of old and new creates the perfect retreat in a beautiful country location

For the Crazy Tuesday topic "Within a 5 Minutes Walk"

but removed from the group pool as there is a cross on a tombstone ....

The Kirkton of Auchterless is a tiny village in Aberdeenshire, which was built round the church or kirk. So the kirk itself, and the kirkyard that surrounds it is the most interesting place within a 5 minute walk from my home.

The Kirkyard contains the ruins of an older parish church: "Ruined St Drostan's Church retains a birdcage bellcote, a chamfered arch window and bell dated 1644" (Wiki)

The shot I took here is looking through the remaining wall of the old kirk. It takes you back a little way, though the human history of the Auchterless area (much larger than the village) dates back to prehistoric times, with prehistoric remains including stone circles, and the remains of earthen huts. We are just the latest people to walk here!

Crazy Tuesday: Here

Zeiss 50mm Makro lens: Here

Local places of interest: Here

Built in 1924, this Gothic Revival-style Amherst sandstone church was constructed to house the congregation of the Old Stone United Methodist Church, but now houses the non-denominational congregation of the Old Stone Evangelical Church. The three-story building features a stripped-down form of the Gothic Revival style, with a decorative tower featuring large recessed gothic arched openings with two-over-six windows and decorative metal spandrel panels below louvers, a curved rear facade with stepped buttresses, triple windows, recessed stone spandrels, flanked by external stair towers with chamfered corners at either end, a front facade with three gothic arched stained glass windows, a one-story front wing with a large double front door and arched bays, stone buttresses, a two-story side wing with a front stone staircase, and a rear one-story building added in the mid-20th Century that houses additional space for the church. The church housed a methodist congregation until a few decades ago, when the congregation merged with the nearby Amherst United Methodist Church, with the building now housing the nondenominational Old Stone Evangelical Church.

Sitting on a knoll just above the valley floor in the heart of Coombes Valley is an abandoned 17th Century stone cottage - Clough Meadow Cottage. From this view point (down by the stagnant pool below) it's barely visible as it sits in tree cover, all overgrown; but on this day the early morning mist and piercing sun rays illuminated it in a strange way - a little ghostly to me as it seems to have a face formed from the blurry upper windows and the central door below!

and I really liked the way the rays fanned out in a circular shape - a little 'UFO visits earth' in this respect.

The cottage has a fascinating history and architecture too, for a number of years (in the 1950s and 60s I think? - correct me if I'm wrong) it was occupied by a game keeper and wildlife enthusiast who lived out a lonely existence collecting and recording important wildlife information about the area.

It's also a Grade II listed building, with stone chamfered mullioned windows, verge parapets and rounded copings. A close inspection is a little less romantic because of modern appendages and it's abandoned state but, nevertheless, there is a real air of mystery and legend about the place - especially in this unique light.

Have a fab Sunday y'all!

Herstmonceux Castle, East Sussex

Grade l listed.

List Entry Number: 1272785

Listing NGR: TQ6463810388

Details

This list entry was subject to a Minor Amendment on 24/04/2020

TQ 61SW 13/406

HERSTMONCEUX HERSTMONCEUX PARK Herstmonceux Castle, with attached bridges to north and south and causeway with moat retaining walls to west.

GV I Castle/country house. c1441 (when licence to crenellate was granted) for Sir Roger Fiennes; further embellished mid C16 for Baroness and Lord Dacre; altered mid-late C17 for Lord Dacre; part demolished 1776-1777 for Robert Hare; restored and rebuilt early C20, mostly 1911-1912, for Lieutenant Colonel Claude Lowther and 1930s for Sir Paul Latham.

Red brick in English bond with some blue header diaper work; stone dressings; plain tile roofs. Square on plan with inner courtyard, this originally divided into four courts and containing Great Hall, but these and the internal walls of the castle demolished C18; south range and south ends of east and west ranges restored by Lowther, the remainder restored by Latham. Two storeys with attic and basement in parts; five x four wide bays with tapering polygonal towers at corners and between bays, taller at angles and centre. Built and restored in C15 style: exterior has one-light or two-light windows, some transomed; courtyard has more wider windows and some with cusped or round-headed lights; four-centred-arched or segmental-arched moulded or chamfered doorways with C20 studded board doors; tall plinth with moulded offset; moulded string below embattled parapet with roll moulded coping; rainwater pipes with decorative initialled heads; stacks with ribbed and corniced clustered flues; steeply-pitched roofs with roll-moulded coping, some with hipped ends.

South (entrance) elevation: three-storey central gate tower has tall recess containing wide, panelled door, window of two cusped, transomed lights above, and grooves for former drawbridge arms; on second floor two transomed windows of two round-headed lights flank coat of arms of Sir Roger Fiennes; flanking towers have gun ports at base, looped arrow slits, machicolated parapets with arrow slits to merlons, and towers rising above as drums. Projecting from gate tower is long bridge (mostly C20) of eight arches, that to centre wider and shallower, with cutwaters, stone parapet, and central corbelled embrasure with flanking tower buttresses.

North side: central gate towers formerly had rooms on lower floors, of which truncated walls and first-floor fireplace fragment remain; machicolated parapet; at left end of range C17 window openings with later eighteen-pane sashes. West side: attached causeway containing basement room and with three half-arched bridge on south side, walling returning as moat retaining walls; main range has a basement doorway with side-lights in chamfered embrasure.

East side: the second tower has C16 first-floor bow window; tall windows to central tower (which contains chapel); right half of range has older windows blocked and larger C17 replacement openings with later eighteen-pane sashes.

Courtyard: seven-bay arcade to north side and central corbelled stack with clock; three-bay 1930s Great Hall (now library) on west side with decorative tracery to windows and offset buttress; gable of former chapel on east side, has perpendicular tracery to window, a two-storey bay window and two crow-stepped gabled attic windows to its left; several doorways and a two-storey bay window to south side; hipped-roofed dormers; brick-lined well in south-west corner.

Interior: some original features survive, including fireplaces, privies, doorways, dungeon and brick-lined dovecote in south-east tower; other old features were brought in from elsewhere, including doors, fireplaces, panelling. In south range: porter's room has old fireplace and relocated linenfold door (found in cellar); reused traceried wood panelling in rebuilt dining room fireplace; stair hall has fine early C17 wooden stair (brought from Theobalds, Herts) with strapwork roundels between square vase balusters, elaborate relief decoration, and lion finials holding shields; at head of stair; elaborate doorcase of same period ribbed ceiling with pendant finials. Drummers Room has reused panelling, part dated 1697, with fluted pilasters and frieze and elaborately arcaded and fluted-pilastered overmantel. Green Room, on second floor, has restored fireplace with crests and beasts on hood; moulded beams and bosses; and reused traceried panel below courtyard window.

North range: very fine late C17 stair (brought from Wheatley Hall, Doncaster; possibly from the workshop of Grinling Gibbons) with baskets-of-flowers and pendant finials to newels, balustrades of open, leafy, scrollwork with flower roundels, and at head of stair two elaborately carved doorcases in similar style with shields in broken pediments. Former ball room has arched ceiling with decorative plasterwork; C17-style panelling; reused elaborately-decorated C17 wooden fireplace overmantel (from Madingley Hall, Cambs.) with two orders of caryatids and embossed panels.

East range: former chapel has reused C15 wooden screen (from France) set in west wall; former Drawing room has elaborate stone fireplace, 1930s in C16 style, and in ante room a reused richly decorated fireplace with griffins and portrait roundels. The C15 castle was well restored in the early C20 and the many fine features which were brought in at that time add to its importance.

Listing NGR: TQ6463810388

Sources

Books and journals

Calvert, D , The History of Herstmonceux Castle

Pevsner, N, Nairn, I, The Buildings of England: Sussex, (1965), 534-6

'Country Life' in 18 May, (1929), 702-709

'Country Life' in 7 December, (1935), 606-612

'Country Life' in 14 December, (1935)

Other

Register of Parks and Gardens of Special Historic Interest in England, Part 14 East Sussex,

historicengland.org.uk/listing/the-list/list-entry/1272785

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Before 1066 Herst (meaning forest or wood) was the name of a prominent local Anglo-Saxon family and ownership of the family's estate passed into the hands of the victorious Normans. In 1131 the manor and estates were transferred to Drogo de Monceux, a great grandson of William the Conqueror . Drogo's son Ingleram married Idonea de Herst, thus founding the Herstmonceux line.

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Herstmonceux Castle Gardens and Grounds is a 300 acre estate including woodland, formal themed gardens and of course a 15th century moated castle.

