rectangular photos on Flickr

West Breakwater Drawing 1898 by Ashtabula Archive

(This is a high-resolution scan. Unfortunately, Flickr does not seem to support these kinds of long rectangular images. I will try posting separate detail sections)

Ashtabula Harbor, Ohio. West Breakwater.

U. S. Engineer Office

Cleveland, Ohio

To accompany annual report for fiscal year ending June 30, 1898

Jared A. Smith

Colonel, Corps of Engineers, U. S. Army

Annual Reports of the War Department, Volume 2, Part 4, 1898

books.google.com/books?id=bNRBAQAAMAAJ&lpg=PA2688&amp...

JARED A. SMITH

Military History. — Cadet at the Military Academy, July 1, 1858, to June 17, 1862, when he was graduated and promoted in the Army to

Second Lieut., Corps of Engineers, June 17, 1862.

Served during the Rebellion of the Seceding States, 1862‑66: as Asst. Engineer on the staff of Major-General Banks, July 10 to Nov. 24, 1862; in the Northern Virginia Campaign, July 10 to Sep. 3, 1862, being engaged in the Battle of Cedar Mountain, Aug. 9, 1862, — and several

(Bvt. First Lieut., Aug. 9, 1862, for Gallant and Meritorious Services at the Battle of Cedar Mountain, Va.)

Skirmishes, Aug., 1862; on sick leave of absence, Aug. 28 to Nov. 22, 1862; at the Military Academy, as Asst. Professor of Geography, History, and Ethics, Nov. 26, 1862, to Aug. 19, 1863; as Asst. Engineer in

(First Lieut., Corps of Engineers, Mar. 3, 1863)

the construction of the Defenses of Portland, Me., and of the Northeastern Coast, Aug. 11, 1863, to Aug. 9, 1864, — of the Defenses of

(Captain, Corps of Engineers, June 25, 1864)

Baltimore, Md., Aug. 10 to Sep. 22, 1864, — of Ft. Montgomery, N. Y., Sep. 28, 1864, to Mar. 2, 1865, — and of Ft. Ontario, N. Y. (in local charge), Mar. 3, 1865, to Nov. –––––, 1866; on Engineer Recruiting

(Bvt. Major, Mar. 13, 1865,

for Gallant and Meritorious Services during the Rebellion)

service, Dec. 1, 1863, to Aug. 9, 1864.

Served: as Superintending Engineer of the Construction of the Defenses of New Bedford Harbor, Mas., and Preservation of Plymouth Beach, Mas., Nov., 1866, to June 1, 1869, — and Examinations for Improvement of Taunton River, and Duxbury Beach, Mas., 1868; as Assistant Engineer on the Geodetic Survey of the Northern Lakes, from p849 1869 to Apr. 1, 1871, — on Surveys and Plans for a Harbor of Refuge in Lake Huron, Apr. 1, 1871, to Dec. 1, 1873 (leave of absence in Europe, May 28 to Sep. 26, 1873), — and on the Defenses of Key West and Dry Tortugas, Fla., Dec. 12, 1873, to Jan. 29, 1874; as Superintending Engineer

(Major, Corps of Engineers, Jan. 13, 1874)

of the Construction of the Defenses of Key West and Dry Tortugas, Fla., Jan. 29, 1874, to Dec. 16, 1876, being at the same time Engineer of the Seventh Light-house District; in charge of various River and Harbor Improvements, Surveys, etc., in Indiana, Jan. 22, 1877, to July 16, 1884; on sick leave of absence, Sep. 18, 1880, to Apr. 28, 1881; as Engineer of Fifth and Sixth Light-house Districts, June 20, 1884, to Feb. 18, 1886; in charge of Fortifications and River and Harbor Improvements in Maine and New Hampshire, since Feb. 28, 1886; and as Member of various Engineer Boards, 1877‑90.

Lieut.‑Colonel, Corps of Engineers, Apr. 7, 1888.

Vol. IV

p135 [Supplement, Vol. IV: 1890‑1900]

Military History. — Stationed at Portland, Me., in charge of fortification and river and harbor works in Maine and New Hampshire, Feb. 27, 1886 to Dec. 9, 1891. — at Cleveland, O., in charge of improvement of rivers and harbors on Lake Erie, west of Erie, Pa., Dec. 11, 1891 to –––––; Member of various Boards of Engineer Officers on river and harbor improvements.

(Colonel, Corps of Engineers, Feb. 5, 1897)

Vol. V

p106 [Supplement, Vol. V: 1900‑1910]

Military History. — Member of Board of Engineers (under Act of Congress of March 2, 1889), to examine coast of Texas and report upon subject of obtaining deep water harbors on that coast, March 16 to Dec. 16, 1889. — At Cleveland, Ohio, in charge of improvement of rivers and harbors on Lake Erie west of Erie, Pa., Dec. 11, 1891 to Dec. 1, 1900. — Engineer of Tenth Lighthouse District, Dec. 11, 1891 to Aug. 19, 1897. — Member of Board of Engineers under Act of Congress of June 29, 1898, on the construction of an international bridge across the Niagara River, in September, 1898. — Division Engineer of the Pacific Division, Dec. 15, 1900 to Sept. 23, 1901. During same time, member and President of the California Debris Commission, and member of Board of Engineers for examination of Engineer Officers for promotion; for subjects relating to improvement of the Sacramento and Feather Rivers, Cal., and regulation of harbor lines of San Francisco and adjacent waters. — Oct. 1, 1901 to June 30, 1902, in charge of the improvement of the Delaware River. — Oct. 1, 1901 to April 12, 1903, in charge of the construction of warn for the defense of the Delaware River, and of improvement of channels of streams tributary to Delaware River and Bay, and of construction of Interior Water Way from Chincoteague, Va., to the Delaware Bay at or near Lewes, Del., and of the removal of various wrecks in Delaware Bay and adjacent waters of the Atlantic coast.

