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Talk:List of organisations with a British royal charter

Updated information
I have derived the full list of organisations with Royal Patronage from the Privy Council. This is far more complete but I require some help editing it to bring it into wiki standards. Cheers --Alex 12:22, 18 July 2006 (UTC)

It also needs links checking and pointing to relevant articles. Some of the names of the organisations have been changed or taken over by other institutions.--Alex 13:05, 18 July 2006 (UTC)

New category created Category:Organisations with Royal patronage complete until 1599 --Alex 11:57, 19 July 2006 (UTC)

I do not believe organisations with the Royal prefix necessarily have a Royal Charter. The privy council provides a full list of organisations with a Royal Charter replicated here List of organisations with a British royal charter. The Royal Navy etc are not listed as having a Royal Charter--Alex 15:27, 15 August 2006 (UTC)

Royal patronage and Royal charter
Puzzled by the distinction between "royal patronage" and "royal charter". This List of UK organisations with royal patronage seems to be just a list of organisations whose names begin "Royal...". There is also an entry under Royal Charter, which does not link to this list of "Royal" organisations, and a short list of organisations at List of British professional bodies, which also has no link to the longer list. The two lists differ in a few instances (e.g. name of Royal College of Physicians - of London?), and each contains entries which are not included in the other. Time for some cross-references! And for some rewriting by someone who knows more about this topic than me! -- Hugh2414 12:23, 5 Mar 2004 (UTC)

I would agree about this being a list of organisations whose names begin with Royal.... I was going to add some names of (former) UK Government organisations which had Royal Charters, such as the Royal Arsenal, the Royal Armaments Research and Development Establishment, etc. Perhaps I'll sit on this list for the time being.Pyrotec 08:30, 29 July 2005 (UTC)

As many of the organizations are NOT in the UK it would appear strange (and wrong!) to add them to a UK listing. davidreilly December 7, 2005.

Recommend Deletion of List of UK organisations with royal patronage and Keep List of Royal Societies but consider retitling to List of bodies with Royal Charter or consider a Category. Royal Charter in the UK is a method of incorporating a body by special means - a direct creation under the blessing of the Crown. It usually indicates that they are some sort of charitable or special bodies that have some sort of special status - eg the BBC, or London Zoo, or a professional society, and can means that they have some sort of state function but have some level of independence of Parliament in some way. Royal patronage just means that a member of the Royal Family (not just the Monarch) agrees to lend their name as Patron or President or whatever, and that they try to assist by attending a meeting etc. (In a similar fashion, Richard Gere is a Patron of various Tibetan charities, and Geri Halliwell is or was a Patron/ambassdor of UNESCO). There are thousands of organisations with Royal Patronage - the Queen has 800 alone - see 4th question. In comparison, Royal Charter is a bit more special. Scottkeir 12:45, 19 December 2005 (UTC)

 * I think a list of organisations with "Royal" in the name is useful. If you think the literal interpretation of the name here would be impractical, solution is to move it to List of UK organisations with "royal" in the name,or somesuch, rather than deleting a useful list.  Morwen - Talk 12:47, 19 December 2005 (UTC)

Firstly, the List of UK organisation with royal patronage is, under its current title, wrong. A society has 'royal patronage' if its patron is a member of the royal family, not if it has the name 'royal' in the title (according to royal.gov.uk 'The Queen is Patron or President of over 700 organisations', and the other royals are also patrons of a number of societies, charities, etc.). Similarly, a list of bodies with royal charters should list all the bodies with royal charters, not those with 'royal' in the title (e.g. the University of London, the Institute of Physics, etc.). So - is a list of organisations with 'royal' in the title a genuine topic for a Wikipedia article? I would say yes because, in the UK at least, you cannot use the title 'royal' unless you have been granted the right to do so (as, indeed, you must to use Queen's or King's - which are also 'royal titles' - e.g. Durham University's 'Queen's Campus', which was granted the title during the Queen's Golden Jubilee in 2002). The granting of such a title is important - as the RAEng website says 'In 1992 its prestige and success in promoting engineering excellence were recognised when, with the grant of a Royal title, it became The Royal Academy of Engineering', and the furore caused by the loss of the royal title when the RUC became the PSNI. Possibly the best place for such a page would be List of British organisations with a Royal title, although this should then include Queen's and King's as well as Royal. However, this would probably be more meaningful as an encyclopedia article recognising those societies and other organisations that have received this honour. Robminchin 03:42, 24 December 2005 (UTC)

At least one - the Royal Society of New South Wales is in Australia not the UK. I am just about to add the Royal Society of Victoria. The other states of Australia and New Zealand have Royal Societies. This needs to be taken into account. Bduke 07:30, 20 January 2006 (UTC)

Thousands of omissions - Category would be far better for this
If the decision has been taken not to merge or delete List of UK organisations with royal patronage and List of Royal Societies, and not to create List of bodies with Royal Charter or consider a Category, then there are thousands of organisations with Royal Patronage - the Queen has 800 alone - see 4th question. Many of these don't have Royal in the title - eg the R&D Society and the Darwin Foundation have Prince Philip as Patron. Similarily, Royal Charter does not guarantee that there will be the word Royal in the name - eg the Institute of Physics got a Royal Charter in 1970. I'd recommend deleting this page, and creating categories for Organisations with Royal Charter and possibly, Commonwealth organisations with Royal patronage. Scottkeir 10:46, 4 February 2006 (UTC)

Borough charters and extinct bodies
I notice there are a few of these included in the 1990s section. There have beeen literally hundreds of these, which would bloat this article. As the (current) ones are dealt with at borough status in the United Kingdom they could be dispensed with?

Also there are a good few organisations in the list that I would presume to be extinct. If we wwere to attempt to list all defunct chartered bodies, the list would expand beyond all reason...Lozleader 11:58, 26 July 2006 (UTC)

a table
I have inserted a table which I think is an improvement but it needs lots of editor time to make it right. A table should allow for notes re changes of name etc and also for references.John Cross (talk) 16:25, 27 November 2010 (UTC)


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Index of fractal-related articles

This is a list of fractal topics, by Wikipedia page, See also list of dynamical systems and differential equations topics.

 * 1/f noise
 * Apollonian gasket
 * Attractor
 * Box-counting dimension
 * Cantor distribution
 * Cantor dust
 * Cantor function
 * Cantor set
 * Cantor space
 * Chaos theory
 * Coastline
 * Constructal theory
 * Dimension
 * Dimension theory
 * Dragon curve
 * Fatou set
 * Fractal
 * Fractal antenna
 * Fractal art
 * Fractal compression
 * Fractal flame
 * Fractal landscape
 * Fractal transform
 * Fractint
 * Graftal
 * Iterated function system
 * Horseshoe map
 * How Long Is the Coast of Britain? Statistical Self-Similarity and Fractional Dimension
 * Julia set
 * Koch snowflake
 * L-system
 * Lebesgue covering dimension
 * Lévy C curve
 * Lévy flight
 * List of fractals by Hausdorff dimension
 * Lorenz attractor
 * Lyapunov fractal
 * Mandelbrot set
 * Menger sponge
 * Minkowski–Bouligand dimension
 * Multifractal analysis
 * Olbers' paradox
 * Perlin noise
 * Power law
 * Rectifiable curve
 * Scale-free network
 * Self-similarity
 * Sierpinski carpet
 * Sierpiński curve
 * Sierpinski triangle
 * Space-filling curve
 * T-square (fractal)
 * Topological dimension

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Index of fractal-related articles


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Celtic Park

Celtic Park (Scottish Gaelic: Pàirc Cheilteach) is a football stadium, currently the home of Scottish Premiership team Celtic Football Club, in the Parkhead area of Glasgow, Scotland. With a capacity of 60,832, it is the largest football stadium in Scotland, and the eighth-largest stadium in the United Kingdom. It is also known as Parkhead or Paradise.

Celtic was formed in 1887 and the first Celtic Park opened in Parkhead in 1888. The club moved to the current site in 1892, after the rental charge was greatly increased on the first. The new site was developed into an oval-shaped stadium, with vast terracing sections. The record attendance of 83,500 was set at an Old Firm derby on 1 January 1938. The terraces were covered and floodlights installed between 1957 and 1971. The Taylor Report mandated that major clubs should have all-seater stadia by August 1994. Celtic was in a poor financial position in the early 1990s and no major work was carried out until Fergus McCann took control of the club in March 1994. The old terraces were demolished to develop a new stadium in a phased rebuild completed in August 1998. A section of rail seating was installed in 2016.

A UEFA category four stadium, Celtic Park has been used as a venue for Scotland internationals and Cup Finals when Hampden Park has been unavailable. Before the First World War, Celtic Park hosted composite rules shinty-hurling, track and field and the 1897 Track Cycling World Championships. Open-air Masses and First World War recruitment drives were also held there. Celtic Park hosted the opening ceremony of the 2014 Commonwealth Games and has also been used for concerts by the Who and U2.

Original Celtic Park (1888–1892)
Celtic F.C. was formed in November 1887. The original Celtic Park was built at the north east junction of Springfield Road and London Road in Parkhead by a volunteer workforce within six months of formation. Its opening game was a match between Hibernian and Cowlairs. Celtic played its first match on 28 May 1888 at Celtic Park, against Rangers, which Celtic won 5–2. It hosted a British Home Championship match between Scotland and Ireland on 28 March 1891. Celtic was forced to leave this site in 1892, however, when the landlord increased the annual rent from £50 to £450.