Made from red brick Herstmonceux Castle is one of the earliest examples of a brick built building in England.

Read more about the history here:-

www.herstmonceux-castle.com/history/

historicengland.org.uk/listing/the-list/list-entry/1000231

Built in the early 20th Century, this Beaux Arts-style building was constructed to house the Bank of Dayton, which has since folded or has been absorbed by a larger banking company. The building features a red brick facade with cream brick trim, first floor, and accents, stone trim, a chamfered corner, herringbone brick panels on the first floor pilasters, fluted doric pilasters on the 6th Avenue facade, balconies in the center bays of the second and third floors with decorative railings and brackets, one-over-one double-hung windows, a cornice with dentils at the first floor, a bracketed cornice at the base of the parapet, cream brick pilasters at the corners, cream soldier brick headers at the second and third floor window openings, red brick accent panels on the first floor, a one-story side wing, and entrances at the corner and in the center bay of the McKinney Avenue facade. The building comprises part of the 6th Avenue business district, which stretches from Clay Street to the east to the border with Bellevue to the west.

The Clifton Suspension Bridge in Bristol.

Although similar in size the bridge towers are not identical in design, the Clifton tower having side cut-outs whilst the Leigh tower has more pointed arches and chamfered edges. Brunel's original plan proposed they be topped with then-fashionable sphinxes, but the ornaments were never constructed.

The 85-foot-tall (26 m) Leigh Woods tower stands atop a 110-foot (34 m) red sandstone-clad abutment. In 2002 it was discovered that this was not a solid structure but contained 12 vaulted chambers up to 35 feet (11 m) high, linked by shafts and tunnels.

Roller-mounted "saddles" at the top of each tower allow movement of the chains when loads pass over the bridge. Though their total travel is minuscule, their ability to absorb forces created by chain deflection prevents damage to both tower and chain.

The bridge has three independent wrought iron chains per side, from which the bridge deck is suspended by eighty-one matching vertical wrought-iron rods ranging from 65 feet (20 m) at the ends to 3 feet (0.91 m) in the centre. Composed of numerous parallel rows of eyebars connected by bolts, the chains are anchored in tunnels in the rocks 60 feet (18 m) below ground level at the sides of the gorge. The deck was originally laid with wooden planking, later covered with asphalt, which was renewed in 2009. The weight of the bridge, including chains, rods, girders and deck is approximately 1,500 tons.

Small chapel in Gothic style with gable end entrance and 3-window side walls. Constructed of narrow coursed stone under a slate roof, with sandstone dressings and a plinth. At the 4 angles are diagonal buttresses with offsets surmounted by tall pinnacles. Tall pointed arched windows with Y-tracery, 2 transoms and hoodmoulds with head or foliate bosses. The doorway to the S gable end is chamfered with a pointed-arched head and contains C20 double planked doors. It is flanked by tall pointed arched windows. Above the doorway is a rectangular stone tablet reading 'Independent Chapel Castellau, Built AD 1843, Rebuilt AD 1877'. Above the tablet and lighting the gallery is a replaced 3-light window under a round head with wooden tracery including a transom. Head bosses survive to each side of the arch, probably relating to the earlier stepped window. In the gable apex is a keyed oculus, the opening boarded over. String course following line of verges which continues around pinnacles.

The tower at Fountains Abbey has a stone pyramidal roof with a 3-dimensional cross on top

The tower has a round-arched doorway on the south face

The tower has a first-floor band with a relief carving that says "SOL DEO HONOR MH ET GLORIA"

The tower has a hollow-chamfered, round-arched window above the first-floor band

During 1991 an experimental service was in operation using road trailers in specially built wagons, it was known as the Tiphook piggy-back train and it delivered pet food from Pedigree in Melton Mowbray. The trailers had a distinctive profile with chamfered corners to suit the loading gauge. The old goods yard was cleared and given a smooth surface to allow the trailers to be loaded by a tractor which shunted the trailers into a pivoted well which was then swung into line with the train. In this picture 20079 has the train split and is seen here pushing the remaining vehicles to join with the other half on the head shunt.

20072 was built by Robert Stephenson & Hawthorn Ltd, it entered service at Eastfield Depot as D8072 (10/07/1961) The locomotive was withdrawn 01/1992

Copyright Geoff Dowling 23/07/1991: All rights reserved

Small chapel in Gothic style with gable end entrance and 3-window side walls. Constructed of narrow coursed stone under a slate roof, with sandstone dressings and a plinth. At the 4 angles are diagonal buttresses with offsets surmounted by tall pinnacles. Tall pointed arched windows with Y-tracery, 2 transoms and hoodmoulds with head or foliate bosses. The doorway to the S gable end is chamfered with a pointed-arched head and contains C20 double planked doors. It is flanked by tall pointed arched windows. Above the doorway is a rectangular stone tablet reading 'Independent Chapel Castellau, Built AD 1843, Rebuilt AD 1877'. Above the tablet and lighting the gallery is a replaced 3-light window under a round head with wooden tracery including a transom. Head bosses survive to each side of the arch, probably relating to the earlier stepped window. In the gable apex is a keyed oculus, the opening boarded over. String course following line of verges which continues around pinnacles.

St Stephens Church, Moreton Valence Glos.

The church is built of ashlar with a Cotswold stone roof and comprises chancel, nave, north porch, west tower, and south aisle running the full length of chancel and nave. The nave and chancel were built in the early 12th century, and on the capital on the south side of the chancel arch is a defaced and incomplete inscription apparently of the early 12th century, in mixed Roman and Lombardic letters, of which some have a Saxon character.

The chancel arch has rectangular capitals with chamfered and moulded lower edges. On the nave side the arch has an outer order of a bold roll moulding, supported on attached angle-shafts with cushion capitals and bases carved with zigzags. The chancel retains a small 12th-century light in the north wall, with deep splays. Across the inside of the east wall is a projecting course of stones carved with diaper ornament. The north doorway has an early-12th-century arch similar to the chancel arch in having a bold roll on the outer order, with attached shafts, cushion capitals, and chamfered abacus. It contains a well-preserved tympanum carved with a representation thought to be of St. Michael fighting Satan. The porch was apparently built afterwards, though in the 12th century or early 13th; it has stone benching and a deeply splayed small rectangular light on each side, and a defaced corbel-head at the north-west angle; the timber-framed gable-end, with an arch-braced collar, is of the 15th or 16th century and has a bracket perhaps for an image.

In the 14th century the chancel was given a new east window, of which the external hoodmould has carved but decayed shields in the stops; the tracery has been renewed. There is a small, plain piscina with a segmental-headed, chamfered arch. The trussed rafter roof of the nave, which has a coved plater ceiling, may also have been built in the 14th century. The embattled west tower of three stages, stepped back at each stage and supported on the east by buttresses built out from the nave wall and on the west by diagonal buttresses, was added in the 15th century. It has a two-light west window above a doorway, small rectangular openings to the second stage, two-light louvred belfry windows, an internal stair-vice, and four large gargoyles. Possibly at the same time as the tower a rood-loft was built, the upper doorway to which survives. A rectangular window of four lights with cinquefoil heads high in the north wall of the nave may have been to light the rood-loft.

In the 15th or 16th century, after the tower had been built, a long south aisle was added, its ends flush with the east wall of the chancel and the west wall of the nave. The tracery of the three-light east window is largely filled with 15th-century coloured glass. The three south windows and the west window are alike, having three lights with cinquefoil heads and tracery. Although the south aisle is a continuous structure, its increased width where it adjoins the chancel, making up the difference in width between the chancel and nave and giving the aisle an asymmetrical east gable, lends the east end the appearance of a chapel, which is the more marked partly because the east end is separated by a late-19th-century wooden screen and partly because it has a plinth for an altar; the plinth was formerly railed, and the south wall has indications of a piscina. The arcade of two wide bays from the nave and the opening from the chancel are alike, having semi-octagonal pilasters with hollowed sides, boldly projecting capitals, and arches of two hollowed orders. The south doorway has a four-centred arch with carved spandrels.

The church was comprehensively restored in 1880-4; the work included panelling the ceilings of the chancel and the east end of the aisle and raising the floor to the level of the churchyard.

I'm showing off having won something!

24th Rossendale Online Photo Competition - Religious Buildings-Winner

Wadey.