(Brigadier-General, U. S. Army, April 13, 1903)

Retired from Active Service April 14, 1903,

at his own request, after over 40 Years' Service.

Civil History. — Since retirement consulting engineer at Cleveland, Ohio. — Member of Cuyahoga County, Ohio, Building Commission since March 18, 1905, and President of same since September, 1907. — Residence, Cleveland, Ohio.

Vol. VI

p99 [Supplement, Vol. VI: 1910‑1920]

(Jared Augustine Smith, Born July 6, 1840.)

Military History. —

Brigadier-General, U. S. A., April 13, 1903.

Brigadier-General, U. S. A., Retired, April 14, 1903,

at His Own Request After Over 40 Years' Service.

Civil History. — After retirement, consulting engineer at Cleveland, Ohio. Member of Cuyahoga County, Ohio, Building Commission from March 18, 1905, and President of same from September, 1907.

Died, Dec. 17, 1910, at Cleveland, Ohio: Aged 70.

Portrait and obituary in Annual Report, Association of Graduates, for 1911.

Buried, Lake View Cemetery, Cleveland, OH.

The Pyramid of Cestius from the Side in Rome, July 2012 by ElissaSCA

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The Pyramid of Cestius (in Italian, Piramide di Caio Cestio or Piramide Cestia) is an ancient pyramid in Rome, Italy, near the Porta San Paolo and the Protestant Cemetery. It stands at a fork between two ancient roads, the Via Ostiensis and another road that ran west to the Tiber along the approximate line of the modern Via della Marmorata. Due to its incorporation into the city's fortifications, it is today one of the best-preserved ancient buildings in Rome.

The pyramid was built about 18 BC–12 BC as a tomb for Gaius Cestius, a magistrate and member of one of the four great religious corporations in Rome, the Septemviri Epulonum. It is of brick-faced concrete covered with slabs of white marble standing on a travertine foundation, measuring 100 Roman feet (29.6 m) square at the base and standing 125 Roman feet (37 m) high.

In the interior is the burial chamber, a simple barrel-vaulted rectangular cavity measuring 5.95 metres long, 4.10 m wide and 4.80 m high. When it was (re)discovered in 1660, the chamber was found to be decorated with frescoes, which were recorded by Pietro Santi Bartoli, but only the scantest traces of these now remain. There was no trace left of any other contents in the tomb, which had been plundered in antiquity. The tomb had been sealed when it was built, with no exterior entrance; it is not possible for visitors to access the interior, except by special permission typically only granted to scholars.

A dedicatory inscription is carved into the east and west flanks of the pyramid, so as to be visible from both sides. It reads:

C · CESTIVS · L · F · POB · EPULO · PR · TR · PL VII · VIR · EPOLONVM Gaius Cestius, son of Lucius, of the gens Pobilia, member of the College of Epulones, praetor, tribune of the plebs, septemvir of the Epulones.

Below the inscription on the east-facing side is a second inscription recording the circumstances of the tomb's construction. This reads:

OPVS · APSOLVTVM · EX · TESTAMENTO · DIEBVS · CCCXXX ARBITRATV PONTI · P · F · CLA · MELAE · HEREDIS · ET · POTHI · L The work was completed, in accordance with the will, in 330 days, by the decision of the heir [Lucius] Pontus Mela, son of Publius of the Claudia, and Pothus, freedman.

Another inscription on the east face is of modern origins, having been carved on the orders of Pope Alexander VII in 1663. Reading INSTAVRATVM · AN · DOMINI · MDCLXIII, it commemorates excavation and restoration work carried out in and around the tomb between 1660–62.

At the time of its construction, the Pyramid of Cestius would have stood in open countryside (tombs being forbidden within the city walls). Rome grew enormously during the imperial period, and, by the third century AD, the pyramid would have been surrounded by buildings. It originally stood in a low-walled enclosure, flanked by statues, columns and other tombs. Two marble bases were found next to the pyramid during excavations in the 1660s, complete with fragments of the bronze statues that originally had stood on their tops. The bases carried an inscription recorded by Bartoli in an engraving of 1697:

M · VALERIVS · MESSALLA · CORVINVS · P · RVTILIVS · LVPVS · L · IVNIVS · SILANVS · L · PONTIVS · MELA · D · MARIVS · NIGER · HEREDES · C · CESTI · ET · L · CESTIVS · QVAE · EX · PARTE · AD · EVM · FRATRIS · HEREDITAS · M · AGRIPPAE · MVNERE · PER · VENIT · EX · EA · PECVNIA · QVAM · PRO · SVIS · PARTIEVS · RECEPER · EX · VENDITIONE · ATTALICOR · QVAE · EIS · PER · EDICTVM · AEDILIS · IN · SEPVLCRVM · C · CESTI · EX · TESTAMENTO · EIVS · INFERRE · NON · LICVIT ·

This identifies Cestius' heirs as Marcus Valerius Messala Corvinus, a famous general; Publius Rutilius Lupus, an orator whose father of the same name had been consul in 90 BC; and Lucius Junius Silanus, a member of the distinguished gens Junia. The heirs had set up the statues and bases using money raised from the sale of valuable cloths (attalici). Cestius had stated in his will that the cloths were to be deposited in the tomb, but this practice had been forbidden by a recent edict passed by the aediles.