New Celtic Park (1892–1904)
The new stadium was built in a disused brickyard at Janefield Street, 200 yards from the old site. The first turf, which had been transported from County Donegal, was laid by Irish patriot Michael Davitt and planted with shamrocks. He recited a verse that said the turf would "take root and flourish", but it was stolen soon afterwards. A journalist said the move was like "leaving the graveyard to enter paradise", which led to the ground being nicknamed "Paradise", although it is also often referred to as "Parkhead". The new Celtic Park was opened on 20 August 1892 with a match against Renton. A journalist writing in the Athletic News described Celtic Park as the best ground in Britain at the time, a title for which it may only have been challenged by Goodison Park, the home of Everton. Celtic Park was immediately successful, attracting record gate receipts and an attendance of 45,107 for the Scotland v England game in the 1894 British Home Championship. Celtic F.C. purchased the site for £100,000 in 1897.

The new stadium initially consisted of terracing with a capacity of approximately 40,000. It was an elongated oval shape, similar to Hampden Park. A running track and concrete cycling track were also constructed around the periphery of the pitch. On the northern side of the pitch there was a pavilion and a seated stand. In 1894, Celtic built the first ever press box at a football stadium in Britain, located high up on the main stand at Celtic Park. Later in the 1890s, club director James Grant financed the construction of an enclosed windowed stand (completed in 1899), built on stilts on the south side of the pitch. The spectators watched through sliding windows from padded seats, but they had to climb four flights of stairs to reach their position and the windows frequently steamed up.

Fire and rebuilding (1904–1957)
In May 1904, a fire destroyed the older north grandstand and severely damaged the adjacent pavilion; this prompted Celtic to buy the newer Grant Stand outright. The north enclosure was rebuilt by the following year.

By 1927 the Grant Stand had become unsafe and was demolished, to be replaced in summer 1929 by a new single-tier Main Stand, designed by Duncan and Kerr. This stand, which cost £35,000 and provided 4,800 seats, was smaller and less ornate than the Main Stand at Ibrox. The Celtic Park main stand had a similar feature to Ibrox, however, in the pedimented roof gable over the press box. Prior to its completion, the old pavilion on the opposite side of the field which dated from the original construction of the ground in 1892 and had partly escaped the 1904 fire (it had been 'reduced to cinders' in that blaze according to hastily filed contemporary reports) burned down entirely in March 1929, destroying some of the club's old records and photographs (the trophies were stored elsewhere). The club had to play the rest of their matches in the 1928–29 season at nearby Shawfield Stadium (reciprocating an earlier arrangement in 1914 when Clyde suffered similar damage to their ground) and also had to replace the roof of the stand next to the pavilion, which then became known as the "Hayshed".

Although it was only the third biggest ground in Glasgow, the rebuilt Celtic Park had a greater capacity than any club stadium in England. The record attendance for a Celtic match at Celtic Park was set by an Old Firm derby against Rangers on New Year's Day 1938. Some sources give the attendance for this game as 92,000, but contemporary sources suggest that the attendance was approximately 83,500.

Stadium improvements (1957–1990)
Significant improvements were carried out between 1957 and 1971, partly due to the great success Celtic achieved under the management of Jock Stein. A roof was built over the back of the western "Celtic End" terrace in 1957, while floodlights were installed in 1959. They were first used on 12 October, in a friendly match against Wolves. The northern "Hayshed" terrace, which became known as the "Jungle", was concreted in 1966 and a new roof was erected. A roof was built over the eastern "Rangers End" terrace in 1967, using the same design as the Rangers End at Hampden Park. All of this work meant that Celtic had more covered terracing than any other stadium in Britain, except Wembley. There were 4,800 seats, all in the Main Stand, in an overall capacity of 80,000. A further 3,900 seats were installed in the Main Stand paddock area in 1971. A new roof was erected over the Main Stand in 1971, which cost £250,000. It was supported by a "goalpost" framework, with the top girder measuring 97.5 metres long. The design was flawed, however, as the roof provided little shelter to the paddock seats, and retractable columns had to be installed to provide stability in case of high winds or heavy snow. Celtic later sued the designers and won damages.

The regulations in the Safety of Sports Grounds Act 1975 reduced the capacity of Celtic Park to 56,500, but the club then increased the terracing to raise capacity to 67,000. In 1986, £1 million was spent on replacing the western terrace roof with a replica of the eastern terrace, which had been designed nearly twenty years earlier. The original red brick facade to the Main Stand was replaced during the club's centenary year in 1988, while lounges and offices were installed. Although the Main Stand had been modernised, terracing was still predominant at Celtic Park. This stood in contrast to most other major stadia in Britain, particularly Ibrox, where seating capacities had been increased. This left Celtic badly placed when the Taylor Report mandated that all major clubs had to have an all-seater stadium.

Celtic difficulties and fully seated stadia (1990–1994)
Celtic was heavily in debt and had been significantly outgrown by Rangers commercially in the early 1990s. The Celtic board initially prevaricated in response to the Taylor Report, partly due to divisions in the board. Celtic director Brian Dempsey proposed a development on land he controlled at Robroyston, but he was opposed by fellow directors, Michael Kelly and Chris White, who had Dempsey removed from the board. Despite these divisions, a proposal to build a new 52,000-seat stadium on industrial waste ground at Cambuslang was unveiled in April 1992. The £100 million scheme was meant to include wider commercial developments that would fund the completed stadium, which would have only provided 32,000 seats in a first phase of construction. There was scepticism about the plan, however, as it was unclear how Celtic or their partner in the project, Superstadia, would raise the necessary finance. The proposed site would have had to be decontaminated, and contradictory statements about the ownership structure of the development were issued. Outline planning permission was granted in May 1993.

A deadline of August 1994 had been set to convert all major grounds to be fully seated. Even with planning permission granted, the first phase of the Cambuslang scheme would not be ready until 1995. As a stop-gap measure, Celtic installed 5,033 seats in the Jungle at the end of the 1992–93 season, at a cost of £350,000. The board hoped Celtic would be given a special dispensation from the rules. Installing seats in the Jungle itself caused an emotional reaction. Due to redevelopment work at Hampden, the 1993 Scottish Cup Final between Rangers and Aberdeen was to be played at Celtic Park. This meant that in the last competitive game in front of the Jungle, it would have been occupied by Rangers fans. To give the Celtic supporters last use, a friendly match between veteran Celtic and Manchester United players was arranged.

During the 1993–94 season, the board continued to talk optimistically about their plans. They claimed in February to have £20 million of funding in place from Gefinor, a Swiss financial institution. The claim was denied by Gefinor, who denied that they had even had any contact with the club. Celtic then came under severe pressure from the Bank of Scotland, who demanded a £1 million reduction in the club's overdraft, placing the club under threat of bankruptcy. With minutes to spare before a deadline set by the Bank, the board capitulated and sold control to Scots-Canadian businessman Fergus McCann.

Redevelopment (1994–2011)
McCann quickly discarded the Cambuslang scheme and instead started plans to bring Celtic Park into compliance with the Taylor Report. The capacity would have been only 34,000 if seats had been installed in the remaining terraces, which nevertheless was greater than Celtic's average attendance in the previous six seasons. McCann, who believed the club could fill a much larger stadium, decided instead to effectively build a new stadium. In the summer of 1994, the Jungle, East Terracing and West Terracing were demolished, with only the structure of the Main Stand left intact. The relatively new Jungle seats were used to refresh the seating in the Main Stand. Celtic played their home games at Hampden Park during the 1994–95 season, which cost the club £500,000 in rent. Celtic raised over £26 million to fund the work from two share issues: £12.3 million in a rights issue (£9.4 million invested by McCann) and £14 million in a public offering. 10,000 ordinary fans bought into the public offering, while season ticket sales rose from 7,000 to 26,000.

The detailed plans were finalised in December 1994. The club intended to build a 60,000-seat stadium, to be completed in three phases. The first phase was the new North Stand, which was designed by Percy Johnson-Marshall Associates, engineered by Hutter Jennings Titchmarsh, and built by Miller Construction. Celtic Park reopened with a friendly against Newcastle on 5 August 1995, with the new 26,970-capacity North Stand and the existing 7,850-capacity Main (South) Stand in place. This was augmented by a temporary stand, holding 2,800 seats, on the site of the former West Terracing. Phase two of the redevelopment was completed in August 1996, with the opening of the 13,006-capacity East Stand. Phase 3a was completed in February 1998 with the opening of the South West Corner. This was followed by Phase 3b, the Jock Stein Stand on the former West Terracing site, which was opened in August 1998 with a match against Liverpool. This third phase added another 13,006 seats, bringing the total capacity of the new Celtic Park to. Phases 2 and 3 were built by Barr Construction. The whole redevelopment, which made Celtic Park the biggest club stadium in Britain, cost £40 million. In the 1998–99 season the average attendance was 59,224 and season ticket sales exceeded 53,000, the highest number in Britain at the time.