Church, 1850-51, by E.H. Shellard. Rock-faced sandstone, 2-span slate roof. West tower with broach spire, nave and chancel, with north aisle under separate roof. Decorated style, with reticulated tracery. Tower of 3 unequal stages with angle buttresses to the high 1st stage, has moulded arched west doorway with roll-moulded surround carried up from very low string course, a small lancet high above the door, similar lancets to the 2nd stage, 2-light belfry louvres, and a broach spire with 2-light lucarnes in the cardinal sides (modern clock faces below these). Five-bay nave with one buttress, gabled porch to 2nd bay, 2-light traceried windows; matching north aisle has 2-light west window and 3-light east window; chancel has larger 3-light window (all these with reticulated tracery). Interior: 5-bay aisle arcade of octagonal columns and double-chamfered arches with roll-moulding carried over the heads and linked by figured stops; arch-braced roof, the wall-posts carried on corbels, some carved; elaborate carved wooden chancel screen and canopied choir stalls. Commissioners' church, cost £2,500 (Pevsner)

www.britishlistedbuildings.co.uk/en-185677-church-of-st-t...

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=11864:

The Otterville Mill is located on the south side of Main Street West, west of Dover Street, east of Church Street and east of the Otter River, in Mill Park, in the Village of Otterville, Township of Norwich. The three-storey post and beam mill building, with fieldstone foundation, was constructed in 1845.

The property was designated, by the Township of Norwich, in 1982, for its historical or architectural value or interest, under Part IV of the Ontario Heritage Act (By-law 5-82).

The Otterville Mill overlooks the Otter River and is sited in a picturesque meadow, within the center of the village and surrounded by a forest.

The Otterville Mill is one of the oldest continuously operated wheel powered mills in Ontario. Built in 1845, by Edward Bullock, and operated by Matthew Maddison, it was used as a grist and flour mill, with an annual capacity of 20,000 bushels. The first mill on the site was built, in 1807, by John Earle and Paul Avery. The wooden water wheel mill, operated by a water turbine, greatly contributed to the early commerce of Otterville in the 19th century. It was also the hub of the farming community, as many farmers visited it weekly to have their cattle feed ground.

In later years, the mill was purchased by Solomon Lossing, son of Peter Lossing, who is credited with founding one of the most successful Quaker settlements in Canada. Solomon, who took over as a spokesman for the Quakers in Norwich after his father's death, in 1833, bought the property in 1880. The Lossing family had the ownership of the mill for 60 years, during which it became known as the Treffry Mill.

The Otterville Mill ceased commercial use in 1981, but continues to be operated by the South Norwich Historical Society, under lease from the township. The property is now known as Mill Park and is the site of an annual barbecue.

The Otterville Mill is an exemplary three-storey frame mill of simple post and beam construction with a fieldstone foundation. The ground floor posts are chamfered, for decoration, and the purlins measure eight inches by forty feet. The impressive construction and materials of the mill are accented by the 20 and 24 pane windows. Also of note are the eaves with wide overhangs and returning cornices.

Character defining elements that contribute to the heritage value of the Otterville Mill include its:

- central location in the Village of Otterville

- proximity to the Otter River

- continuous operation since 1845 as a wheel powered mill

- placement of the Mill near the site of the 1807 Otter River Mill

- post and beam construction with fieldstone foundation

- front gable roof

- 20 and 24 pane windows

- eaves with wide overhangs and returning cornices

- chamfered ground floor posts

- 8 inches by 40 feet purlins

The parish church of St Nicholas at Fyfield, Essex, consists of nave, north and south aisles, chancel, central tower, north porch and organ chamber. The nave and the first stage of the tower are mostly flint rubble with some Roman brick. The second stage of the tower is largely of red brick and there is a timber belfry. The exterior of the church is mostly covered with cement, now in poor repair, and numerous buttresses of the 18th and 19th centuries show where weaknesses have developed. The building differs in several respects from the type of parish church found in the area. The 12th-century plan with the tower standing 'cathedralwise' is unusual, and it is evident that large sums were spent on improvements during the 13th and 14th centuries.

www.flickr.com/photos/barryslemmings/sets/72157630268482440/ to see a full set taken over several years.

The nave was built in the 12th century. The walling at each end of the two arcades is 3 ft. thick and is evidently the original 12th-century work. The lower part of the tower is of the same date, including the large stair turret on the north side reaching to the second stage. The stair has a circular newel of Roman brick and there are arches of Roman brick to the round-headed windows in the south and west walls of the second stage of the tower. The former window has been blocked by brickwork and the latter opens into the roof space above the nave.

About 1220 a north aisle of three bays was added to the nave. The pointed arches are of two chamfered orders and rest on circular columns with moulded capitals and bases. Attached half-columns form the responds against the ends of the 12th-century walls. In the middle of the 13th century the south aisle was added. This is similar in general arrangement to the north aisle but the arches are moulded and the supporting columns are octagonal. The single-light window in the west wall is probably of the 13th century but its four-centred head was added later. There are traces of colour decoration of uncertain date on both arcades.

The chancel was built about 1330-40. The date can be fixed approximately by the detail of the interior. All the windows are of the 14th century and have moulded labels and head stops. The tracery of the east window has been replaced, but the fine carving of the jambs and rear arch survives. Between the windows in the south wall are stepped sedilia of three bays. The arches are cinquefoiled and between them are octagonal shafts of Purbeck marble. The moulded label has four carved head stops, one head wearing a mitre and another a curious pointed head-dress terminating in a flower. In the spandrel above a third head are three balls carved in relief; it has been suggested that these are the emblems of St. Nicholas.

East of the sedilia is a piscina of similar detail and further east there is a credence with one jamb cut off by the east wall of the chancel. Below the chancel is a vault which has a wide arched opening externally under the east window. This opening was sealed during the restoration of 1893 but one account of the church suggests that it was formerly pierced with quatrefoil openings, possibly for the viewing of relics. Another account, given in 1898 by the then rector, the Revd. L. Elwyn Lewis, referred to the existence of arcading internally below the east window.

The arch between the tower and the nave is of the 14th century, much restored. The north porch retains moulded timbers of the late 14th century and a pointed timber arch of which the spandrels were probably once filled with tracery.

Some years before 1768 part of the tower fell, perhaps after being struck by lightning. Before the end of the 18th century the second stage was largely rebuilt in red brick and a window was inserted on the north side. Above the brickwork is a hipped roof, above which is a square weather-boarded belfry with ball finials at the corners. There is a small boarded spire. The west wall of the nave may have been rebuilt in the 18th century.

In the first half of the 19th century a vestry was formed by extending the north aisle eastward as far as the stair turret of the tower. In 1853 the church was restored and in 1875 tracery was inserted in the east window at the expense of W. S. Horner. In 1893 £1,300 was spent on restoration. Some blocked windows were uncovered and a new west door and window inserted.

Both the tower arches were largely rebuilt and the chancel roof may have been reconstructed at the same time. The oak reredos and chancel seating were installed, the oak coming from St. Paul's, Knightsbridge. The seating in the nave is also of the late 19th century, incorporating some 16th-century moulded rails. During the incumbency of the Revd. L. Elwyn Lewis (1895-1905), who held high church views, a surpliced choir was started and the old organ was moved from the west end of the church into the vestry. In 1901 a new organ was installed against the north wall of the tower, largely at the rector's own expense. The vestry is now an organ chamber.

The square font bowl of Purbeck marble is of the late 12th century. Two of the sides are decorated with recessed arcading and the other two have a central fleur-de-lis flanked by vine leaves. The oak screen between the nave and the tower was carved by A. J. B. Challis of Clatterford Hall in 1914. The pulpit is of the same date.

There are six bells, all modern or recast. Under the organ on the north side of the chancel there is said to be a slab bearing the indent of a foliated cross, flanked by square pennons or axes. There is a tradition that this covers the headless body of Henry, Lord Scrope, beheaded in 1415. Also in the chancel are some 18th century floor slabs with shields of arms to members of the Pochin family and to one of the Beverley family. There are also several 18th-century slabs to the Collins family of Lampetts and to the Brands of Herons.

St. Andrew's is built from flint with stone and brick dressings and has slate roofs. It comprises a late Saxon round western tower dated to between 1050 and 1100 with blocked double splayed windows and 19th. century bell openings. an aisleless nave with a 14th. century chancel and a 16th. century south porch.

The south door with its with moulded arch is 14th. century, and the blocked north door with chamfered brick voussoirs, a wedge-shaped element used in building an arch, dates from the 16th. century.

The building was thoroughly restored in the 19th. century.

The church received Grade: II* listed building status on 20 April 1959. (English Heritage Legacy ID: 226420).

