St Patrick's Cathedral, Armagh the origins from the 5th century Irish stone monastery, founded by St. Patrick. Throughout the Middle Ages, the cathedral was the seat of the Archbishop of Armagh, the premier see of the Catholic Church in Ireland and formed a significant part of the culture of Christianity in Gaelic Ireland. With the advent of the 16th century and the introduction of Protestantism into Ireland, the cathedral came under the Anglican Church of Ireland, with Englishman, George Cromer, acting as the first Anglican Archbishop of Armagh in the Church of Ireland and remains under their control to this day. It is also the cathedral of the Anglican Diocese of Armagh. In the 19th century, following Catholic Emancipation, Irish Catholics founded a new cathedral in Armagh, also named for St. Patrick: the two should not be confused.
The origins of the cathedral are related to the construction in 445 of a stone church on the Druim Saileach (Willow Ridge) hill by St. Patrick, around which a monastic community developed. The church was historically the centre of the Roman Catholic Church in Ireland. The cathedral and its assets were appropriated by the state church, called the Church of Ireland, as part of the Protestant Reformation in Ireland. The English government under King Henry VIII of England transferred the assets. It has remained in Anglican hands since the reign of Queen Elizabeth I of England. A Roman Catholic cathedral, also called St Patrick's Cathedral, was built on a neighbouring hill in the nineteenth century. Cordial relations exist between the two cathedral chapters.
The church itself has been destroyed and rebuilt 17 times. The edifice was renovated and restored under Dean Eoghan McCawell (1505–1549) at the start of the sixteenth century having suffered from a devastating fire in 1511 and being in poor shape. Soon after his death the cathedral was described by Lord Chancellor Cusack as ‘one of the fairest and best churches in Ireland’.[3] Again it was substantially restored between 1834 and 1840 by Archbishop Lord John George Beresford and the architect Lewis Nockalls Cottingham. The fabric remains that of the mediaeval building but much restored. While Cottingham was heavy-handed in his restoration, the researches of T. G. F. Patterson and Janet Myles in the late twentieth century have shown the restoration to have been notably antiquarian for its time. The tracery of the nave windows in particular are careful restorations as is the copy of the font. The capital decoration of the two westernmost pillars of the nave (either side of the West Door internal porch) are mediaeval as are the bulk of the external gargoyle carvings (some resited) of the parapet of the Eastern Arm. Cottingham's intention of retaining the richly-cusped West Door with flanking canopied niches was over-ruled. Subsequent restorations have more radically altered the internal proportions of the mediaeval building, proportions which Cottingham had retained.
Many other Celtic and mediaeval carvings are to be seen within the cathedral which is also rich in eighteenth- and nineteenth-century sculpture. There are works by Francis Leggatt Chantrey, Louis-François Roubiliac, John Michael Rysbrack, Carlo Marochetti and others.
References:Celje Castle was once the largest fortification on Slovenian territory. The first fortified building on the site (a Romanesque palace) was built in the first half of the 13th century by the Counts of Heunburg from Carinthia on the stony outcrop on the western side of the ridge where the castle stands. It had five sides, or four plus the southern side, which was a natural defence. The first written records of the castle date back to between 1125 and 1137; it was probably built by Count Gunter. In the western section of the castle, there was a building with several floors. Remains of the walls of this palatium have survived. In the eastern section, there was an enclosed courtyard with large water reservoirs. The eastern wall, which protects the castle from its most exposed side, was around three metres thicker than the rest of the curtain wall. The wall was topped with a parapet and protected walkway.