Safe standing (2011–present)
In September 2011, Celtic started a feasibility study into creating a safe standing section in Celtic Park. In June 2015, Celtic received safety approval for a proposal to install rail seating. A section of 2,975 rail seats was installed in the Lisbon Lions Stand during the 2016 close season.

Stadium design
Celtic Park was an oval stadium, but has been converted to a rectangular stadium. It is intended to create an enclosed and intimidating atmosphere for big games. The ground is split into four geographic sections, officially known as the North, Jock Stein (West), Lisbon Lions (East) and Main (South) Stands. The North, East and West stands form a continuous two tier loop. The two end stands each have a capacity of 13,000, while the North Stand holds 27,000. The Main Stand holds just under 8,000, giving a total capacity of. It received 60% of the votes when BBC Radio Five Live conducted a poll in 2002 to find the favourite sports venue in the United Kingdom.

Stands of Celtic Park
The North Stand is squeezed into a tight space between the pitch and the Eastern Necropolis cemetery. Part of the upper tier is cantilevered over the graveyard. To save at least £1 million of additional steelwork, fourteen internal pillars were installed to support the roof. Some local residents objected to the North Stand because of the shadow cast over the cemetery, which Celtic believed was necessary to complete the overall project. The proposals were passed because the local officials felt that Celtic had come up with the best solution possible to the problem. Celtic paid £10,000 to compensate residents who had been promised open space "from the centre of the earth to the sky". The structure also had to take account of the need to maintain access into the North Stand along Janefield Street, which has been closed to the public since the redevelopment. Between the two tiers there are 18 executive boxes and a restaurant. There are 1600 seats in the lower section of the North Stand which have a heated element, operated by a foot switch.

The Main (South) Stand is now the oldest part of the stadium, having first been built in 1929, although a new roof was installed in 1971 and the facade was rebuilt in 1988. Translucent sheets were added to the Main Stand roof in 1998, to allow more sunlight to reach the pitch. Suspended from the roof girder of the Main Stand is a glass-fronted box, which used to house the press box, but was converted into two executive boxes in 1988. Alongside the main horizontal truss are two retractable columns. These can swing down to a fixing point on the rear wall of the former paddock, which provides additional stability in case of high winds or heavy snow.

The East Stand opened in 1996; it was renamed in 2000 after the Lisbon Lions, the Celtic team that won the 1967 European Cup Final. The renaming ceremony was a few days after a Scottish Cup tie had to be postponed after strong winds had damaged guttering in the stand. Away team fans are housed in the Lisbon Lions Stand, in the south east corner of the ground. Some of the away section has its view restricted by one of the supporting pillars of the Main Stand. Celtic offer a discounted price on these seats.

Writing in 1996, Simon Inglis noted that the approaches to the Main Stand were an area of urban deprivation "reminiscent of Belfast during the Troubles". Redevelopment work was carried out in the land surrounding the stadium ahead of the 2014 Commonwealth Games, in a scheme dubbed the Celtic Triangle, in addition to extensive rebuilding of housing in the nearby Barrowfield, Dalmarnock and Parkhead residential districts and the construction of the Commonwealth Arena and Sir Chris Hoy Velodrome directly opposite the stadium. Since 2005, statues of Brother Walfrid, Jimmy Johnstone, Jock Stein and Billy McNeill have been erected outside the Main Stand.

In summer 2015, the exterior of the stadium was adorned with a display of printed banners which will remain permanently. Fifteen green-coloured sections at either end of the stadium – each 21 metres high – form a display which reads 'Paradise' and depicts images of noted players from throughout the club's history (58 players in total, with a different set shown on each stand). Photographic banners of significant events and trophy wins are displayed on further panels at the corners between the main stand and the end stands. The project was controlled by the Frame agency with design input from Coatbridge-based artist Jim Scullion.

Possible developments
Celtic have considered the possibility of increasing the capacity of Celtic Park by redeveloping the Main Stand. A completed two-tier bowl stadium would give Celtic Park a capacity of nearly 75,000. Celtic chief executive Peter Lawwell stated in April 2007 that another 8,000 could be added to the capacity, but the work was not considered cost-effective. This position was re-iterated in November 2022, when Celtic chief executive Michael Nicholson estimated that redeveloping the main stand would cost up to £100 million.

In February 2017, Celtic published plans for a hotel and museum development in an area of land between the Main Stand and London Road. Those outline plans were approved in September 2017, with conditions about the size of any retail space. Amended plans were submitted in July 2020.

Other uses
Celtic Park has been a home venue for the Scotland national football team over 20 times, the most of any ground apart from the national stadium, Hampden Park. Scotland secured qualification for the 1998 FIFA World Cup with a 2–0 win against Latvia at Celtic Park having beaten Austria there by the same scoreline earlier in the qualifying process, and in 2006 achieved a 6–0 scoreline against the Faroe Islands at the stadium after Hampden was double-booked with a Robbie Williams concert.

The ground most recently hosted a Scotland game in November 2014 (a UEFA Euro 2016 qualifier against Republic of Ireland, won 1–0) when Hampden was unavailable because it had been reconfigured for use as an athletics stadium during the 2014 Commonwealth Games. Celtic Park also hosted both national cup finals during the 2013–14 season for this reason. While Hampden Park was being redeveloped during the 1990s, Celtic Park hosted the 1993 and 1998 Scottish Cup Finals and the 1993, 1996 and 1998 Scottish League Cup Finals, all five featuring Rangers, which were played before, during and after Celtic Park's own major redevelopments.

Before the First World War, Celtic Park was a multi-event venue. It hosted the first ever composite rules shinty-hurling match in Scotland, in 1897. Track and field meetings were held every summer, while the only World Cycling Championship to be staged in Scotland was held at Celtic Park in 1897. An experimental floodlit football game was played on Christmas Day 1893. This was unsuccessful due to the ball repeatedly striking the lamps, which were hung over the pitch by wiring. Rugby league football was first played in Scotland at Celtic Park, when it hosted a game between a Northern Rugby Football Union representative side and the touring Australian team in 1909. Open-air Masses and a parade for the Coronation of King George V were staged. Celtic Park, along with many other football stadiums, hosted recruitment drives during the First World War. During one such event at Celtic Park, a demonstration of trench warfare was carried out. The first pukka speedway race meeting in Scotland was held at Celtic Park on 28 April 1928. It staged 12 meetings in all before closing in July 1928 (although some of the events may have been staged at the neighbouring Nelson Recreation Ground).

Celtic Park has been used for concerts by the Who (1976), Bryan Adams (1992), Prince (1992) and U2 (1993). Wet Wet Wet played there in September 1997, but their performance had to be postponed by a day to avoid clashing with the funeral of Diana, Princess of Wales. Paul McCartney planned a Celtic Park date in his 2003 Back in the World tour, but it was cancelled. American evangelical Christian missionary Billy Graham held an outdoor event at the ground in 1991, his first visit to Scotland since 1955. One of the supporting speakers was Aberdeen player Brian Irvine, who had scored the winning penalty kick against Celtic in the 1990 Scottish Cup Final.

Celtic Park was used for the opening ceremony of the 2014 Commonwealth Games opened by Queen Elizabeth II. With Hampden also being used for the Games, Celtic played two European ties at Murrayfield Stadium instead. Owing to further redevelopment work on Celtic Park in 2015, Celtic scheduled three pre-season games for St Mirren Park.

Celtic Park hosted the 2018–19 final of the Pro14, contested by Leinster and Glasgow, which was the first rugby union match played on the ground.

Transport
The main railway stations in Glasgow, Central and Queen Street, are approximately 45 minutes walking distance from Celtic Park. Local trains from Glasgow Central on the Argyle Line serve Dalmarnock railway station, which is about 10 minutes walking distance from the ground. Fans travelling to Celtic Park also use Bellgrove and Bridgeton stations, which are both approximately one mile away. Between 1897 and 1964, Celtic Park was served by the eponymous Parkhead Stadium railway station. The stadium is served by First Glasgow bus route numbers 2, 8 , 61 , 64 , 240 and 255 along with McGills service 164. Celtic Park sits adjacent to the A74 (London Road), near to the M74 and M8 motorways. Visitors to the ground travelling by car can park in the surrounding streets. The new Glasgow East End Regeneration Route, which links the two motorways, runs close by Celtic Park.

title: Celtic Park


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Marie Krøyer

Marie Triepcke Krøyer Alfvén (11 June 1867 – 25 May 1940) commonly known as Marie Krøyer, was a Danish painter. She is remembered principally as the wife of Peder Severin Krøyer, one of the most successful members of the artists' colony known as the Skagen Painters, which flourished at the end of the 19th century in the far north of Jutland. Marie was also a part of the small group of Danish painters in her own right. From an early age, Marie aspired to become an artist, and after training privately in Copenhagen she went to Paris to continue her studies. There she was educated in the principles of Naturalism, and was influenced greatly by the French Impressionists. It was there, in early 1889, that she met Krøyer, who immediately fell madly in love with her. Although he was sixteen years her senior, the couple married that summer and in 1891 settled in Skagen. Clearly inspired by Marie's beauty, Krøyer had ample opportunity to paint her portraits both indoors and outdoors, especially on the beach. Married life became more difficult as Krøyer experienced periods of mental illness from 1900, and Marie eventually began an affair with the Swedish composer Hugo Alfvén who had also been taken by her beauty. The couple had a child, Marie divorced Krøyer and moved to Sweden with Alfvén. They married in 1912, but marital problems once again resulted in divorce. Marie was reluctant to paint after meeting Krøyer, whom she looked up to as a far more competent artist, and she is remembered more as the subject of some of his best-known paintings than for her own work, although several of her pictures have recently attracted renewed interest. She is now also recognized for her significant contributions to design and architecture.