Overlapping asbestos roof shingles on curved roof section of building; from a distance, this style of shingle overlap resembles fish-scales pattern.

Of special consideration regarding asbestos roofing and shingled structures is erosion, whereby asbestos fiber is gradually loosened from cement matrix over time by natural forces (basically, water and gravity) and is distributed around the buildings along drip-lines or channeled through downspout outlets.

Fuente de los Dragones Altos, Palacio Real de La Granja de San Ildefonso, Segovia.

El Palacio Real de La Granja de San Ildefonso es una de las residencias de la familia Real Española y se halla situado en la localidad segoviana de Real Sitio de San Ildefonso. Está gestionado por Patrimonio Nacional y se encuentra abierto al público.

El Real Sitio de La Granja está situado en la vertiente norte de la sierra de Guadarrama, a 13 kilómetros de Segovia, y a unos 80 kilómetros de Madrid. Su nombre proviene de una antigua granja que los monjes jerónimos del monasterio de El Parral tenían en las inmediaciones.

Con una extensión de ciento cuarenta y seis hectáreas, los jardines rodean el palacio y son uno de los mejores ejemplos del diseño de jardines de la Europa del siglo XVIII.

El grupo escultórico está formado en su parte baja por cuatro dragones alados con cuellos erguidos, grandes bocas abiertas y poderosas garras. En la parte interior hay cuatro delfines que con sus colas entrelazadas hacia arriba parecen sujetar la maceta central, de la cual parten cuatro ménsulas cuyas volutas mayores apoyan sobre la espalda de los dragones, completando la sujeción del jarrón. Sobre la maceta hay dos grupos de dos "tritoncillos" asidos a sendas conchas. Remata el grupo una cornucopia profusamente adornada de la que emerge el surtidor central o montante.

El juego de aguas está compuesto por diez surtidores oblicuos que manan de boquillas achaflanadas de la siguiente forma: cuatro de las bocas de los dragones, cuatro de la boca de los delfines y dos de las conchas superiores que sujetan los tritoncillos, completándose el juego con un surtidor vertical que alcanza los 6 m. de altura a partir de la boquilla de φ 7,2 m. (32 líneas). Los diez surtidores oblicuos y el vertical pueden funcionar independientemente.

The Royal Palace of La Granja de San Ildefonso is one of the residences of the Royal Spanish family and is located in the Segovian town of Real Sitio de San Ildefonso. It is managed by National Heritage and is open to the public.

The Real Sitio de La Granja is located on the northern slopes of the Sierra de Guadarrama, 13 kilometers from Segovia, and about 80 kilometers from Madrid. Its name comes from an old farmhouse that the monastic Jerónimos monastery of El Parral had in the vicinity.

Covering a hundred and forty-six hectares, the gardens surround the palace and are one of the best examples of 18th-century European garden design.

The sculptural group is formed in its lower part by four winged dragons with erect necks, great open mouths and powerful claws. In the inner part there are four dolphins that with their tails interlaced upwards seem to hold the central pot, from which four brackets start, whose larger volutes rest on the back of the dragons, completing the subjection of the vase. On the pot are two groups of two "tritoncillos" grasped to each shell. The group has a profusely decorated cornucopia from which emerges the central spout or upright.

The set of waters is composed of ten oblique jet nozzles, which are made of chamfered nozzles as follows: four of the mouths of the dragons, four of the mouths of the dolphins and two of the upper shells that hold the tritoncillos, completing the game with A vertical spout that reaches 6 m. Of height from the nozzle of φ 7.2 m. (32 lines). The ten oblique and vertical suppliers can operate independently.

Decades-old asbestos-cement roof shingles on curved roof section of building. This type of material (asbestos and Portland cement) was claimed to be so durable that some products were branded "Century" in reference to the amount of time said to last.

Of special consideration regarding asbestos roofing and shingled structures is erosion, whereby asbestos fiber is gradually loosened from cement matrix over time by natural forces (basically, water and gravity) and is distributed around the buildings along drip-lines or channeled through downspout outlets.

Small chapel in Gothic style with gable end entrance and 3-window side walls. Constructed of narrow coursed stone under a slate roof, with sandstone dressings and a plinth. At the 4 angles are diagonal buttresses with offsets surmounted by tall pinnacles. Tall pointed arched windows with Y-tracery, 2 transoms and hoodmoulds with head or foliate bosses. The doorway to the S gable end is chamfered with a pointed-arched head and contains C20 double planked doors. It is flanked by tall pointed arched windows. Above the doorway is a rectangular stone tablet reading 'Independent Chapel Castellau, Built AD 1843, Rebuilt AD 1877'. Above the tablet and lighting the gallery is a replaced 3-light window under a round head with wooden tracery including a transom. Head bosses survive to each side of the arch, probably relating to the earlier stepped window. In the gable apex is a keyed oculus, the opening boarded over. String course following line of verges which continues around pinnacles.

Asbestos-cement shingles were once heavily marketed for long-lasting durability, insulating value, fire-resistancy, visual appeal, among other selling-points. When it was all said and done, it has been estimated that millions of homes, farms, barns, churches, and other buildings were shingled with asbestos-cement shingles; many exist still today.

Of special consideration regarding asbestos roofing and shingled structures is erosion, whereby asbestos fiber is gradually loosened from cement matrix over time by natural forces (basically, water and gravity) and is distributed around the buildings along drip-lines or channeled through downspout outlets.

Decades-old asbestos roof shingles showing chamfered corner design; withstanding the test of time?

Of special consideration regarding asbestos roofing and shingled structures is erosion, whereby asbestos fiber is gradually loosened from cement matrix over time by natural forces (basically, water and gravity) and is distributed around the buildings along drip-lines or channeled through downspout outlets.

Gatehouse with walls and sets of Gate Piers adjoining to from of Burton Agnes Hall.

Grade I Listed

List Entry Number: 1083815

Details

TA 1063-1163 11/16

BURTON AGNES MAIN STREET (north side, off) Gatehouse with walls and sets of gate piers adjoining to front of Burton Agnes Hall

GV I

Gatehouse with walls and sets of gate piers adjoining. c1610 by Robert Smythson for Sir Henry Griffiths with later additions and alterations including mid-C19 extension to walls to west for Henry Boynton. Pinkish-red brick with ashlar dressings, lead and concealed roofs. Gatehouse: 3-storey, 3-bay centre with 4-storey, single-bay octagonal stair turrets to angles. Chamfered plinth. Ashlar quoins to turrets. Central round-arched carriage opening, in imposing 3-storey ashlar surround, with moulded imposts, figure of angel keystone; to each side are caryatids which stand above ground-floor arcading and support moulded band; blank frieze above with lozenge mouldings to outer pilasters, moulded cornice; further frieze above again with central carved achievements and outer pilasters carved with figures of plenty, moulded cornice. Outer bays: ground floor has 2 round-headed, blind, shallow ashlar arches with chamfered cornice to each side of carriage arch. First floor: 2-light, double-chamfered mullion windows with ovolo-moulded hoods. Second floor has similar windows with continuous hoodmould. Battlements. Turrets: blind ground floor has walls abutting. 2-light, double-chamfered mullion windows with ovolo-moulded hoods to second and third floors. 12-pane fixed- light windows in double-chamfered surround to fourth floor. Moulded cornice. Ogeed roofs with finials. Octagonal ridge stacks. To rear: carriage arch has figure of angel supporting moulded cornice. 4-light mullion-and-transom window above in double-chamfered surround. 2-light double-chamfered mullion windows with ovolo-moulded hoods to outer bays and turrets. Entrances to ground floors of turrets have Tudor-arched surrounds and chamfered jambs. Interior of carriage arch: within, a blocked elliptically-arched opening and 2 Tudor-arched recesses with chamfered jambs. Chamfered beam to ceiling. Walls: extending for approximately 80 metres to west, curved on plan and 40 metres to east; approximately 3 metres high. Chamfered plinth. Walls capped by cogged band and rubbed brick copings bell-shaped on section. Wall to east has 3 buttresses with offsets to easternmost end. Wall to west has elliptically-arched pedestrian entrance approximately 4 metres to west of gatehouse with studded plank door; further flat-arched pedestrian entrance with board door to westernmost end. Gate piers: those to eastern wall are adjacent to gatehouse; square on plan, approximately 4 metres high with moulded ashlar plinths and capitals and are surmounted by lions rampant holding wrought-iron lances and with studded double plank doors between. Similar pair of C19 piers to stable yard in wall to west. Further stable yard entrance to western end, now blocked, has square piers, moulded plinth and cornice surmounted by shaped finials. Pevsner N, Yorkshire, York and the East Riding, 1978, p 207.