Pyramid of Cestius and environs by Giuseppe Vasi (18th century).

The sharply pointed shape of the pyramid is strongly reminiscent of the pyramids of Nubia, in particular of the kingdom of Meroë, which had been attacked by Rome in 23 BC. The similarity suggests that Cestius had possibly served in that campaign and perhaps intended the pyramid to serve as a commemoration. His pyramid was not the only one in Rome; a larger one—the so-called "pyramid of Romulus"—of similar form but unknown origins stood between the Vatican and the Mausoleum of Hadrian but was demolished in the 16th century.

Some writers have questioned whether the Roman pyramids were modelled on the much less steeply pointed Egyptian pyramids exemplified by the famous pyramids of Giza. However, the relatively shallow Giza-type pyramids were not exclusively used by the Egyptians; steeper pyramids of the Nubian type were favoured by the Ptolemaic dynasty of Egypt that had been brought to an end in the Roman conquest of 30 BC. The pyramid was, in any case, built during a period when Rome was going through a fad for all things Egyptian. The Circus Maximus was adorned by Augustus with an Egyptian obelisk, and pyramids were built elsewhere in the Roman Empire around this time; the Falicon pyramid near Nice in France was suspected by some to have been constructed by Roman legionaries who followed an Egyptian cult, but more recent research has indicated that it was actually built between 1803 and 1812.

During the construction of the Aurelian Walls between 271 and 275, the pyramid was incorporated into the walls to form a triangular bastion. It was one of many structures in the city to be reused to form part of the new walls, probably to reduce the cost and enable the structure to be built more quickly. It still forms part of a well-preserved stretch of the walls, a short distance from the Porta San Paolo.

The origins of the pyramid were forgotten during the Middle Ages. The inhabitants of Rome came to believe that it was the tomb of Remus (Meta Remi) and that its counterpart near the Vatican was the tomb of Romulus, a belief recorded by Petrarch. Its true provenance was clarified by Pope Alexander VII's excavations in the 1660s, which cleared the vegetation that had overgrown the pyramid, uncovered the inscriptions on its faces, tunnelled into the tomb's burial chamber and found the bases of two bronze statues that had stood alongside the pyramid.

The pyramid was an essential sight for many who undertook the Grand Tour in the 18th and 19th centuries. It was much admired by architects, becoming the primary model for pyramids built in the West during this period. Percy Bysshe Shelley described it as "one keen pyramid with wedge sublime" in Adonaïs, his 1821 elegy for John Keats. In turn the English novelist and poet Thomas Hardy saw the pyramid during a visit to the nearby Protestant Cemetery in 1887 and was inspired to write a poem, Rome: At the Pyramid of Cestius near the Graves of Shelley and Keats, in which he wondered: "Who, then was Cestius, / and what is he to me?"

In 2001, the pyramid's entrance and interior underwent restoration. In 2011, further work was announced to clean and restore the pyramid's badly damaged external walls, through which water seepage has endangered the frescoes within. The €1-million project will be sponsored by Japanese businessman Yuzu Yakhi and supervised by Italy's Ministry of Cultural Heritage.

The pyramid is the namesake of the Piramide station of the Rome Metro.

Text from: en.wikipedia.org/wiki/Pyramid_of_Cestius

Wien, 1. Bezirk (the art of very historic places at the old center of Vienna), das Burgtor, Bestandteil der alten Stadtbefestigung. 1821 nach einem Entwurf von Luigi Cagnola begonnen, 1824 von Peter Nobile vollendet (Burgring/Heldenplatz) by alfred lex

further pictures and information are available by clicking on the link at the end of page!)

History of the Vienna Hofburg

First residence

With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.

As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.

Imperial residence

Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.

First major extensions of the residence

In the area of "desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .

Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.

In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of today's Redoutensäle (1629-1631).

Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.

In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).

After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.

Baroque redesign of the Hofburg

In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.

After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.

Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .

Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.

Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).

Extensions in the 19th Century and early 20th century

Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.

1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.

1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.

1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.

In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).

At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.

After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.

On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.

1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.

1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.

The Imperial Palace in the 20th century

The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.

1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.

During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).

During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.

1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.

1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.

1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.

1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.

From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.

Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.

In 2006, additional rooms for the convention center were created by the boiler house yard.

(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)

www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am...

Home Rectangular Sign by marcia Scipio

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Rectangular Apple Crisp by John

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baked in a rectangular dish on purpose

Middenbury (Toowong, Queensland) by Buddy Patrick

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Middenbury, a single-storeyed brick building, rectangular in plan and surrounded by verandahs on three sides, is located in Toowong on an elevated position on the Brisbane River. It was constructed in 1865 as a villa residence on land owned by Mrs Eliza Mary Rogers, who purchased the site of just over 6 acres (2.4 hectares) in that year. Until 1956, the place was used a residence, with large grounds surrounding the house. Following acquisition of the property in 1957 by the Australian Broadcasting Company (ABC) the site was used for radio and television broadcasting, with Middenbury used primarily for office space.

