Points of Interest
Point | Coordinates (Links to map resources) |
OS Grid Ref | Notes |
---|---|---|---|
Wallbridge lower lock | 51°44′40″N 2°13′27″W / 51.7444°N 2.2241°W / 51.7444; -2.2241 (Wallbridge lower lock) | SO846050 | Jn with Stroudwater Navigation |
A619 on canal bed | 51°44′30″N 2°12′53″W / 51.7418°N 2.2146°W / 51.7418; -2.2146 (A619 on canal bed) | SO852048 | Diversion required |
Brimscombe Port | 51°43′12″N 2°11′37″W / 51.7199°N 2.1936°W / 51.7199; -2.1936 (Brimscombe Port) | SO867023 | End of Phase 1 |
Sapperton Tunnel west portal | 51°43′44″N 2°04′59″W / 51.7288°N 2.0830°W / 51.7288; -2.0830 (Sapperton Tunnel west portal) | SO943033 | |
Sapperton Tunnel east portal | 51°42′15″N 2°03′01″W / 51.7041°N 2.0504°W / 51.7041; -2.0504 (Sapperton Tunnel east portal) | SO966005 | |
Latton Junction | 51°39′27″N 1°52′32″W / 51.6575°N 1.8756°W / 51.6575; -1.8756 (Latton Junction) | SU087954 | North Wilts Canal |
Inglesham Lock | 51°41′16″N 1°42′19″W / 51.6877°N 1.7054°W / 51.6877; -1.7054 (Inglesham Lock) | SU204988 | Jn with River Thames |
Map of all coordinates from Google Map of first 200 coordinates from Bing |
---|
Export all coordinates as KML |
Export all coordinates as GeoRSS |
Map of all microformatted coordinates |
Place data as RDF |
Read more about this topic: Thames And Severn Canal
Famous quotes containing the words points of, points and/or interest:
“Sometimes apparent resemblances of character will bring two men together and for a certain time unite them. But their mistake gradually becomes evident, and they are astonished to find themselves not only far apart, but even repelled, in some sort, at all their points of contact.”
—Sébastien-Roch Nicolas De Chamfort (17411794)
“When our relatives are at home, we have to think of all their good points or it would be impossible to endure them. But when they are away, we console ourselves for their absence by dwelling on their vices.”
—George Bernard Shaw (18561950)
“Women hock their jewels and their husbands insurance policies to acquire an unaccustomed shade in hair or crêpe de chine. Why then is it that when anyone commits anything novel in the arts he should be always greeted by this same peevish howl of pain and surprise? One is led to suspect that the interest people show in these much talked of commodities, painting, music, and writing, cannot be very deep or very genuine when they so wince under an unexpected impact.”
—John Dos Passos (18961970)