Listing NGR: TA1033863172

historicengland.org.uk/listing/the-list/list-entry/1083815

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Great place to visit. Here’s a link for more information:-

www.burtonagnes.com/Home.html

By John Bennie Wilson, 1888-89. Tall galleried Gothic nave-and-aisles church on corner site with 5-stage tower to E; octagonal gallery stair turret to W; later church hall and rooms at rear; modern halls to N. Squared and snecked bull-faced red Mauchline sandstone; polished sandstone dressings. Architraved cill and string courses; stepped buttresses with trefoil-headed detailing centred in apex; raised, polished eaves course. Polished quoins; polished long and short surrounds to chamfered openings. Predominantly trefoil-headed windows; sandstone mullions chamfered cills. Single storey L-plan hall to rear; squared and snecked stugged red sandstone; polished dressings; shouldered-arched surrounds to openings.

Originally built for the Troon United Presbyterian Church of Scotland. The name "St Meddan's" was not used until 1901 when, following the merger of the United Presbyterian and the Free Churches, the congregation became known as the "St Meddan's Street United Free Church". The union of the Church of Scotland with the United Free Church in 1929, and the adoption of parish boundaries in 1932, resulted in the present name. The clock is thought to date back to 1751 when it was commissioned by Glasgow University as part of their tercentenary celebrations. A watchmaker, Andrew Dickie, built the clock, which was housed in a quadrangle in the Old College building in Glasgow's High Street, for £720 Scots. When the University moved to its present site at Gilmorehill in 1871, the old buildings were demolished and the clock was subsequently purchased for the Portland Church building in Troon (now demolished). With the opening of a new church for the Portland congregation in 1914, the clock was gifted to St Meddan's, as the Portland church had no spire and St Meddan's, although in possession of a spire, had no clock.

John Bennie Wilson (c.1848 - 1923) appears to have specialised in church design - his other projects including Stockwell Free Church, Pollockshields, the UP Church, Ayr and Cathcart Free Church, Glasgow. Articled to John Honeyman, he went on to assist both David Thomson and John Burnet before establishing an independent practice in 1878. In 1910 he became president of the Glasgow Institute of Architects and that same year, was representative of the body on the RIBA Co's work. With its impressive tower and broached spire, it is the tallest church in Troon and thereby, one of the town's most prominent landmarks.

For this weeks Macro Mondays Corner theme, I have used a shot of a Jeep badge, I think there are at least 36 corners there, as well as chamfered edges!

Happy New Year everyone, and Happy Macro Mondays too!

Early 19th century mort house to S of burial ground. Sandstone rubble; built into bank at N. Projecting eaves course to S. Arched door in N wall; raised chamfered surround; droved tails. Window to left; window slit to right. Door and windows boarded up. Flat coping stones; vaulted roof clad with large stone slabs, only some slabs remaining.

A certificate relating to 'Rosyth Safety Vault' published in N Fotheringham's book states that the bodies could be kept in the vault for up to 2 months in summer and 3 in winter before internment, by which time they were of no use to the anatomists and therefore safe from theft by the body snatchers.

Damaged asbestos roof shingles showing some minor breakage and fractures.

Parish church. C13, late C14 and C15. Restored 1854-5 and 1868 by Clarke, and 1878 by G.M. Hills. Bethersden marble with plain tile roofs. West tower. Nave, continuous with chancel to south, slightly projecting to north. South aisle, continuous with south chancel chapel, flush with east end of chancel. South porch with parvis chamber. West tower: late C14. Three stages, on moulded plinth . Angle buttresses. Battlements above moulded string. Polygonal north-east stair turret with plain parapet higher than tower. East and west belfry windows of 2 lights with vertical bars, quatrefoil and hoodmould. North and south belfry windows of 3 trefoil-headed lights with squared hoodmould. Single trefoil-headed light to central stage to west and rectangular light with iron bars to north and south. West window of 3 cinquefoil-headed lights with inter- secting tracery incorporating inverted mouchettes. 2-centred arched casement-moulded architrave. Hoodmould with carved heads to label stops and 4 carved grotesques beneath hoodmould. Rectangular panel below window with sunk quatrefoil and shield. 2-centred arched west doorway with casement-moulded architrave, slender moulded shaft to each side, carved spandrels and squared moulded hoodmould with carved heads as label stops. South aisle and south chapel: late C14, chapel with C13 origins, possibly refenestrated in C15. Moulded stone plinth. South-west and south-east angle buttresses. Battlements above moulded string. South aisle has three windows, each of 3 slightly stepped cinquefoil-headed lights and hoodmould; one to west end and one either side of porch. South chapel has three 4-centred arched 2-light windows with hoodmoulds, alternating with buttresses. Low 2-centred arched doorway with renewed architrave. Restored east window of 5 traceried lights with hoodmould. South porch: probably late C14. Moulded stone plinth. Battlements above moulded string. Polygonal north-west stair turret with plain parapet. Small rectangular north and south lights to porch and slightly larger lights with hoodmoulds to chamber. 2-centred arched casement-moulded outer doorway with hoodmould. 2-centred arched Bethersden marble inner doorway, with hoodmould and ribbed door. Chancel: C13 origin. Refenestrated, probably in late C14 or C15. Presently without plinth. Single buttress. Gabled. Tall restored 2-centred arched traceried east window with 3 cinquefoil-headed lights below and 3 above central transom. Hoodmould. Two north windows; that to east set higher with 2 trefoil-headed lights and hoodmould; that to west with moulded architrave, 2 cinquefoil-headed lights, tracery of vertical bars, and hoodmould. Nave: north elevation: probably late C14. Moulded plinth, continuous with that of tower. Four 3-light traceried windows (incorporating inverted daggersl,with moulded architraves and hoodmoulds, alternating with buttresses. Interior: structure: 5-bay nave arcade to south of pointed arches with hollow chamfer and semi roll. 2 west arches with lower heads. Octagonal columns, with moulded capitals and bases of Bethersden marble. East column of arcade free-standing, also forming springing for chancel arch, chancel aqcade, and arch between south chapel and south aisle. Chancel arch and arch between chapel and aisle similar to south arcade. 2-bay chancel arcade of plain-chamfered pointed arches. Chamfered rectangular pier with undercut and roll-moulded abacus. Deeply moulded pointed-arched tower arch, with attached shafts, the capitals moulded similarly to those of south arcade. 4-centred arched hollow- chamfered doorway to rood-loft stairs to east end of north wall of nave. 3-centred arched doorway with semi roll moulding to tower stairs. 2- centred arched hollow-chamfered doorway to parvis chamber stairs. Low 4-centred arched hollow-chamfered north doorway to chancel. Small rectangular light to parvis chamber. Roof: Late C14 or early C15 collar- rafter roof to nave of 7 trusses (5½ bays), with moulded aligned butt purlins. Heavily moulded composite solid-spandrel arch-braces to collars, moulding continued down pendant posts. Hollow-chamfered windbraces, with carved spandrels between windbraces and purlins. Above collars, heavy- scantling scissor braces halved across yokes. Ashlar-pieces between bases of scissor-braces and tops of purlins, and between rafters and cornice. Moulded and brattished cornice. Chancel roof boarded in 7 cants. Lean-to roofs to south chapel and aisle. Fittings: Rectangular hollow-chamfered piscina to east end of south wall of south aisle. Similar but larger piscina to east end of south wall of chapel. Cinquefoil-headed piscina to east end of chancel. Octagonal C15 font with carved concave sides, shafted octagonal stem and moulded base on octagonal stone plinth, to south side of south arcade. Screen base partly early C16, with variety of linenfold panelling, and frieze carved differently in each section. Pulpit of 1878 with re-used linenfold panelling. Inlaid hexagonal tester. Painted panels, probably from C17 or C18 reredos, depicting Moses and Aaron. Royal Arms above tower arch. 1787 Benefactors' Board to south wall of nave. 4 boards with Creed and Decalogue to south wall of nave. Decoration: C15 stained glass to heads of north nave and south aisle windows. Monuments: C15 tomb recess towards east end of south wall of south aisle, with Culpeper arms to spandrels; low Bethersden marble table tomb with corniced lid set into recess spanned by broad 4-centred arch, cusped and subcusped, with large leaves over cusps and slender shaft each side with moulded capital and base. Quatrefoiled spandrels and squared moulded and embattled hoodmould. C18 tablet to east wall of chancel, in black and white marble, with moulded plinth on shaped base panel, flanking pilasters, and moulded open-topped pediment with escutcheon. Inscription barely legible at time of re-survey.