Early life and education
Born in Frederiksberg, Marie was the daughter of Max Triepcke, the technical director at the J. H. Rubens Loomery, and his wife Minna Augusta Kindler, who had emigrated to Denmark from Germany in 1866. She enjoyed a comfortable, middle-class life growing up in the Triepcke home, along with her two brothers Wilhelm and Valdemar. A childhood schoolfriend, Ida Hirschsprung, brought Marie into social contact with Heinrich and Pauline Hirschsprung, Ida's aunt and uncle. Heinrich Hirschsprung, a prominent businessman who ran a successful tobacco manufacturing business, was a patron of the arts and had shown an early interest in P. S. Krøyer.

From an early age, Marie showed a great interest in art, aspiring to become a painter. It was very difficult in those days for women to train as artists, but she was talented and enjoyed the support of her parents. She studied privately under Carl Thomsen in the 1880s and was helped along the way by Bertha Wegmann, a leading portrait artist of the day, for whom she modeled at sixteen years of age. As there were no public schools for female artists, Marie had the idea of saving on the expense of private tuition by gathering a group of other young aspiring women, renting a studio, and asking the best art teachers to come and give them occasional tips. Among the artists that sometimes stopped by were Laurits Tuxen and Marie's future husband, Peder Severin Krøyer, though Krøyer was dismissive of the "young lady painters" school. In June 1888, Marie became engaged to Robert Hirschsprung, the son of Heinrich and Pauline, but he was prone to fits of deep depression and appears to have broken off the engagement soon afterwards. In 1887, she paid her first brief visit to Skagen, but there are no records of works created by her on that occasion. In December 1888, Marie went to Paris where, in the spring of 1889, she studied side by side with Anna Ancher at the Pierre Puvis de Chavannes atelier. Anna Ancher, a fellow Dane from Skagen in the north of Jutland, became a lifelong friend. Marie Krøyer also studied in the ateliers of Gustave Courtois and Alfred Philippe Roll, discovering Impressionism and Naturalism, which would strongly influence her own style of painting. Always keen to support better conditions for female artists, she was among the first to exhibit at Den Frie Udstilling (The Free Exhibition) in 1891, an alternative to the academy's Charlottenborg.

Marie also befriended the painters Harald Slott-Møller and his wife Agnes Rambusch. Agnes would contribute a lifetime of support and encouragement for Marie's artistic pursuits. Other friends with whom she maintained exhaustive correspondence include Georg Brandes, critic and scholar, whom she admired, and the poet Sophus Schandorf and his wife, who treated Marie like a daughter.

Paintings
While she was with Krøyer, Marie painted little; she considered her talent inferior and felt frustrated that she could not commit herself fully to art because she had accepted that her role was to be a housewife and mother, saying: "I sometimes think that the whole effort is in vain, we have far too much to overcome ... what significance does it really have if I paint, I shall never, never achieve anything really great ... I want to believe in our cause, even if at times it may be terribly difficult." By contrast, her friend Anna Ancher enjoyed a more positive relationship with her own husband; she was not concerned by domestic duties, and their artistic styles and motifs were so different that direct comparison was never a problem.

Only a small number of Marie's paintings survive, most on small canvases; Lisa Svanholm believes the absence of large works is further evidence of Marie's lack of confidence in her talent. Of particular interest are her Impressionistic Self-Portrait (1889), in which she conveys a rather sombre view of herself, emphasized by the thick brushstrokes and the shadow cast over most of her face, and her last known painting, the Marketplace in a French Town (Markedsplads i en fransk by) of 1898, a small Impressionist piece which shows her talent to the full.

Although Marie Krøyer was recognized for her personal beauty during her lifetime, it was not until the death of her daughter Vibeke in 1986 that her talents as an artist were revealed. The paintings left by Vibeke, now in Skagens Museum, showed her mother was a fine painter who had possessed the unrealized potential to become one of Skagen's leading artists This was further evidenced in 2002, in connection with the publication of Tonni Arnold's book Kunsten i Marie Krøyers liv (Art in Marie Krøyer's Life), when an exhibition of some of her hitherto unknown works, 40 paintings and 20 sketches, was held in Copenhagen's Kunstforeningen after the author had tracked them down in Sweden. Arnold commented: "It is quite clear she tried to succeed as a painter but circumstances were against her. After Krøyer was hit by mental illness, she gave up... But now we know that for lengthy periods she seriously strove to be a painter, that she travelled on her own, and that something came out of it all."

Several works by Marie Krøyer are in the collection at Skagens Museum.

Decorative talents
Marie Krøyer was inspired by the Scottish designer Charles Rennie Mackintosh to design furniture. When she and her husband moved into the town clerk's house in Skagen Vesterby in 1895, she designed the furniture and the interiors, as she did when they acquired their Copenhagen home in Bergensgade. Some of her pieces of furniture are now in the National Museum of Denmark. As she subscribed to the journal The Studio, she could also follow developments by William Morris and Edward Burne-Jones, who were members of the Arts and Crafts movement. Her interests extended to fireplaces, woven fabrics, kitchen fittings and wall panels, inspiring the Skagen architect Ulrik Plesner to take account of her plans in his own work.

She was also the architect behind Alfvénsgaard, the house she and Alfvén shared in Tällberg, Sweden. In 1905, after Krøyer had finally given her a divorce, she moved to Dalarna in Sweden where Alfvén had bought a large piece of land beside Lake Siljan. Reacting against industrialization, Swedish intellectuals supporting nature and old building traditions had moved to the area. Marie planned their new home, Alfvénsgaard, combining local Swedish building traditions with interiors in the Art Nouveau style while taking account of Danish craftsmanship. The local craftsmen complied although they were not used to taking orders from a woman.

Marriage with Krøyer
Shortly after arriving in Paris in December 1888, Marie ran into Krøyer at the Café de la Régence, a favorite with the many Danish artists living in the city at the end of the 1880s. She waved at Krøyer, who was walking past, recognizing him from his occasional visits to the ladies' classes in Copenhagen and from the sittings when she modeled for the painting A Duet (1887). Krøyer, who did not particularly remember her from Copenhagen, immediately fell madly in love with her. Following their engagement on 7 May, they were married on 23 July 1889 at the Triepkes' home in Augsburg, Germany. (The Triepkes had been forced to move back to Germany in 1888 on account of the father's loss of employment.) They spent their honeymoon in Stenbjerg, a fishing village in the northwest of Jutland on the former island of Thy, avoiding the attention of the artists in Skagen. It was there that Krøyer painted the first in a long series of portraits of his wife.

They then traveled extensively in Italy where they visited Amalfi and Ravello. While she was there, Marie contracted typhoid, which discouraged her from doing much painting, though one surviving work of Marie's from this trip is a study of a little Italian girl. The couple returned to Denmark in December 1890. After periods spent in Copenhagen and Hornbæk they went to Skagen in May 1891. For the next few years, they spent their summers in Skagen and their winters in Copenhagen. While in Skagen, they first stayed in Brøndums Hotel, but from 1894 they rented a house in Skagens Vesterby, and in 1895 they moved into a house of their own in Byfogedskoven. The summers Krøyer spent with his wife in the 1890s were clearly a source of inspiration for him, especially as Marie had a strong sense of beauty herself, often quoting Keats' "Beauty is truth, truth beauty".

Her marriage with Krøyer apparently diminished Marie's ambitions to make a name for herself as a painter. Indeed, only one work can be said with certainty to have been painted by her in Skagen. Instead, she concentrated on enhancing their summer residence, designing various pieces of furniture, just as she did while they spent their winters at their home in Copenhagen's Bergensgade.

Exactly what discouraged Marie from painting is not very clear, but there is little evidence she received any encouragement from Krøyer. From her correspondence, it can be seen she lacked self-confidence and had problems with her health. She also appears to have suffered from post-natal depression after her daughter Vibeke was born in 1895. Several of her friends and associates described her as rather withdrawn, often complaining of headaches and retiring to bed, perhaps as a result of her marital problems.

While Vibeke was still a small child, Krøyer's health started to deteriorate with bouts of mental illness, making the marriage increasingly difficult. In 1900, he was admitted to the mental hospital in Middelfart, the first of many lengthy stays. The couple spent less and less time together and often travelled alone. It was during a visit Marie made to Taormina, Sicily, in 1902 that she first met Hugo Alfvén.