Free settlement occurred in Brisbane, traditional country of the Yuggera and Turrbal people, from 1842. Land available for private ownership was progressively surveyed and offered for sale by the New South Wales government. Land was categorized as either ‘town', within gazetted towns and villages, ‘suburban', within 5 miles of town boundaries or ‘country', beyond this radius. Early settlement was largely focused on town land on opposite sides of the river at North Brisbane and South Brisbane, while suburban areas, such as Toowong (then referred to as Milton or West Milton) developed more slowly.

Moggill Road was surveyed and named in 1849 (later known as River Road, then partly Coronation Drive). It was the first route to Ipswich constructed on the north side of the Brisbane River and was shorter than the Ipswich Road on the other side of the river. The land on which Middenbury was constructed was located along this road. From the early 1850s, land speculators increasingly acquired property in the Milton and Toowong area, much of it initially for agricultural purposes.

In July 1853 James Henderson, a manager of the Bank of Australasia in Sydney, purchased Portion 25, Parish of Enoggera, a parcel of over 16 acres, (6.47 ha) dissected by the Moggill Road and fronting the Brisbane River. Henderson also purchased the adjacent Portion 26 and by 1860 had acquired around 400 acres between what is now Toowong and Indooroopilly. In 1865 surveyor and land agent James Warner (on behalf of Henderson) began advertising land parcels for sale in the ‘Village of Nona', a subdivision plan of most of Portions 25 and 26. The remainder of Portion 25, a parcel of just over 6 acres between Moggill Road and the river, was sold to Eliza Mary Rogers for £100 an acre, with the Certificate of Title registered in April 1865.

Born in 1797 at Rogate, in West Sussex, England, Eliza Mary Rogers (nee Gardner) arrived in Australia in 1835 with her husband Richard Rogers, their three children Eliza Mary, Louisa Emily, Lewis Gardner, and three children from Richard's first marriage, Edward, Richard, and Anna Susan. Another child Frank was born in 1837. Richard Rogers was employed as Ordnance Storekeeper in Sydney and for a time was also Colonial Storekeeper. In 1850 he was transferred to Hobart and performed similar duties until his retirement in 1855. The Rogers' returned to Sydney and in 1863, Richard accidentally drowned in a shallow creek in their garden at their Darling Point residence ‘Springfield'. Eliza Rogers' move from Sydney may have been influenced by her son Lewis Gardner (LG) living and working in Brisbane at this time. LG Rogers (born 1835) was appointed as a first class revenue clerk for the Queensland Treasury in 1862, a relatively high ranking and well paid position. It is uncertain when Eliza Rogers first came to Brisbane, but by February 1864 she was advertising for domestic servants in Milton.

The first half of the 1860s was a period of strong growth for Brisbane in the newly established colony of Queensland. Immigration boosted the population dramatically (more than doubling between 1861 and 1864 to over 12, 000) and many substantial public and private buildings were constructed during this time. The urban environment of Brisbane's fledgling town centre, where residential dwellings co-existed in close proximity with commercial and industrial activity, was characterised by congestion, noise, and poor sanitation, common among other developing towns and cities in mid-19th century Australia. During this period ‘villa estates', located in the suburban periphery in then semi-rural settings - on elevated locations such as along ridgelines, and in some instances with river frontage - became an increasingly popular type of dwelling for Brisbane's more affluent residents. This demographic included higher-ranking public servants, professionals, and successful business people. The flight to residential villa estates by the well-to-do was a development pattern that occurred internationally during the Victorian era. Key elements of villa estates included large and comfortable houses, associated outbuildings such as servant's' quarters and stabling, expansive garden settings, and a good road to town.

While some early Brisbane suburban villa residences were located in relative isolation (such as Saint Johns Wood, in present day Ashgrove), in other instances they were established in closer proximity, as occurred along the ridges and on the Brisbane River between Milton and Toowong. At the time of Eliza's Rogers' land purchase there were only a small number of residences in the area. Early substantial residences in the area included: Milton House 1853, built for retired chemist Ambrose Eldridge; ‘Minto', built for WLG Drew, Queensland's Auditor-General (1877 - 1889); ‘Dovercourt' (1864), the residence of architect William Ellerker; Moorland Villa (by 1862) for John Markwell, and Richard Langler Drew's ‘Karslake', later residence of early Toowong memoir writer JB Fewings. This early pattern of suburban settlement can be seen as both a geographic and built expression of the emerging socio-economic structure in Brisbane. While Richard Langler Drew (whose early residence had proclaimed his residential subdivision ‘Toowong Village' in 1862, closer suburban settlement did not occur until the 1870s, spurred on by the arrival of the railway to Brisbane from Ipswich. By 1881 there 1275 people living in Toowong in 300 dwellings.

In March 1865, the Brisbane Courier noted, ‘substantial brick villas, instead of wooden houses are on the increase'. A later article in September stated, ‘numerous villa residences have been erected during the past 12 months in the suburbs of the town...No greater proof of the prosperity of a city as a whole can be afforded than that derived from the disposition of its citizens to plant and build on its environs, and to make it their home socially as well as professionally...Scarcely a day passes but our advertising columns invite tenders for the erection of villa residences...'. It was in this year that Middenbury was constructed. The design of Middenbury has been attributed to architect James Cowlishaw although there is no firm evidence of this. An October newspaper advertisement for villa sites on the Nona Estate noted their location next to the residence ‘recently erected for L.G. Rogers, Esq.,' indicating Middenbury was constructed at this time.