Begun by Archbishop Ufford in 1348. Completed by Archbishop Islip between 1349 and 1366. Enlarged by Archbishop Morton in 1486. Exchanged by Archbishop Crarmer with Henry VIII for other property. By Henry VIII it was granted to Sir Thomas Wyatt. On his son's rebellion it was forfeited to the Crown and subsequently granted to Sir John Astley, who built the greater part of the existing house in the second half of the C16.

The main portion of the building is of ashlar with timber-framed wings at the north and south ends. The main section is E-shaped. Two storeys and attics. Five windows and two dormers to the north-west front. Stringcourse. Parapet. Windows with stone mullions and transoms. Two large dormers above the outer-projecting east wings with kneelers, coping and finials over the apices and kneelers. Tiled roof. The centre projection is the porch with round-headed arch and room over.

At the south end of the building is a timber-framed wing nearby flush with the southern projection of the main front. This has one large and one small gable with pendants. Casement windows. At the north end of the building is a wing with stone ground floor and timber-framed upper storey with diagonal braces and plaster infill, surmounted by a gable with pendant. On the ground floor there is one obtusely pointed window and one square headed window containing two cinquefoil-headed lights. One sash window above them with glazing bars intact. To the north of this again is a further recessed wing wholly faced with stone but with a portion projecting on the first floor apparently timber framed but this is modern or a reconstruction.

The south-west front of the Palace facing the Medway has a fine stone corbelled oriel window with three tiers of six lights, stone mullions and transoms and chamfered stone corbelling beneath. Also there are some double or triple lancets with hood moulding. The interior contains C16 panelling and some fine C16 wood or stone fireplaces.

Gateway and Wall to Palace Gardens, Wall to north-west of Archbishop's Palace, The Archbishop's Palace, Wall to east of Archbishop's Palace, The Dungeons at the Archbishop's Palace, The Gate House at the Archbishop's Palace, The Len Bridge, The Tithe Barn, Parish Church of All Saints, Wall to north and west of All Saints Church, The College Gateway, The College Tower, The Masters House, The Master's Tower, Cutbush Almshouses and the Ruined Gateway form a group.

Basílica de la Virgen de la Peña, Graus, La Ribagorza, Huesca, Aragón, España.

La antigua basílica de la Virgen de la Peña se levanta en la villa española de Graus (Ribagorza, provincia de Huesca, Aragón). El actual templo se levantó a mediados del siglo XVI sobre un edificio románico anterior. Consta de iglesia, patio y hospital de peregrinos con un bello claustro-mirador.

Proponemos a los visitantes que comiencen la visita desde el interior de la iglesia. Allí quedan restos del edificio románico, en concreto en la parte inferior del muro del evangelio, donde hay una pequeña puerta en alto y sillares más pequeños. El edificio actual presenta, una nave única de dos tramos, cubiertos con bóvedas de terceletes (la de los pies era originalmente estrellada) y una cabecera plana sobre la que se levanta una torre poligonal rematada en chapitel. LLama la atención el achaflanamiento de los ángulos de los pies de la nave.

La puerta de entrada tiene arco de medio punto y abundante decoración: (candelieri, casetones, angelotes, escudos y guirnaldas) y se enmarca por columnas unidas por un entablamento. Frente a ella, el pórtico imita sus formas corintias. En su friso se encuentra la firma de Joan Tellet en dos cartelas junto a una pequeña ménsula que llama la atención del observador. Allí está también la puerta de la capilla de San Juan de Letrán y una escalinata que une el pórtico con el patio. la esquina de la iglesia nos hace comprender el achaflanamiento interior, ya que si no se hubiera adoptado esta solución los contrafuertes exteriores ocuparían el solar de esta escalinata.

La arquería del hospital se abre al patio. Allí vemos cómo la estructura de este edificio apoya sobre la de la iglesia. Otra arcada sobre columnas torsas nos ofrece una espléndida vista de Graus y de la confluencia de los ríos Ésera e Isábena. Al salir, bajando por la rampa, veremos la otra esquina de la iglesia y de nuevo entendemos el achaflanamiento interior la nave, pues otro contrafuerte exterior hubiera impedido el camino de acceso al conjunto.

Desde el exterior se observan diferencias en los dos tramos de la iglesia:

la primera fase de las obras articula sus paños con molduras y contrafuertes

la segunda, obra de Tellet, que presenta paños y esquinas lisos.

En el conjunto del hospital también se ven dos fases:

un modesto edificio de cuatro plantas (apoyado sobre la iglesia y sobre la entrada al conjunto) fue seguramente el primero en construirse y debía servir de residencia del clero

una ampliación, mucho más ambiciosa, de tres plantas: la primera, con la arcada de arcos de medio punto que cobija la rampa de acceso; la segunda, con el mirador de columnas torsas; y la última, de ladrillo y totalmente reconstruida, donde se hallaban habitaciones destinadas a hospital de peregrinos y donde se ubica actualmente un museo de iconos.

The ancient basilica of the Virgen de la Peña stands in the Spanish town of Graus (Ribagorza, province of Huesca, Aragon). The current temple was built in the mid-16th century on a previous Romanesque building. It consists of a church, patio and pilgrim hospital with a beautiful cloister-viewpoint.

We suggest visitors begin their visit from inside the church. There are remains of the Romanesque building, specifically in the lower part of the gospel wall, where there is a small high door and smaller ashlars. The current building has a single nave with two sections, covered with triplet vaults (the one at the foot was originally star-shaped) and a flat head on which rises a polygonal tower topped with a spire. The chamfering of the angles of the feet of the nave is striking.

The entrance door has a semicircular arch and abundant decoration: (candelieri, coffers, angels, shields and garlands) and is framed by columns joined by an entablature. In front of it, the porch imitates its Corinthian forms. On its frieze there is the signature of Joan Tellet in two cartouches along with a small corbel that draws the observer's attention. There is also the door to the chapel of San Juan de Letrán and a staircase that connects the portico with the patio. The corner of the church makes us understand the interior chamfering, since if this solution had not been adopted the exterior buttresses would occupy the site of this staircase.

The hospital archway opens to the patio. There we see how the structure of this building supports that of the church. Another archway on twisted columns offers us a splendid view of Graus and the confluence of the Ésera and Isábena rivers. As we leave, going down the ramp, we will see the other corner of the church and once again we understand the interior chamfering of the nave, since another exterior buttress would have prevented the access path to the complex.

From the outside, differences are observed in the two sections of the church:

The first phase of the works articulates its panels with moldings and buttresses

the second, a work by Tellet, which presents smooth panels and corners.

In the hospital as a whole there are also two phases:

a modest four-story building (leaning on the church and on the entrance to the complex) was surely the first to be built and was to serve as the residence of the clergy.

a much more ambitious extension, with three floors: the first, with the archway of semicircular arches that shelters the access ramp; the second, with the viewpoint of twisted columns; and the last one, made of brick and completely rebuilt, where there were rooms used as a pilgrim hospital and where a museum of icons is currently located.

220727_192325_oly-PEN-f_England-Wales

Engineering Building

University of Leicester

University Road

Leicester

Leicestershire

United Kingdom

Begun by Archbishop Ufford in 1348. Completed by Archbishop Islip between 1349 and 1366. Enlarged by Archbishop Morton in 1486. Exchanged by Archbishop Crarmer with Henry VIII for other property. By Henry VIII it was granted to Sir Thomas Wyatt. On his son's rebellion it was forfeited to the Crown and subsequently granted to Sir John Astley, who built the greater part of the existing house in the second half of the C16.

The main portion of the building is of ashlar with timber-framed wings at the north and south ends. The main section is E-shaped. Two storeys and attics. Five windows and two dormers to the north-west front. Stringcourse. Parapet. Windows with stone mullions and transoms. Two large dormers above the outer-projecting east wings with kneelers, coping and finials over the apices and kneelers. Tiled roof. The centre projection is the porch with round-headed arch and room over.

At the south end of the building is a timber-framed wing nearby flush with the southern projection of the main front. This has one large and one small gable with pendants. Casement windows. At the north end of the building is a wing with stone ground floor and timber-framed upper storey with diagonal braces and plaster infill, surmounted by a gable with pendant. On the ground floor there is one obtusely pointed window and one square headed window containing two cinquefoil-headed lights. One sash window above them with glazing bars intact. To the north of this again is a further recessed wing wholly faced with stone but with a portion projecting on the first floor apparently timber framed but this is modern or a reconstruction.