Life with Hugo Alfvén
Long before he met Marie, Hugo Alfvén had been struck by her beauty in Krøyer's paintings. After seeing her portraits, he asserted: "I had never seen a more beautiful woman and the grace and elegance of her figure left me utterly bewitched." While she was in Taormina with her daughter Vibeke, Marie wanted her friend the singer Anna Norrie to come and join her. As Norrie was staying with Alfvén in Berlin, Marie invited both of them. Alfvén, five years her junior, began to pursue her immediately, and Marie quickly succumbed. Their affair was so passionate that immediately after her trip to Italy, Marie went to Paris and asked Krøyer for a divorce. Krøyer refused, believing Marie had nothing more than a passing infatuation, and ordered her back to Skagen. Krøyer was mistaken; the relationship persisted, and Marie never missed an opportunity to be together with Alfvén in Skagen, Copenhagen or even Sweden. After she became pregnant in 1905, Krøyer finally acquiesced to the demands for a divorce, but he maintained custody of Vibeke. Most of Krøyer's friends broke off contact with her when, as she wrote, she "committed the inconceivably foolish act of leaving Krøyer – that good, magnanimous and delightful man"; only Michael and Anna Ancher remained her close friends.

Marie's second daughter, Margita, was born in Copenhagen in 1905. She spent two years raising the child there until she joined Alfvén in Sweden in 1907. Krøyer, whose health had worsened since the divorce, died in Skagen in November 1909; Marie, now calling herself Marie Alfvén, returned for the funeral although she had been asked to stay away.

Alfvén had first been hesitant to marry Marie, fearing repercussions on his career as a choirmaster. The wedding finally took place on 30 January 1912 in Uppsala, after which the couple moved into a new house, Alfvéngården, in Tällberg. Built entirely to her own design, Alfvéngården can be considered Marie Krøyer's masterpiece, especially as she also created the furniture and interiors, and she designed a number of beautiful little buildings in the local style around the estate.

Once again, Marie had become a partner in an unhappy marriage. Even before the wedding, she had discovered Alfvén had been unfaithful to her with a number of women, but she went ahead with the wedding anyway for Margita's sake. Alfvén became increasingly unstable, requesting a divorce in 1928. Marie at first refused, but after ever more serious difficulties in their relationship and numerous courtroom disputes, the couple finally divorced in 1936. Alfvéngården, a major point of contention, was left to Margita while Marie moved to Stockholm where she lived alone for the remainder of her life.

Death
Marie Krøyer died in Stockholm of cancer on 25 May 1940 and is buried in Leksand cemetery in central Sweden, not far from Alfvéngaard. Her two daughters, Vibeke and Margita, are buried beside her. Hugo Alfvén's grave is also nearby while Krøyer is buried in Skagen.

title: Marie Krøyer


text:
Mew (band)

Mew is a Danish alternative rock band made up of Jonas Bjerre (lead vocals), Johan Wohlert (bass) and Silas Utke Graae Jørgensen (drums). Wohlert left the band in 2006 before the birth of his first child, but made a return in 2013 while the band were in the studio, before making his first live appearances since his departure in 2014. Guitarist Bo Madsen left the band in June 2015. This was confirmed in a statement on the band's official website on 1 July of the same year.

Whilst their music may be classified as indie and on occasion progressive rock, former guitarist Bo Madsen said "I usually say we are 'indie stadium.' A mix between 'feelings' and 'thinking' is usually good."

Origins (1995–2003)
Formed in 1995 in Hellerup, an upper-class suburb of Copenhagen, they had a profound impact on the Danish indie scene, emerging alongside the likes of Carpark North, Swan Lee and Saybia, amongst others, in 2003. They released their debut album A Triumph for Man in April 1997 and its follow-up Half the World is Watching Me in 2000. At the 2003 Danish Music Critics Award Show, Mew won the awards for "Album of the Year" and "Band of the Year".

Frengers (2003–2005)
Their first commercial success came with Frengers, released in 2003, described as "a work of quiet brilliance, aiming for the epic without straying into the bombastic, offering cerebral arrangements while keeping things accessible." The album was well received. After a European tour supporting R.E.M. they began to attract wider attention.

And the Glass Handed Kites (2005–2009)
Their next album And the Glass Handed Kites was released in Denmark on 19 September 2005, in the United Kingdom and rest of Europe on 26 September, and in the United States on 25 July 2006. The album received critical acclaim, with Mew described as making "dreamy thunderstorm pop". They were MTV Asia "Buzz-Worthy" as of January, 2006, and at the DMA06 (Danish Music Awards) they took home 4 statuettes.

On 11 April 2006, Wohlert left the band to spend more time with his girlfriend (now wife), Pernille Rosendahl, of the now-dissolved band Swan Lee, who was to give birth to their son Tristan in May 2006. The two would later go on to form a duo, The Storm.

The band toured with Nick Watts (formerly of UK indie band Headswim) as their keyboardist, and Bastian Juel (who used to act as a studio and live bassist for Swan Lee and also played bass on Tina Dico's EP Far) joined them as their live bassist. However, he was not an official replacement for Johan and the band returned to the studio with just the three original members for the next album.

The band finished touring for And the Glass Handed Kites in the summer of 2007. They returned to Brooklyn, New York in May 2008 in order to begin recording their next record, and tapped Rich Costey (who produced their breakthrough album, Frengers) once again as producer.

No More Stories... (2009–2012)
The band's fifth album No More Stories Are Told Today, I'm Sorry They Washed Away // No More Stories, The World Is Grey, I'm Tired, Let's Wash Away was released on 17 August 2009 in Scandinavia, 24 August in the UK and 25 August in the US.

In 2009, the band supported Nine Inch Nails for various tour dates across Europe and the United States.

On 25 October 2010 Mew released their first compilation album entitled, Eggs Are Funny, which featured 14 songs from previous albums as well as one new song, "Do You Love It?". The track list was compiled of what Mew consider to be their "best work".

On an episode of HBO's Eastbound and Down that aired on 31 October 2010, "Comforting Sounds" from the album Frengers played over the end of the show and into the closing credits.

+ - (2012–2017)
During summer 2012, Mew premiered two new songs, with the working titles "Boy" and "Klassen", that were in the running to feature on their sixth studio album, at shows in Scandinavia.

On 23 January 2013 Mew announced via their Facebook page that they were no longer signed to Sony and would release new music independently. On 9 April they confirmed, again via Facebook, that they had started preproduction on their 6th studio album with producer Michael Beinhorn. They commenced the recording of the album on 6 May with producer Michael Beinhorn and engineer Frank Filipetti, who engineered the bass and drums for the album. Christian Alex Petersen engineered and edited the rest of the record. Christian Alex Petersen went on to mix "Clinging to a Bad Dream" and "Interview the Girls").

On 25 September they released an iOS app entitled Sensory Spaces in conjunction with B&O Play. The app contained, amongst other things, a preview of a new song, "Making Friends", which featured on the upcoming album. In November 2013 "Making Friends (13)" was made available to stream via Spotify and as a free download via the Sensory Spaces website. The band pointed out that it was not a single, but a thank you to their fans for waiting while they completed the upcoming album and that the album would contain a different version of the song.

On 6 May, guitarist Russell Lissack of the band Bloc Party visited Mew's studio and recorded parts for one or two songs to be featured on the record.

During a concert at NorthSide Festival in Aarhus, Denmark on 14 June 2014, Johan Wohlert was formally reintroduced as a member of the band and he played live with the band for the first time since 2006. While the band were onstage, fansite mewx.info posted an article confirming that he had been involved in the writing and recording of the upcoming album.

On 16 June 2014, Mew announced a Nordic tour for winter 2014 and that the album would be released in 2015.

As of the Northside show on 14 June 2014, the new songs that had been played live and were thought to be in the running to feature on the new album were tentatively titled "Making Friends", "Klassen", "Russle", which featured a guitar part by Russell Lissack, "Witness", "Changes" and "Boy". Aside from "Making Friends", it was unknown which songs would be featured on the album and what their official titles would be. With the release of the album, the official titles of these songs were confirmed, and "Boy" was not featured on the album. Some of the songs were released with different names; "Klassen" became "Satellites", "Russle" became "My Complications", and "Changes" became "Clinging To A Bad Dream".

On 13 August they announced via Twitter that they had begun mixing the album. On 19 September, they tweeted that they had finished the upcoming album and that release details would follow soon after.

The band announced on 19 January 2015 that the sixth album, + -, will be released on 27 April through Play It Again Sam. They also released the first single off the album called "Satellites" (previously known by the working title "Klassen").

Mew performed at South by Southwest in Austin, Texas on March 18, 2015.

On 1 July 2015 it was announced that guitarist Bo Madsen had left the band. Mew posted a statement on their official website saying, "After 20 years playing together in Mew, the band and Bo Madsen have decided to part ways for the time being." Speculations about Madsen's departure began circulating when the guitarist was not present at a concert in The Netherlands on 21 June 2015 and in Sweden on 26 June 2015.

Visuals (2017–present)
On Tuesday, 24 January 2017, Mew announced their first album following Bo Madsen's departure, entitled Visuals, via their official website, while a song from the album, "Carry Me to Safety", was premiered on Danish radio station P6 Beat. On February 16 the album's first proper single, entitled "85 Videos", was made available to stream or download, while a video for the song, directed by Jonas Bjerre, was revealed on YouTube. Visuals was released on 28 April 2017.

Band name
Bjerre explained that the name came from their days in high school when, disappointed after baking a "disgusting" cake, the members threw possible band names around, and Mew stuck. "It had a sort of incomplete symmetry to it – it was kinda pointy at the edges and soft in the middle with the small E. There wasn't any deeper thought behind it than that, just how it sounded and looked. And it had a mystery to it, in a way," Bjerre said.