A 1984 conservation management plan describes Middenbury when it was completed:

‘Middenbury...followed the detached villa pattern. The main part of the house was built in brick with a slate roof and was surrounded by verandahs on three sides. A large room, able to be divided by cedar folding doors, occupied the front of the house. Each end of this room was fitted with a cedar mantlepiece. The interior joinery was of cedar. The main door opened into a short hall which led from the verandah on the northern side into a long hall which extended through the centre of the house to a back verandah. It is believed that during the Rogers' occupancy of the house, one half of the large divided room at the east of the house was used as a dining room. The original breakfast room was situated behind the main entrance hall'. Middenbury took advantage of its elevated waterfront location, oriented to face a broad reach of the Brisbane River.

By June 1866, the house was known as ‘Middenbury'. The source of the name has not been verified; one suggested link is the suburb of Midanbury, in Southampton, England, which took its name from a large house Middenbury, built in the 1700s. Both Lewis and Eliza Rogers' name appear in notices related to Middenbury from the time of its completion, and the house appears to have been used as residence by both members of the family. Middenbury was let out for a few months in both 1868 and 1869; at this time it was identified as the house of Eliza Rogers. In 1874, 1 rood and 37 ¼ perches (nearly half an acre or 0.2 ha) of the Middenbury property was acquired by the Commissioner of Railways for the railway extension to Brisbane from Ipswich. An 1875 survey map conducted as part of this process shows Middenbury with verandahs on its northeast and southeast elevations, with the rear of the house flanked by service wings, and a building on the site of the stables.

After the death of Eliza Rogers at Middenbury in October 1875, the property passed to four of the Rogers siblings - Eliza (Jr), Louisa (Minnie), Lewis, and Frank. Lewis Rogers died at Middenbury in December 1876, with his share in the property passing to his wife Frances Wyndowe Rogers (nee Miles) whom he had married in 1867. In March 1877, Frank Rogers was advertising Middenbury for rental, ‘containing drawing, dining, 7 bedrooms, besides kitchen, laundry...coachhouse, stables, garden, and paddock, and every requisite for a gentleman's family'. In the same month, much of the contents of Middenbury were put up for auction. The exhaustive list compiled for the auction reveals the affluent lifestyle of the Rogers' during their residency. In addition to the ‘superior household furniture', ‘culinary requisites' and items used by domestic staff, the family horse and carriage, milch cows, pigs, and poultry were also offered for purchase.

A number of tenants are known to have occupied Middenbury from 1877 until its purchase by Timothy O'Shea in 1891. Thomas Finney, co-founder of the large Queensland retail firm of Finney, Isles and Co., lived with his family at Middenbury until mid-1883, while his family's new residence, Sidney House (designed by Francis 'FDG' Stanley) was erected on the adjacent property. According to Florence Lord, in her 1930s series on Brisbane's Historic Homes, 'Mr Jackson' brother-in-law of Thomas Finney, resided in Middenbury prior to the Finney's. Hervey Murray-Prior, a barrister and Master of Titles (and son of Thomas Lodge Murray-Prior, Queensland's first postmaster-general), was living at Middenbury with his family in 1885. However by September of that year, the contents of the house were advertised for auction, suggesting an end to their tenancy around this time. Henry Bolton, a former Member of the Legislative Assembly in Victoria who became managing director of the Queensland Brewing Company in 1883, was living at Middenbury in mid-1889 when it was offered to let.

In April 1885 Middenbury, described as ‘a commodious country residence...command[ing] views of reaches both up and down the stream, and overlooking the whole of Brisbane, north and south' was put up for auction, but was not sold. By July of that year Frank Rogers had bought out the three other shares held by his two sisters and Francis Rogers, and is believed to have occupied the house periodically in the late 1880s. Frank Rogers subdivided the 5 acre, 2 roods, and 24¾ perch property and sold off parcels to the south of the house, ultimately retaining the residence on just over 2 acres 2 roods and 35 4/10 perches (approx.1.1ha). Present day Archer Street was formed from this subdivision (officially named in 1887) and an entrance to Middenbury was made off this street.

In August 1890 Timothy O'Shea, a retired successful Brisbane produce merchant, signed a one year lease over Middenbury for £17 a month, before buying the property in August 1891. Middenbury remained the family residence of the O'Shea's until 1949. Timothy and Ellen O'Shea emigrated from Killarney, Ireland to Queensland in 1863. Of their five children who were raised in Brisbane, Timothy (Ted), Patrick (Pat or PJ) and only daughter Ella are known to have resided at Middenbury. After her mother's death in 1873, Ella assisted her father in raising the family and running the household, continuing this role after her father died. Patrick, Ted, and other brother John, (Jack or JJ) were all solicitors, while another brother Michael James was a doctor. Patrick and Ted established the firm O'Shea and O'Shea (later O'Shea, Corser and Wadley) solicitors in 1891. Apart from his legal practice, Pat was involved in a range of business activities. Along with his brother Ted, he was part of the original syndicate which became the City Electric Light Company, and also maintained interests in the Queensland Brewery, Moreton Sugar Mill, furniture company John Hicks, and suburban property subdivision. An owner and breeder of horses, he was closely involved in the racing industry, a one-time president (for 22 years) and life member of the Queensland Turf Club. The ‘PJ O'Shea Stakes', Queensland's major weight for age staying race, is named in his honour.