The south-west front of the Palace facing the Medway has a fine stone corbelled oriel window with three tiers of six lights, stone mullions and transoms and chamfered stone corbelling beneath. Also there are some double or triple lancets with hood moulding. The interior contains C16 panelling and some fine C16 wood or stone fireplaces.

1- Peñalva Building (To the left): Built between 1910 and 1912 by Francisco Almenar Quinzá, its main façade stands out making a chamfer between the Plaza del Ayuntamiento and Calle de las Barcas. Attached to the current of academic classicism, it is one of the most beautiful buildings in the entire square.

2- Noguera Building (Center): Built in 1909, the work of the architect Francisco Mora Berenguer, it is the oldest of those built in the square. Eclectic in style with neo-Gothic language within the Plateresque aspect so in vogue at the beginning of that century. It only has a facade to the Plaza del Ayuntamiento.

3- Suay Bonora Building (To the left): Modernist building built in 1909/10 in a historicist style within the neo-Gothic aspect. It stands out for its three large chamfered viewpoints with lobed arches. It is topped with Gothic-inspired pinnacles and modernist-inspired battlements. It is the work of the architect Francisco Mora Berenguer and has facades facing the Plaza del Ayuntamiento and Calle Correos.

València (Comunitat Valenciana/ Spain)

Listed Building Grade II

List Entry Number : 1218986

Date First Listed : 20 December 1993

Customs house now workshop. 1849 (previous list description). Pebbles laid in chevrons, red sandstone dressings; graduated slate roof. Central archway with 2-storey, 1-bay boathouse wing on left and small square tower on right. Quoins, chamfered plinth. Archway: 2-centred, double-chamfered and with keystone; 2 patterned shields below corbel table supporting 3 merlons. Boathouse set forward on left has doorway with deeply-chamfered, quoined surround and square-sectioned hoodmould; above is a 2-light chamfered, mullioned window having latticed iron casements. Stair turret on left with slit windows. Shield beneath corbel table to incomplete embattlements; corner turret to right. Tower on right of arch has lancet window and door in left return. Rear: blocked pointed arch to boathouse; 2-light window over as front.

historicengland.org.uk/listing/the-list/list-entry/1218986

Eclectic Victorian Gothic house built by the Lowe family, mill-owners; the main, central section dates from c.1844, to which additions including a striking clock tower were added c.1890-1900

Rubble-built with green limestone dressings; renewed slate roofs with slightly oversailing eaves; 2 plain chimneys, the upper sections rendered. L-shaped primary (central) section with near- symmetrical entrance front. Advanced, steeply-gabled porch with moulded wooden bargeboards and a wooden glazed louvre with bracketed pyramidal copper roof; lead ball finial. The porch has a moulded ogee entrance arch with blind, cusped trefoil tracery above, carried at the sides on stylised carved head-corbels. In a moulded lozenge recess in the gable apex, the date 1844 in raised lettering. Contemporary part- glazed door with ogee fan, panelled below; plain arched lights to the porch return walls. Flanking the porch, recessed 30-pane sash windows, giving the impression of cross windows; chamfered reveals. Above, 2 gabled dormers with bargeboards as before. Triangular intersecting tracery and multi-pane original glazing. To the R, a further, recessed bay with moulded segmental arch carrying the jettied upper storey; 2-light mullioned window above a 16-pane sash. This connects with, to the R a 2-storey tower with angled corners and hipped roof; lead finials and decorative ironwork. Advanced flat, central buttress with two narrow 8-pane fixed windows and a blindslit-light above; moulded wooden gablet above this. The S face of the tower has a battered base and a 2-storey canted oriel window; moulded base and plain, modern windows. Adjoining the tower, a tall clock tower of 2 sections, rubble below with dressed stone above. Recessed pointed-arched slit-windows to lower section with bracketing above. The upper section has depressed- arched recesses to each face, each containing twin slatted bell-ventswith an oculus above with clock face. Bracketed eaves and pyramidalcopper roof with lead finial. To the rear of the main block, a largebattered projecting plinth with surmounting wooden verandah; octagonalposts and wide Tudor-arched arcade with decorative iron balustrade. Tothe L of the main block, and connected to it by a recessed communication bay, a single-storey service block with hipped roof;angled corners, gablet and ironwork as before. Small octagonal chimney with simple moulding. This wing, together with the 2 towers was added later in the C19.

The Grade II Listed St Helens Church on the edge of Boultham Park, at 37 Hall Drive in Boultham, Lincoln, Lincolnshire.

The original church built on the site is mentioned when Gilbert of Ghent, a nephew of William the Conqueror, endowed newly founded Bardney Abbey with the Manor or Estate of Boultham amongst many others. Gilbert’s grandson, Robert, Earl of Lincoln, gave the care of the church and the appointment of a Rector to the Abbott and Convent of Bardney.

In 1864 the current St Helens Church was built by the Ellison family of Boultham Hall, by architect Michael Drury to replace the original medieval church. Dressed stone and ashlar with slate roofs and a side wall stack. Nave with western bellcote, and chancel. The nave extended and restored in 1887 by architect C Hodgson Fowler, with new spired turret and seating.

The contractor was W Cowper of Campsall near Doncaster, and the reopening was held in November 1887. The present church contains some elements of the medieval church, such as a 13th-century blocked arcade containing stiff leaf capitals and octagonal pier with detached shafts, double chamfered arches under hoodmoulds with sculpted terminals.

Excerpt from historicplaces.ca:

Description of Historic Place

The Messiah Church is located at 35 Wellington Street, on the southeast corner of Wellington Street and Queen Street, in the City of Brantford. The two storey, buff brick church was constructed in 1869.

The property was designated, by the City of Stratford in1979, for its cultural heritage value, under Part IV of the Ontario Heritage Act, By-law 4-79.

Heritage Value

The Messiah Church is associated with several religious denominations in the City of Brantford. Messiah Church was a Christian Adventist Church in 1869. The establishment of this Adventist Church, when Brantford was smaller and much more isolated, shows the degree and influence of the world-wide Messianic expansion in the middle of the 19th century.

Congregationalists purchased the church from the Adventists in 1876 and renamed it Emmanuel Congregational Church. Subsequently, a Methodist Episcopal denomination worshipped in the building from 1878 when that group bought it from the Congregationalists.

In 1884, all Methodist churches in Canada were united into the Methodist Church of Canada. With two Methodist churches on the south side of Wellington Street in the same block (Emmanuel Methodist Episcopal and Wellington Street Wesleyan Methodist), Emmanuel Church (the former Messiah Church) was sold for secular purposes.

Benevolent social agencies which have occupied the building include the Women's Christian Temperance Union (when the building was called Willard Hall), the Social Service League of Brantford and the Family Service Bureau of Brantford and Brant County.

The Messiah Church is a good example of a late 19th century meeting hall. Typical of this style is the large rectangular shape with gable ends and minimalist detailing. The building is a symmetrical three-bays wide by four-bays deep with pilasters marking the divisions. Window sashes are two over four with segmented heads and wooden shutters. Two stone markers adorn the Messiah church building, a date stone, and one bearing the words “Occupy Till I Come”.

Character-Defining Elements

Character defining elements that contribute to the heritage value of Messiah Church include its:

- two storey, buff brick exterior

- hip roof

- symmetrical three-bays by four-bays divided by brick pilasters

- radiating brick voussoirs

- chamfered inner edge of the pilasters

- brick arch on the facade

- louvered attic vent

- corbelled brick frieze

- brick chimney

- windows with segmented arches of two rowlock brick courses and lug sills

- two over four double hung windows

- marble date stone

- marble stone inscribed with the words “OCCUPY TIL I COME”

Real Colegio de Doncellas Nobles, Toledo, Castilla-La Mancha, España.

El Colegio de Doncellas Nobles es un edificio de la ciudad española de Toledo, ocupado antiguamente por la institución homónima. Cuenta con el estatus de bien de interés cultural.

Actualmente el edificio está abierto parcialmente a la visita turística gestionada por la Archidiócesis de Toledo.

Se trata de un edificio de planta cuadrada con esquinas en chaflán, jardín trasero y patio interior. En alguno de sus puntos tiene cuatro plantas.