Current

 * Jonas Bjerre – lead vocals, keyboards (1995–present), guitar (2015–present)
 * Silas Utke Graae Jørgensen – drums, percussion (1995–present)
 * Johan Wohlert – bass guitar, backing vocals (1995–2006, 2013–present), guitar (2015–present)

Touring

 * Nick Watts - keyboards, backing vocals, guitar (2001–present)
 * Mads Wegner - guitar, backing vocals (2015–present)

Former

 * Bo Madsen – guitar, backing vocals (1995–2015)

Discography

 * A Triumph for Man (1997)
 * Half the World Is Watching Me (2000)
 * Frengers (2003)
 * And the Glass Handed Kites (2005)
 * No More Stories... (2009)
 * + - (2015)
 * Visuals (2017)

DVDs

 * Live in Copenhagen (2006)

title: Mew (band)


text:
Manchester Town Hall

Manchester Town Hall is a Victorian, Neo-gothic municipal building in Manchester, England. It is the ceremonial headquarters of Manchester City Council and houses a number of local government departments. The building faces Albert Square to the north and St Peter's Square to the south, with Manchester Cenotaph facing its southern entrance. Both the building and the adjacent Albert square have been closed since 2018 for refurbishment and are scheduled to be reopened in summer 2026.

Designed by architect Alfred Waterhouse, the town hall was completed in 1877. The building contains offices and grand ceremonial rooms such as the Great Hall which is decorated with Ford Madox Brown's imposing Manchester Murals illustrating the history of the city. The entrance and Sculpture Hall contain busts and statues of influential figures including Dalton, Joule and Barbirolli. The exterior is dominated by the clock tower which rises to 280 ft and houses Great Abel, the clock bell.

In 1938, a detached Town Hall Extension was completed and is connected by two covered bridges over Lloyd Street. The town hall was designated as a Grade I listed building on 25 February 1952.

Old Town Hall

Manchester's original civic administration was housed in the Police Office in King Street. It was replaced by the first Town Hall, to accommodate the growing local government and its civic assembly rooms. The Town Hall, also located in King Street at the corner of Cross Street, was designed by Francis Goodwin and constructed between 1822 and 1825, much of it by David Bellhouse. The building was designed with a screen of Ionic columns across a recessed centre, in a classicising manner strongly influenced by John Soane. The building was 134 ft long and 76 ft deep, the ground floor housed committee rooms and offices for the Chief Constable, Surveyor, Treasurer, other officers and clerks. The first floor held the Assembly Rooms. The building and land cost £39,587.

As the size and wealth of the city grew, largely as a result of the textile industry, its administration outstripped the existing facilities, and a new building was proposed. The King Street building was subsequently occupied by a lending library and then Lloyds Bank. The façade was removed to Heaton Park in 1912, when a bank, 53 King Street was erected on the site.

New Town Hall
Planning for the new town hall began in 1863. Manchester Corporation demanded it be, 'equal if not superior, to any similar building in the country at any cost which may be reasonably required'. The choice of location was influenced by a desire to provide a central, accessible, but relatively quiet site in a respectable district, close to Manchester's banks and municipal offices, next to a large open area, suitable for the display of a fine building. After investigating suitable sites, including Piccadilly, an oddly shaped plot facing Albert Square was chosen. The Albert Square frontage measures 323 ft, Lloyd Street is 350 ft, Princess Street the longest at 383 ft and Cooper Street measures 94 ft. On this tight site, the corporation built a grand hall, a suite of reception rooms, quarters for the lord mayor, offices and a council chamber.

The second stage of a competition to design the town hall which attracted 137 entries was judged by Thomas Leverton Donaldson, a classicist, and gothicist George Edmund Street. The eight finalists were Waterhouse, William Lee, Speakman & Charlesworth, Cuthbert Brodrick, Thomas Worthington, John Oldrid Scott, Thomas Henry Wyatt and Edward Salomons. In terms of design and aesthetics, Waterhouse's proposal was placed fourth behind those of Speakman & Charlesworth, Oldrid Scott and Worthington but his design was considered far superior in architectural quality, layout and use of light and he was appointed architect on 1 April 1868.

The foundation stone was laid on 26 October 1868 by the Mayor, Robert Neill. Construction took nine years and used 14 million bricks. Estimates for the cost of construction vary from £775,000 to around £1 million, translating to between £0 and £0 in 2024. When Queen Victoria refused to attend, Manchester Town Hall was opened on 13 September 1877 by the mayor, Abel Heywood, who had championed the project.

Town Hall Extension

In 1927, a competition to design the Town Hall Extension was won by Emanuel Vincent Harris, the architect who also won a competition to design the city's Central Library. Work began on the extension in 1934 and was completed by 1938. Charles Herbert Reilly, a contemporary architecture critic, thought the extension was 'dull' and 'drab' while Nikolaus Pevsner considered it was Harris's best work. It is linked to the town hall by glazed pedestrian bridges at first-floor level.

21st-century refurbishment
By late 2014, the Town Hall was being described as "being in urgent need of essential repair" and modernisation. In a 2014 report, Manchester City Council highlighted the need to replace the building's heating and electrical systems, refurbish windows and high-level stonework and repair parts of the roofing. Over 500 timber windows will be restored as part of this renovation project. The building temporarily closed to visitors in 2018 to undergo a £330 million renovation project. The refurbishment has been both over-budget and late, with the building now scheduled to be re-opened in summer 2026.

Architecture
The rapid growth and accompanying pollution in Victorian cities caused great problems for architects including denial of light, overcrowding, awkward sites, noise, accessibility and visibility of buildings, and air pollution. Provision for "the sufficiency of window light supplied throughout the building" was addressed by the use of architectural devices: suspended first floor rooms, made possible by the use of iron-framed construction, skylights, extra windows and dormers, "borrowed lights" for interior spaces and glazed white bricks in conjunction with mosaic marble paving in areas where the light was "less strong". Clear glass was used in important rooms, with light-coloured tints for coloured glazing, as "the sky of Manchester does not favour the employment of deeply stained glass."

The building exemplifies the Victorian Gothic revival style of architecture, using themes and elements from 13th-century Early English Gothic architecture. Gothic features most prominent in the Manchester Town Hall are low rib vault ceilings and tall arched windows. The choice of the Gothic was influenced by the wish for a spiritual acknowledgement of Manchester's late medieval heritage in the textile trade of the Hanseatic league and an affirmation of modernity in the fashionable neo-Gothic style favoured over the Neoclassical architecture of Liverpool.

Despite its medieval styling, the building was designed to support the practical technologies of the 19th century. It had gas lighting, and a warm-air heating system, which provided fresh air drawn through ornamental stone air inlets below the windows and admitted behind the hot water pipes and 'coils' into the rooms. Warmed, fresh air was fed into the stairwells and through hollow shafts within the spiral staircases to ventilate the corridors. Pipes supplying gas for lighting were ingeniously concealed underneath the banister rails of the spiral staircases. Waterhouse designed the building structure to be fireproof, using a combination of concrete and wrought-iron beams.

Exterior
In mid-19th-century Manchester, many important Georgian buildings were blackened by atmospheric pollution. By the 1870s the local soft red Collyhurst sandstone was deemed to be unsuitable for public buildings, and tough Pennine sandstones were preferred. The architectural competition entries were judged in part on their suitability for the "climate of the district", and sample stone types were investigated. Waterhouse believed it was a matter of great difficulty to find a stone "proof against the evil influences of the peculiar climate of Manchester" but decided that the Bradford Dale-quarried Spinkwell Stone and Bolton Woods Stone/Gaisby Rock/Elland Flags stone would resist "the deleterious influences of Manchester atmosphere". The interior decoration was chosen with a view to providing permanent colour and cleanable surfaces. Public corridors were faced with terracotta rather than plaster, and extensive use was made of stone vaulted ceilings, tiled dados and washable mosaic floors.

Waterhouse's design used a Gothic style with limited carved decoration and a uniform colour, a departure from the high Victorian heaviness and colour used in contemporary Ruskinian Gothic buildings, and was criticised by some Manchester inhabitants for not being Gothic enough. The decision to spend large amounts of money on a building "when most of its architectural effect would be lost because ruined by soot and made nearly invisible by smoke" was criticised. Waterhouse avoided using a polychrome scheme as seen in High Victorian Gothic buildings such as St Pancras railway station believing it to be impractical as Manchester's industrial atmosphere would quickly ruin the effect and decided a uniform stone exterior was the better solution. Statues of notable figures in the city's history decorate its exterior, that of Agricola, founder of the Roman fort is over the main door and over its gable is a statue of St George. Statues of Thomas Grelley, first lord of the manor, Humphrey Chetham and Thomas de la Warre are among six at the corner of Albert Square and Princess Street. Waterhouse's design proved successful and although its exterior was blackened by the late 1890s, the stonework was in a suitable condition to be cleaned and restored to its original appearance in the late 1960s.