During the O'Shea's time at Middenbury, the longest period of continuous occupancy of the building as a residence, considerable alterations and additions occurred at the property. The largest change to the house was the addition of a brick building containing a study/bedroom and bathroom, connected to the house verandah by an open sided ‘piazza' which featured built-in wall beds. A garage and chauffeur's room were added along Archer Street, near the earlier brick stables which also housed a room for guests. While the extent of alterations to the grounds during the O'Shea period is unclear, it is known a lawn tennis court was established on a terraced area between the river and the house, while other landscape features included a large circular driveway, mature trees and a series of garden beds.

Timothy O'Shea died age 91 at Middenbury in 1922. Ella, Pat, and Ted (died 1930) never married and lived out their days at Middenbury in comfortable circumstances. Prior to World War II, Middenbury became a well-known social venue for the elite in Brisbane, with the house and the grounds hosting numerous events and guests. The social pages of Brisbane's newspapers regularly reported on occasions held at the residence including events connected to racing and regatta parties. In 1936 Ella was featured as part of the Courier-Mail's ‘Brisbane Hostesses in the Home' series. Pictured in the drawing room of Middenbury, the article claimed, ‘Musicians, actors, travellers...who have been guests...have spread the fame of Miss Ella O'Shea as a hostess in all the English speaking countries'. Ella O'Shea died on the 2nd of February 1949, age 92. Three days later, on the 5th of February, Pat, who was reported as saying to his ‘intimates', 'If I live only five minutes after my sister, I shall die happy' also died, both leaving substantial estates. Pat's obituary in the Sunday Mail noted the end of an era at the now empty Middenbury, where, ‘Titled people, actors, artists, world celebrities were invited...They found its halls a home and its gardens a soft sanctuary'.

Middenbury was put up for by auction on the 6th of July 1949. William Ramsay Webster and Amy Louisa Webster, of Webster's Cake and Biscuit Company, and the original Shingle Inn, purchased the property for just over £11, 000. Prior to the sale, an auction notice described Middenbury at this time:

‘Middenbury is substantially built of brick and wood, with slate and galvanised iron roofs, and comprises spacious verandahs, vestibule, halls, card room, lounge, music room, three bedrooms, two well appointed bathrooms with marble surrounds and shower room, with tiled floors, lounge verandah with set-in folding American beds, study, dining room with wine cellar, scullery, kitchen, with tiled fireplace...Maid's Rooms, brick chimneys with marble mantelpieces... built-in cupboards throughout, polished floors and sewered; Boiler room...laundry equipped with bricked-in copper and porcelain wash tubs, wood rooms, double garage with concreted wash yard, man's room and storerooms; Stable Building, with attic and comfortable bedroom; and 2 sets of brick lavatories'.

The Webster family continued the O'Shea tradition of hosting large social gatherings at Middenbury, and lived there until 1955, when it was sold to Accommodation Australia Ltd. Middenbury and the adjacent property containing Sidney House were purchased and combined (identified in 2014 as Lot 13, RP104400) by the Australian Broadcasting Commission, (ABC, now known as the Australian Broadcasting Corporation) in 1957 to establish new adjoining Queensland facilities for radio and television production and broadcasting. Operated by the Australian Government, ABC television commenced radio broadcasting in Australia on the 1st of July 1932. The Queensland government-owned radio station 4QG was taken over by the ABC and broadcast in the mornings and evenings, before a second station 4QR was opened in 1938 to broadcast the full national program. The ABC was given responsibility to provide national television programs in 1954, commencing in November 1956, in time for the Olympic Games in Melbourne. The focus of ABC's television operations was initially in Melbourne and Sydney until the late 1950s, when services were established in Sydney, Adelaide, and Hobart.

Sidney House was demolished to make way for the first major building on the site, the television studios. Constructed in brick, it was a three storey building mounted by a 130ft steel framed tower for beaming programmes to the main transmitting tower at nearby Mount Cootha. The building included an isolated studio, plus projection, sound, viewing control, and news section rooms. In 1968 the television studio building was extended towards the river. The other major building constructed on the site was the 1964 brick radio studio, located between Archer Street and Middenbury, which included special acoustic studios.

The ABC's first television broadcast in Queensland occurred on the 2nd of November 1959 at 7PM. In a nod to its past, Middenbury hosted some 300 invited guests at the official function to mark the occasion, with 10 televisions set up within the building for viewing of the live broadcast of the ABC's ‘Queensland Television Service'. ‘Channel 2' was Brisbane's third television station and Australia's twelfth.

As with Sidney House, it was never the original intention to retain Middenbury, with its location designated for radio broadcasting facilities. By the early 1960s, earlier outbuildings, including the stables, garage and most of the garden features had been removed. On Coronation Drive, two large weeping figs near the former entrance were retained. As part of the major landscaping of the site, much of Middenbury became surrounded by a steep concrete retaining wall. At the house, the ‘piazza' and bedroom extension and the rear timber wing on the southwest were demolished.

In 1969, a report prepared by the Federal Department of Works on Middenbury identified the historical significance of the building and recommended preserving the house ‘if at all possible'. The report noted part of the building was used for canteen facilities, 'which could be extended to become a most attractive staff amenity' or alternatively ‘an excellent executive office suite'. Repairs had also been undertaken and the interior ‘extensively decorated'. Over time, Middenbury was used mainly as office space while part of the ABC's operations. The building underwent additions and alterations internally, including partitioning in some spaces to create new rooms. While elements disappeared, Middenbury retained its essential 1865 building form, some early internal spaces and cedar joinery, while maintaining its orientation and relationship to the river. In its last few years of occupancy by the ABC, Middenbury housed the Chief Executive, Finance and Human Resources operations.