Todo el edificio descansa sobre un basamento de piedra granítica que sirve de base a los lienzos de ladrillo. Los vanos exteriores guardan una composición simétrica y se repiten con cierta equidistancia y ritmo. Son adintelados y están protegidos con rejas. Entre ellos destacan las múltiples combinaciones geométricas de los ladrillos, que se convierten en la base de la decoración. Se introducen líneas horizontales compuestas por azulejos de cerámica decorada.

El edificio tiene en sus tratamientos un carácter historicista neomudéjar. Constructivamente está realizado con estructura metálica, que se hace patente en elementos singulares, como el pasaje elevado que comunica el edificio primitivo con esta ampliación, donde se evidencia la estructura roblonada. Estas soluciones se destacan también en las galerías cubiertas del patio interior.

La fachada principal, orientada a mediodía, tiene dos portadas, una de entrada al colegio y la otra que da paso a la iglesia. La primera es de orden dórico, en sillería, con escudo real, y otro con las armas del fundador. La segunda posee dos cuerpos: El inferior, con un vano de medio punto enmarcado por cuatro pilastras en orden dórico, y sobre el que se ve un escudo con armas del Cardenal Silíceo. Ambas portadas son barrocas clasicistas.

En el lugar del antiguo salón principal, actualmente se encuentra la iglesia-capilla del colegio. Consta de una nave cubierta con bóveda de cañón con lunetos, crucero sobre pechinas y testero plano. Tiene un retablo principal con lienzo de la Virgen de los Remedios, titular del colegio. A los lados de la nave retablos barrocos, con la Virgen del Pozo y San Jerónimo. Al pie de la iglesia se encuentra el coro de capellanes y en el piso superior, guardado con reja, el coro de colegialas, con bóveda de aristas. Alberga una serie de pinturas de José Muriel Alcalá. En el centro de la capilla se encuentra el sepulcro del cardenal Silíceo realizado por Ricardo Bellver en 1890.

The College of Noble Maidens is a building in the Spanish city of Toledo, formerly occupied by the institution of the same name. It has the status of a Site of Cultural Interest.

The building is currently partially open to tourist visits, managed by the Archdiocese of Toledo.

It is a square building with chamfered corners, a rear garden, and an interior courtyard. It has four floors at some points.

The entire building rests on a granite stone plinth that serves as the base for the brick walls. The exterior openings maintain a symmetrical composition and are repeated with a certain equidistance and rhythm. They are lintelled and protected by grilles. Among them, the multiple geometric combinations of bricks stand out, becoming the basis of the decoration. Horizontal lines composed of decorated ceramic tiles are introduced.

The building has a Neo-Mudejar historicist character in its treatments. Constructively, it is built with a metal structure, which is evident in unique elements, such as the elevated walkway that connects the original building with this extension, where the riveted structure is evident. These solutions are also highlighted in the covered galleries of the interior courtyard.

The main façade, facing south, has two doorways, one leading to the college and the other to the church. The first is Doric, ashlar, with a royal coat of arms, and the other with the founder's coat of arms. The second has two sections: the lower one has a semicircular opening framed by four pilasters in the Doric order, and above which can be seen a coat of arms of Cardinal Silíceo. Both doorways are Classical Baroque.

The college church-chapel currently stands on the site of the former main hall. It consists of a nave covered with a barrel vault with lunettes, a transept on pendentives, and a flat end wall. It has a main altarpiece with a painting of the Virgin of Los Remedios, patron saint of the college. On the sides of the nave are Baroque altarpieces, featuring the Virgin of the Well and Saint Jerome. At the foot of the church is the chaplains' choir, and on the upper floor, protected by a grille, is the schoolgirls' choir, with a groin vault. It houses a series of paintings by José Muriel Alcalá. In the center of the chapel is the tomb of Cardinal Silíceo, made by Ricardo Bellver in 1890.

Begun by Archbishop Ufford in 1348. Completed by Archbishop Islip between 1349 and 1366. Enlarged by Archbishop Morton in 1486. Exchanged by Archbishop Crarmer with Henry VIII for other property. By Henry VIII it was granted to Sir Thomas Wyatt. On his son's rebellion it was forfeited to the Crown and subsequently granted to Sir John Astley, who built the greater part of the existing house in the second half of the C16.

The main portion of the building is of ashlar with timber-framed wings at the north and south ends. The main section is E-shaped. Two storeys and attics. Five windows and two dormers to the north-west front. Stringcourse. Parapet. Windows with stone mullions and transoms. Two large dormers above the outer-projecting east wings with kneelers, coping and finials over the apices and kneelers. Tiled roof. The centre projection is the porch with round-headed arch and room over.

At the south end of the building is a timber-framed wing nearby flush with the southern projection of the main front. This has one large and one small gable with pendants. Casement windows. At the north end of the building is a wing with stone ground floor and timber-framed upper storey with diagonal braces and plaster infill, surmounted by a gable with pendant. On the ground floor there is one obtusely pointed window and one square headed window containing two cinquefoil-headed lights. One sash window above them with glazing bars intact. To the north of this again is a further recessed wing wholly faced with stone but with a portion projecting on the first floor apparently timber framed but this is modern or a reconstruction.

The south-west front of the Palace facing the Medway has a fine stone corbelled oriel window with three tiers of six lights, stone mullions and transoms and chamfered stone corbelling beneath. Also there are some double or triple lancets with hood moulding. The interior contains C16 panelling and some fine C16 wood or stone fireplaces.

Built in 1926, this Jacobethan Revival-style building was likely designed by Walker and Weeks, and has served as a high school since its construction. The building was expanded with additions to accommodate increased student enrollment in the mid-20th Century, which eventually enclosed the front courtyard with a three-story Modern wing and extended the building to the rear. The building features a red brick exterior with sandstone trim, a tall central portion of the front facade with a clocktower, bay windows, and two towers with chamfered corners, decorative stone trim surrounds at the windows, and an H-shaped footprint with a large auditorium wing in the middle of the H on the north side of the building, and an oriel window above the front entrance. The building was extensively renovated in 2015-2017 under the direction of bhsm Architects, with the additions being removed, the east and west wings expanded, and a new wing being built to the north to modernize the facility for contemporary educational needs, while preserving and restoring the original front facade of the building facing the courtyard, as well as character-defining historic interior spaces.

Great Ormes Head Lighthouse is a square, castellated two-storey building situated on the steep limestone cliffs of Great Orme's Head, 99m (325ft) above the sea. It is a Grade II listed building.

More photographs of the Great Orme's Head Lighthouse: www.jhluxton.com/Lighthouses/Mersey-Docks-and-Harbour-Boa...

The lantern was at ground level with the signal and telegraph room above. The signal room on the north-western elevation of the lighthouse still retains telescope ports in its windows. The south-eastern main elevation has a central doorway surmounted by a plaque which reads:

This Lighthouse was erected by the Mersey Docks and Harbour Board 1862 C F Lyster, Engineer

The doorway is flanked by wide bays with chamfered windows on both floors, surmounted by the machicolations of the castellated parapet. The sides of the lighthouse and its yards are enclosed by high blast-walls of massive construction similar to the rest of the building. The white rendering applied in 1974 has now been removed to reveal the limestone masonry of the structure. The lighthouse is now a hotel. The optic, bulb changer and timing mechanism can now be seen in the nearby Great Orme Visitor Centre.

Event and Historical Information:

A letter from a K. Parker on the 3 December 1861, recorded in the Trinity House Minute Books, expressed the need for a lighthouse on the Great Orme which Trinity House approved. There had been a telegraph station in the vicinity, but no earlier light. They decided that the optic should be dioptric. It was designed and constructed by G. Lyster, engineer-in-chief to the Mersey Docks and Harbour Board (who also altered the Point Lynas Lighthouse in 1871).

The light was first shown on 1 December 1862. It was Lyster's only design for a complete lighthouse. The original light used paraffin wick lamps, replaced in 1904 by vapourizing petroleum mantle burners, superseded in 1923 by dissolved acetylene mantle lamps producing 13,000 candle power. The light shone white from 099-243degrees with a red sector upt to 251 degrees and was taken over by Trinity House in 1973.

The light shone for the last time on 22 March 1985 having been made redundant by radar. The lighthouse then reverted to the ownership of the Mersey Docks and Harbour Company who sold the property.

The telegraph equipment was also removed around this time. The original lantern decorated the offices of the Mersey Docks and Harbour Company, Liverpool, for a period but has since been returned to be displayed at the summit of the Great Orme.

Notes from Coflein

220727_193255_oly-PEN-f_England-Wales

Engineering Building

University of Leicester

University Road

Leicester

Leicestershire

United Kingdom