Clock tower
The 280 ft tall bell tower, the 19th tallest building in Manchester as of February 2023, houses a carillon of 23 bells: 12 are hung for full circle change ringing and were manufactured by John Taylor Bellfounders. The clock bell, Great Abel, named after Abel Heywood, weighs 8 tons 2.5 cwt and four of 12 ringing bells are used for the Westminster Clock Chime. Its clock, made by Gillett and Bland (predecessor of Gillett and Johnston), was originally wound using hydraulic power supplied by Manchester Hydraulic Power. The clock bell first rang on New Year's Day 1879, but cracked, was replaced in 1882, and then recast with all the bells in 1937. Its clock face bears the inscription Teach us to number our Days, from Psalm 90:12. The clock bell is inscribed with the initials AH for Abel Heywood and the line Ring out the false, ring in the true from Tennyson's "Ring Out, Wild Bells".

As of 2017, Change-Ringing is not currently permitted on the bells, due to the necessity of a restoration to the building.

Interior
Waterhouse's plan for the town hall bridged the gap between office and ceremonial requirements and maximised space on its triangular site. His design for a six-storey building filled the asymmetrical site. Set around its perimeter is a cloister of corridors linking offices and everyday workings. Its grandiose, ceremonial features are centrally located. By the main entrance on Albert Square are two grand staircases leading to the landing outside its Great Hall. The stairs have low risers allowing access for women in Victorian dress. The walls of the staircases have tall, arched windows admitting daylight. Three spiral staircases accessing the first floor from entrances on Princess Street, Lloyd Street and Cooper Street are constructed in English, Scottish and Irish granite.

Sculpture Hall
The ground-floor Sculpture Hall contains statues and busts of people who made significant contributions to Manchester, the Anti-Corn Law campaigners, Richard Cobden and John Bright, and scientists John Dalton and James Joule among many others. The room measures 53 feet by 33 feet and has a groin vaulted ceiling, constructed out of Bath stone. The Sculpture Hall Café is now located here.

Great Hall
The landing has a glazed skylight on which the names of mayors, lord mayors and chairs of the council since Manchester received its Charter of Corporation in 1838 are inscribed on glass panes. The landing has a mosaic floor with a pattern of bees and cotton flowers, both symbols of Manchester. Influential Victorian critic John Ruskin described the Great Hall as "The most truly magnificent Gothic apartment in Europe."

The rectangular hall measures 100 ft by 50 ft. Natural light permeates from seven high windows on either side of the hall from the courtyards outside. It has a wagon roof, its ceiling divided into panels bearing the arms of countries and towns with which Manchester traded at the zenith of its mercantile power. The Manchester Murals by Ford Madox Brown, a sequence of 12 paintings depicting the history of Manchester decorate its walls. They are not true frescoes but use the Gambier Parry process.

The organ installed by Aristide Cavaillé-Coll in 1877 stands 16 ft tall and had more than 5,000 pipes, five manuals and 65 speaking stops. Cavaillé-Coll cleaned it and added the solo organ in 1893. In 1912, T.C. Lewis of Brixton rebuilt it and added the echo division. Jardine of Manchester's minor rebuild in 1970 added the mobile five-manual console.

Reception
The town hall is a Grade I listed building, one of fifteen Grade I listed buildings in Manchester; it is regarded as one of the finest interpretations of Gothic revival architecture in the world.

F. A. Bruton wrote that "The Town Hall ... is best viewed when the Square is empty and silent, as, for example, on Saturday afternoon or Sunday, and it is then that we may realise what a splendid "ruin" it will make, to excite the wonder of the South Sea Islander of the future".

James Stevens Curl described it as "a High-Victorian Gothic secular masterpiece that combines eclectic elements to form a style that can only be Victorian". It was voted Greater Manchester's favourite building by readers of the Manchester Evening News in 2012, and in the same year featured in a series of Royal Mail stamps commemorating British landmarks.

Current use
Council meetings are no longer regularly held in the town hall, but in the Town Hall Extension. The hall now has a number of other uses. It is licensed for weddings and civil partnerships and is available to hire for conferences and other events. Tours of the clock tower are available through external tour companies at a cost.

As the town hall bears some resemblance to the Palace of Westminster, it has been used as a location for television and films. The original version of the political thriller House of Cards (1990) and the 2003 BBC drama series State of Play both used the town hall to represent Westminster. The films Ali G Indahouse (2001), Sherlock Holmes (2008), The Iron Lady (2011), Victor Frankenstein (2014), and A Very English Scandal (2018) also all used the town hall as a stand-in for the interiors of the Palace of Westminster.

In 2014, a 24-hour police station reopened in the town hall, having been closed since 1937. Unlike the original, the new station does not include custody cells, but officers are able to conduct interviews there. Chief Superintendent Nick Adderley described the location as "perfectly placed in the hub of the city" and suitable to "serve the needs of the public 24 hours a day".

Overnight on 23 June and into 24 June 2016, the venue was used to announce the official result of the EU Referendum by the chair of the Electoral Commission acting as Chief Counting Officer (CSO) Jenny Watson.

title: Manchester Town Hall


text:
Glen Iris railway station

Glen Iris railway station is a commuter railway station in Glen Iris, a suburb of Melbourne, Victoria, Australia. The station opened on 24 March 1890 as part of the branch line from Burnley to Waverley Road station. The station consists of one island platform accessed by a pedestrian underpass. There is one principal station building located towards the Down end of the platform. The single-story building, constructed in 1975 as part of the station's rebuild, acts as a shelter and has toilet facilities. The station is only partially accessible due to steep access ramps.

Glen Iris railway station is served by the Glen Waverley line, part of the Melbourne railway network. The station also connects to the route 6 tram service and the routes 612 and 734 bus services as well. The journey to Southern Cross railway station is approximately 11.52 kilometres (7.16 mi) and takes 25 minutes.

Description
Glen Iris railway station is located in the suburb of Glen Iris, a suburb of Melbourne, Victoria. The station is located nearby to the High Street shopping precinct and the Glen Iris Wetlands. The station is owned by VicTrack, a state government agency, and the station is operated by Metro Trains. The station is approximately 11.52 kilometres (7.16 mi), or a 25-minute train journey, from Southern Cross station. The adjacent stations are Gardiner station, up towards Melbourne, and Darling station, down towards Glen Waverley.

The station consists of one island platform with a total of two platform edges. Standard in Melbourne, the platform has an asphalt surface with concrete on the edges. The platforms are approximately 160 m long, enough for a Metro Trains 7 car HCMT. The station features a pedestrian underpass, accessed from the centre of the platforms by a ramp. The station features one principal station building present on the island platform, built in 1975. These buildings act as shelter and toilet facilities, and are constructed with painted wood, metal sheeting, and ribbed roofing panels.

The station building and platform are largely the same as when it was rebuilt in 1975, with the main change being updated signage and technology. The station features 50 car-parks on the north side of the station, with no secure bike parking available onsite. The station is listed as partially accessible due to steep access ramps.

History
Glen Iris railway station was opened on 24 March 1890, with the line through the station originally built to link Burnley to the Outer Circle line at Waverley Road, before continuing onto Oakleigh. The station was named after a residence that was built by solicitor J.C. Turner. The land on which the residence was built was acquired by a local settler, who travelled to Victoria on a ship named Iris. The line underwent numerous extensions over its life, with extensions to East Malvern in 1929 and to Glen Waverley in 1930. In December 1922, the line through the station was electrified, with duplication of the line to Darling occurring in 1956.   The line was fully duplicated to Glen Waverley by 1964.

In 1970, boom barriers replaced interlocked gates at the High Street level crossing, located at the down end of the station, with the signal box abolished also around this time. The station was rebuilt in 1975 to coincide with the construction of the South Eastern Arterial link, with parcel facilities abolished at this time. In 1992, pedestrian gates were provided at High Street—located just down from the station platforms. Minor upgrades have occurred at the station since 1975, primarily technological and signage upgrades.

On 3 March 2022, a serious incident occurred at the level crossing down from the station, with a car being stuck and causing the train to be damaged. Despite the lack of injuries, debate was reignited regarding the removal of the level crossing, with the creation of a community petition to campaign for the removal of the crossing. The Liberal Party promised to remove the crossing alongside others on the Glen Waverley line if elected in 2022, however, they weren't successful in their election bid.

Platforms and services
Glen Iris has one island platform with two faces. The station is currently served by the Glen Waverley line — a service on the metropolitan rail network. The Glen Waverley line runs from Glen Waverley station south east of Melbourne, joining the Belgrave, Lilydale, and Alamein lines at Burnley station, before travelling through the City Loop.

Platform 1:
 * all stations and limited express services to Flinders Street

Platform 2:
 * all stations services to Glen Waverley

Transport links
Glen Iris station has one tram and two bus connections. The route 6 tram service operates from nearby High Street up towards Moreland station, with the service terminating at Glen Iris station. The station also connects to the route 612 bus service from Box Hill station to Chadstone Shopping Centre and route 734 to Glen Waverley station. The station has both an accessible platform tram stop and a bus interchange. The platform tram stop has shelters with electronic signage, with the bus interchange consisting of 4 unnumbered bays with shelters. Glen Iris station also has train replacement bus stops located adjacent to the station.