The ABC vacated its site at Toowong in 2007, following concerns about high incidences of cancer among staff members at the site. As the ABC's key site for broadcasting and production in Queensland for nearly half a century, the Toowong facilities were highly important, broadcasting news, current affairs, and numerous other television and radio programs throughout Queensland and other parts of Australia. Between 1957 and 2007, the ABC's facilities were frequently altered, with the addition of other buildings on the site, and internal changes to earlier buildings. With the vacating of the site, much of the broadcasting equipment and associated fittings and fixtures were dismantled or removed, effectively inhibiting the site's ability to demonstrate its former function.

In 1968, Middenbury was one of the earliest listings on the Register of the National Trust of Queensland and was later included in the Register of the National Estate in 1978. When the Queensland Heritage Act 1992 commenced, Middenbury had been included in the newly established Heritage Register. However, in 2004 reference to it having been entered in the state register was removed by a decision of the Queensland Heritage Council, in acceptance of legal advice regarding properties owned by the Australian Government for public purposes. In 2013 the property was transferred from Australian Government to private ownership.

Source: Queensland Heritage Register.

alineación rectangular by Martin Eugenio

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Rectangular architecture, Torrevieja by Ilpo Paukkeri

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rectangular by Ron Donoghue

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rectangular block log cabin .. by Françoise.B

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recyclé en pochette.

Església parroquial de Sant Joan, Olesa de Bonesvalls by 11299883

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L'església parroquial de Sant Joan es troba al nucli antic d'Olesa. És un edifici d'una sola nau rectangular coberta amb volta de canó amb cinc llunetes per banda i capçalera recta amb dues grans petxines i volta de quart d'esfera a l'interior. Teulada a dues vessants amb carener perpendicular a la façana. Corona l'edifici un ràfec de teulada inclinat amb una bola de pedra a la punta. Façana orientada a llevant amb porta centrada d'arc escarser o rebaixat de pedra treballada amb la data 1776 a la dovella principal. Quatre graons salven el desnivell amb l'interior. Sobre la porta hi ha un rosetó circular rematat per un ull de bou. profusament decorada.

Al costat esquerre de la façana hi ha adossat el campanar. De base quadrada fins a la primera línia que sobresurt i després és muntat per dos cossos amb les arestes en xamfrà, coronat per una barana de balustres. Al cos superior té quatre finestres d'arc de mig punt, una a cada cara, una campana a l'obertura de migdia i a sota el rellotge. Fou bastit el 1808. La nau interior és de mamposteria emblanquinada. S'obren sis capelles, tres a cada banda cobertes amb voltes de creueria. La nau és de volta de mig punt amb una cornisa que distingeix la volta dels murs laterals, dividida la volta en cinc trams separats per arcs. Al peu de l'església, davant la porta, hi ha el cor amb balustrada de fusta, a sota, al costat dret, es conserva dins un buc al mur la pica baptismal. L'absis és quadrat i està coronat per una petxina, símbol de Sant Joan, patró de la parròquia., en el que es troba l'altar major. Adossat a l'església per la banda de l'absis hi ha la rectoria i la sagristia. La sagristia té un arc escarser de pedra amb les arestes treballades. A la paret de ponent hi ha la rectoria afegida. A la sagristia hi havia el cor de l'antiga església, i després de l'incendi del 1948 van quedar al descobert grafits del segle XVI i XVII als panys inferiors de la volta amb noms de persones del poble. A les capelles laterals hi ha diferents retaules amb advocacions: entrant a la dreta, primer el de Sant Isidre, d'estil barroc de mitjan segle XVIII; segon, el del Nen de Praga (Santíssim Nom de Jesús) de mitjan segle XVI; tercer, el del Roser, datat a la segona meitat del segle XVI d'estil neoclàssic. Entrant a l'esquerra: primer el del Sant Crist d'estil neoclàssic; segon, el de Sant Sebastià, abans dedicat a Santa Madrona, de mitjan segle XVIII, neoclàssic; tercer, el del Sagrat Cor, d'inicis del XIX. Tots són de fusta menys el de l'Altar Major i el del Sagrat Cor que són d'estuc de guix. L'altar Major és dedicat a Sant Joan, d'estil neoclàssic però més gran que els altres, amb la data 1810 a un costat.

Observacions: Està inclòs al catàleg d'elements a protegir del PGOU d'Olesa, 1989.

Es desconeix la data exacta de la consagració de l'església, però per les restes es pot datar de començaments del segle XI.