Tram connections: Bus connections:
 * Melbourne tram route 6 icon.svg: to Moreland station
 * : Box Hill station – Chadstone Shopping Centre
 * : to Glen Waverley station

title: Glen Iris railway station


text:
Major Oak

The Major Oak is a large English oak (Quercus robur) near the village of Edwinstowe in the midst of Sherwood Forest, Nottinghamshire, England. According to local folklore, it was Robin Hood's shelter where he and his merry men slept. It weighs an estimated 23 tons, has a girth of 33 feet (10 metres), a canopy of 92 feet (28 metres), and is about 800–1,000 years old. In 2014, it was voted 'England's Tree of the Year' by a public poll by the Woodland Trust, receiving 18% of the votes. Its name originates from Major Hayman Rooke's description of it in 1790.

Shape

There are several theories as to how it became so huge and oddly shaped. The Major Oak may be several trees that fused together as saplings, or the tree could have been pollarded. (Pollarding is a system of tree management that enabled foresters to grow more than one crop of timber from a tree, causing the trunk to grow large and thick.) However, there is only limited evidence for this theory as none of the other trees in the surrounding area were pollarded.

This enormous tree is commonly thought to be the UK's second-largest oak tree, only truly surpassed by the gigantic Majesty Oak near Dover.

History
Support chains were first fitted to the tree in 1908, and its massive limbs have been partially supported by an elaborate system of scaffolding since the 1970s. In 1974, fences were installed around the tree to protect it from root damage, since the number of visitors to the tree was compacting the soil around it.

The formation sign of the 46th Infantry Division of the British Army in the Second World War was the Major Oak. Among the units of the division were battalions of the Sherwood Foresters regiment.

In a 2002 survey, it was voted "Britain's favourite tree".

Also in 2002, a person illegally attempted to sell acorns claimed to be from the Major Oak on an internet-based auction website.

In 2003, in Dorset a plantation was started of 260 saplings grown from acorns of the Major Oak. The purpose was to provide publicity for an internet-based study of the Major Oak, its history, photographic record, variation in size and leafing of the saplings, comparison of their DNA, and an eventual public amenity.

The Major Oak was featured on the 2005 television programme Seven Natural Wonders as one of the wonders of the Midlands.

It was voted 'England's Tree of the Year' in 2014, and came sixth in the European Tree of the Year finals in 2015.

The threat to the Major Oak from fracking is the subject of a song by English musician Beans on Toast on his 2017 album Cushty.

In July 2020 the tree was reported as vandalised, with a three-foot section of bark fallen off.

title: Major Oak


text:
Bishop of Sheffield

The Bishop of Sheffield is the Ordinary of the Church of England Diocese of Sheffield in the Province of York.

A similar title was first created as a suffragan see in the Diocese of York in 1901. John Quirk, the only Bishop suffragan of Sheffield assisted the Archbishop of York in overseeing that diocese. Under George V, the Diocese of Sheffield was created out of the south-western part of the Diocese of York in 1914. The bishop's residence is Bishopscroft, Ranmoor — west-south-west of the city centre.

On 31 January 2017, it was announced that Philip North had been nominated to translate to Sheffield before June 2017, but North withdrew his acceptance of the nomination in March officially citing "personal reasons". Since his nomination, there had been a number of public articles challenging the appropriateness of his appointment, based on his rejection of the ordination of priests who are women and the number of priests in Sheffield diocese who are women.

On 7 April 2017, it was announced that Pete Wilcox was to be consecrated Bishop of Sheffield on 22 June 2017. He was elected to the See by the college of canons of Sheffield Cathedral on 5 May 2017; and his election was confirmed on 5 June 2017 at York Minster.

Assistant bishops
Among those who have served the diocese as assistant bishops have been:
 * 1947–1971: Vincent Gerard, Vicar of Rotherham (until 1960), then Canon Residentiary of Sheffield Cathedral (until 1969) and former Bishop of Waiapu
 * 1963 – 1966 (ret.): Michael Hollis, Rector of Todwick (until 1964) and former Bishop in Madras
 * 1943 (ret.) – 1947 (d.): Samuel Heaslett, retired Bishop of South Tokyo and Presiding Bishop, Nippon Sei Ko Kai

title: Bishop of Sheffield


text:
Talk:Gdańsk Bay

"Gdańsk Bay" vs "Gulf of Gdansk"
A Google search hit comparison (not a precise metric but good for a ballpark figure) suggests that "Gulf of Gdansk" is more popularly used than "Gdansk Bay" by a 2:1 ratio. A page move may be in order. Jason Quinn (talk) 20:55, 25 January 2015 (UTC)

External links modified
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title: Talk:Gdańsk Bay


text:
Ödön Beöthy

Ödön Beöthy (1796–1854), Hungarian deputy and orator, was born in Nagyvárad, Hungary (today Oradea, Romania), his father being a retired officer and deputy lord-lieutenant of Bihar County.

At the age of sixteen he served in the war against Napoleon, and was present at the great battle of Leipzig. Like so many others of his compatriots, he picked up Liberal ideas abroad. He was sent to parliament by his county in 1826 and again in 1830, but did not become generally known until the session of 1832–1836, when along with Ferenc Deák he, as a liberal Catholic, defended the Protestant point of view in the mixed marriages question. He was also an energetic advocate of freedom of speech. After parliament rose he carried his principles to their logical conclusion by marrying a Protestant lady and, being denied a blessing on the occasion by an indignant bishop, publicly declared that he could very well dispense with such blessings.

In 1841 he was elected deputy lord-lieutenant of his county to counteract the influence of the lord-lieutenant, Lajos Tisza, and powerfully promoted the popular cause by his eloquence and agitation. After 1843 the conservatives succeeded in excluding him both from parliament and from his official position in the county; but during the famous March Days (1848) he regained all his authority, becoming at the same time a commander of militia, a deputy and lord-lieutenant. At the first session of the Upper House (5 July 1848), he moved that it should be radically reformed, and during the war of Independence he energetically served the Hungarian government as a civil commissioner and lord justice.

Towards the end of the war he reappeared as a deputy at the Szeged diet, and on the flight of the government took refuge first with Richard Cobden in London and subsequently in Jersey, where he made the acquaintance of Victor Hugo. Thence he went to Hamburg, to meet his wife, and died there on 7 December 1854. Beöthy was a man of extraordinary ability and character, and an excellent debater. He also exercised as much influence socially over his contemporaries as politically, owing to his unfailing tact and pleasant wit.

title: Ödön Beöthy


text:
Traunstein (district)

Traunstein is a Landkreis (district) in the southeastern part of Bavaria, Germany. Neighboring districts are (from the north clockwise) Mühldorf, Altötting, the Austrian states Upper Austria and Salzburg, the district Berchtesgadener Land, the Austrian states of Salzburg and Tyrol, and the district Rosenheim.

Geography
The district is located in the northern foothills of the Alps. The Chiemsee is located in the west of the district.

History
In 1972 the district was merged with parts of the former district of Laufen, and the previously independent urban district Traunstein.

Coat of arms
The coat of arms shows a blue panther to the left, the symbol of the Spanheim dynasty of the Counts of Krainburg-Ortenburg, who owned part of the area in medieval times. The eagle in the top-right derives from the diocese of Chiemsee. At the bottom right there are the Canting Arms of Baumburg Abbey (Baumburg translates to tree-castle), which ruled most of the northern part of the district.

Towns and municipalities
Towns
 * 1) Tittmoning
 * 2) Traunreut
 * 3) Traunstein
 * 4) Trostberg

Markt ¹ administered inside a Verwaltungsgemeinschaft
 * 1) Grassau
 * 2) Waging am See¹

Verwaltungsgemeinschaften
 * 1) Bergen
 * 2) Marquartstein
 * 3) Obing
 * 4) Waging am See

Municipalities • # Altenmarkt an der Alz

• # Bergen

• # Chieming

• # Engelsberg

• # Fridolfing

• # Grabenstätt

• # Inzell

• # Kienberg

• # Kirchanschöring

• # Marquartstein

• # Nußdorf

• # Obing

• # Palling

• # Petting

• # Pittenhart

• # Reit im Winkl

• # Ruhpolding

• # Schleching

• # Schnaitsee

• # Seeon-Seebruck

• # Siegsdorf

• # Staudach-Egerndach

• # Surberg

• # Tacherting

• # Taching am See

• # Übersee

• # Unterwössen

• # Vachendorf

• # Wonneberg

title: Traunstein (district)


text:
Skierbieszów

Skierbieszów is a village in Zamość County, Lublin Voivodeship, in eastern Poland. It is the seat of the gmina (administrative district) called Gmina Skierbieszów. It lies on the river Wolica, approximately 17 km north-east of Zamość and 71 km south-east of the regional capital Lublin. There is a castle in the village.

In 1428 the village was given to the bishop Jan Zborowski of Clan of Ostoja and 1453 the village was given rights by the King as a Town. Skierbieszow was a town until 1822 and the coat of arms of the town/village is of Ostoja.

In November 1942 during the Nazi occupation of Poland, the Polish inhabitants of Skierbieszów were expelled from Skierbieszów to make room for German settlers. Former German President Horst Köhler was born in the village during the occupation. The village was briefly renamed Heidenstein until the arrival of Soviet forces in 1944. In 1945-46 the Polish residents began returning to their homes.

title: Skierbieszów