El primer document que l'esmenta és de l'any 1183 i ja diu que és parroquial, citada dins el domini del castell de Cervelló i sota el patronat d'aquests durant els segles XIII, XIV i XV. L'edifici possiblement substituí a un edifici anterior romànic i de petites dimensions que es mantingué fins el segle XVI, moment en què es fan obres i es comença a construir al costat la rectoria, iniciada el 1520. Les obres d'aquesta època s'allargarien durant tot el segle, afegint capelles al lateral de l'església. Hi ha una llicència del vicari general, del 18-3-1591 al rector, jurats i obrers d'Olesa i Cervelló per fer una capella a la Mare de Déu del Roser a un costat de l'església. El 1586 existia la capella i benefici de Sant Rafael. El 8 de març de 1601 s'erigí la confraria de la Preciosa Sang, autoritzada pel bisbe Coloma, senyor d'Olesa. El dia 11 d'agost de 1732 es donà llicència al rector per beneir una campana per a l'església i el 17 de novembre el vicari general dóna llicència per beneir dues noves campanes al rector Marcer. El 1740 es feren obres per col·locar el retaule de Santa Madrona. Al segle XVIII hi havia quatre administracions: Sant Joan, el Roser, el Santíssim nom de Jesús i Sant Isidre. En quedar petita l'església i plena d'afegits s'optà per fer una nova, més gran i d'estil neoclàssic. Les obres començaren abans de 1776 amb diferents aportacions del poble en material i feina, obra encarregada al mestre de cases de Vilafranca, Joan Catllar. L'antiga església no fou enderrocada completament, ja que sembla quedar una part del mur de migdia al sector que donava al fossar, on hi ha un portal del que s'han perdut les dovelles i que sembla l'antiga entrada, així com sembla que hi havia un campanar d'espadanya. La diada de Sant Joan del 1777 es beneí la nova església essent rector Marià Marcer i sota la jurisdicció del territori del bisbe Gabí de Valladares. També es remodela la rectoria en aquesta època. L'any 1808 es bastí el campanar. El 1810 es construí l'altar major que és d'estuc. L'església es mantingué de la mateixa manera amb petites modificacions fins el 1936. Cal destacar que les obres no són artísticament molt destacables tot i que molt proporcionades ja que es tractava d'una parròquia relativament pobra. El 27 de juliol del 1936 va ser saquejada i van desaparèixer totes les imatges, les peces d'orfebreria per robatoris i incendi, així com tot el que hi havia a la rectoria que fou destruïda. Se salvà en part l'Arxiu parroquial i la resta d'elements gràcies a que una persona del poble va fer un envà a la porta impedint l'entrada. Les tres campanes foren tretes per fondre. L'any 1941 es començà a reconstruir la rectoria, però patí un incendi el 1948 i es tornaren a fer obres de consolidació, posant-se al descobert un portal adovellat de mig punt entre d'altres elements antics. Els set retaules de l'església es salvaren de la destrucció del 1936. El de l'Altar Major que és d'estuc i altres sis de petites dimensions que es troben als costats: el del Nen de Praga és de mitjans del segle XVI; el del Roser del 1596; els altres són posteriors. Després de la guerra es col·locà la campana que restà al campanar de l'Hospital, que després es va retirar en estar en mal estat i es va fondre. La campana actual és de bronze feta amb el de l'anterior i s'anomena Maria Marta. A partir del 1956 s'instal·là un rellotge al campanar. A la dècada dels vuitanta es va pintar l'església i s'hi feren obres de millora. Des del 1990 es troba il·luminat el temple exteriorment.

patrimonicultural.diba.cat/#

Istana Iskandariah Kuala Kangsar by emma songall

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The design of the palace is based on the architecture of West Asia, which is famous for its pointed arches and onion-shaped domes. The building is rectangular in shape and faces the sunrise and the river. The roof is designed with one main dome in the centre and four subsidiary domes, one on each of the palace.

The palace is three storeys high. The ground floor houses:

*The Royal Dining Room

*Two Audience Halls

*Reception Area

*The Royal Rest Chambers

*Ladies' Cloak Room

*Aide-de-Camp's Office

*Music Hall

*Royal Council Chamber.

On the first floor are located the Princesses' bedrooms, two Royal Guest Rooms and Their Royal Highnesses' suite; while the second floor houses of the Princess's bedrooms and another Royal Guest Room.

Above the second floor and under the main dome is a minaret. Here the hall measures 9.8 square meters and is used by the Royal family as a family hall.

In 1984, Istana Iskandariah was extended towards the rear by an additional 11,468 square meters, at the same level ass the main palace and is connected to it by a covered bridge at the first floor level. The architecture of the extension is similar to that of the main palace so that it appears as if it were one building constructed at the same time.

The extension which measures 99 meters by 38.7 meters is rectangular in shape with one main dome and four smaller ones, one at each corner. As is seen now, the palace has two main domes and eight smaller ones located at each corner of the palace.

The ground floor of the extension is the garage for the royal cars, the first floor is the new Banquet Hall, while the second floor is the new Throne Room (Balairong Seri). The Throne Room and Banquet Hall are decorated with carvings of Bunga Kelumpang.

HA4803XC_tasti_tech by BTicino Images

BTicino: Axolute cover plate - rectangular (rettangolari) - Brushed aluminium (alluminio spazzolato)

Golosineros Winnie Pooh by Adriana Caceres

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Golosinero rectangular con carita en goma eva de Winnie ,con corazon en porcelana fria.

Rectangular disappearing pin wheel... by K

Rectangular biscuit tin by Pat's_photos

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Rectangular Circle by Hugo Baptista

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A security guard came and asked me what I was doing. I said taking photos of burning steel wool.. he said: oh ok.. but don't do anything crazy ok? have a good night... They should all be like that...

Wien, 1. Bezirk (the art of historic nighttime places in the core of downtown Vienna) - Heldenplatz (Hofburg/Österreichische Nationalbibliothek), and the defending champion is, Prinz Eugen! by Alfred Lex

(further pictures and information are available by clicking on the link at the end of page!)