The preceding Bodie Island lighthouses actually stood south of Oregon Inlet on Pea Island in an area that is now under water due to the southward migration of the inlet. The first was built in 1847 and then abandoned in 1859 due to a poor foundation.
The second, built in 1859, was destroyed in 1861 by retreating Confederate troops who feared it would be used as a Union observation post during the Civil War. The third and current lighthouse, with its original first order Fresnel lens, was completed in 1872. This lighthouse was built further North and further inland on a 15-acre site. In 1932, the Bodie Island Lighthouse became automated (and the light was upgraded to an electric lamp by using oil-fueled electrical generators), and by 1953 it had been transferred into the care of the National Park Service. It remained staffed until 1940, when the lighthouse was fully automated. In 1953, the generators were disconnected and power was supplied from the commercial electric grid.
While some people (including North Carolinians not from the Outer Banks) pronounce the name with a long "o" sound, it is traditionally pronounced as body. Folklore would have you believe it is due to the number of dead sailors washed ashore from wrecked ships along this portion of the East Coast, which has long been known as the "Graveyard of the Atlantic" but that is not true.  The name is actually derived from the original name of the area, which was "Bodie's Island" after the Body family who once owned the land that was a separate barrier island prior to 1811 when Roanoke inlet that separated it from the Currituck Banks to the north closed.  Local gift shops sell maps of the shipwrecks on the ocean floor. An impressive array of ships have been sunk due to storms, shoals, and German U-boats during World War I and World War II. This lighthouse appears in the background of the 1963–1964 Federal Duck Stamp.
After years of raising funds and postponement, work to restore the cast iron and other parts in need of work began on the lighthouse in August 2009. As of March 2010, the outside scaffolding was 100% complete while interior scaffolding was 50% completed. The restoration was stopped in spring 2011 after significant new structural integrity issues were found in many of the main support beams under the balcony. The additional repairs needed were too costly to finish in the original restoration project. In August, 2011 Hurricane Irene blew out some of the newly restored lantern room glass and tore away a protective shroud covering the lantern room. Flooding caused buckling of the floors in the Bodie Island Light Station Double Keepers Quarters. Additional funding was obtained to continue the restoration, which was restarted in 2012 and completed in March 2013.
There was a re-lighting ceremony on April 18, 2013, and the lighthouse was opened for the general public to climb the following day for a fee.


Bodnant Garden (Welsh: Gardd Bodnant) is a National Trust property near Tal-y-Cafn, Conwy, Wales, overlooking the Conwy Valley towards the Carneddau mountains.
Founded in 1874 and developed by five generations of one family, it was given to the National Trust in 1949. The garden spans 80 acres of hillside and includes formal Italianate terraces, informal shrub borders stocked with plants from around the world, The Dell, a gorge garden, areas of woodland garden with a number of notable trees and a waterfall. Since 2012, new areas have opened including the Winter garden, Old Park Meadow, Yew Dell and The Far End, a riverside garden. Furnace Wood and Meadow opened in 2017. There are plans to open more new areas, including Heather Hill and Cae Poeth Meadow.
Bodnant Garden was visited by over 260,000 people in 2019 and is famous for its Laburnum arch, the longest in the UK, which flowers in May and June. The garden is also celebrated for its link to the plant hunters of the early 1900s whose expeditions formed the base of the garden's four National Collections of plants – Magnolia, Embothrium, Eucryphia and Rhododendron forrestii.


Bodowyr Burial Chamber is under the care of the Welsh Heritage organisation Cadw. It is open throughout the year, apart from 24, 25 and 26 December and 1 January, between the hours of 10am and 4pm. It can be accessed by walking 100 m (330 ft) across a sometimes muddy field. There is no entry charge.


Robert and Katherine Wynn owned the property in the early 17th century. They developed the present-day building core with severe rectilinear architecture with pink limestone mullions. The initials K.W. and R.W. appear in the 1620 date stone on the southwest gable. The largest rooms of the 17th century addition (and still today) are the ground floor or terrace level low hall and the great hall immediately above. Both rooms feature an unusual southwest corner construction of an unusual bay with windows on the south and west and a fireplace on the north side of the bay. Both fireplaces feature overmantels that display heraldic arms. In the great hall, these arms display the shouldered form rendered in Plas Mawr, an Elizabethan townhouse in Conwy founded by a branch of the Wynns. The arms include the motto of the Mostyns, Auxilium Meum a Domino ("my help is from the Lord").


The Boer War Memorial was unveiled in Dominion Square (now known as Dorchester Square) on May 24, 1907. The bronze sculpture was created by George W. Hill (1862–1934). The granite pedestal was designed by Edward Maxwell and William S. Maxwell. Its inscriptions says:
In grateful recognition of the patriotism and public spirit shown by Lord Strathcona and Mount Royal in raising and equipping a regiment of horse for service in South Africa as evidence of his sympathy with the cause of imperial unity.'; and on the opposite side, 'To commemorate the heroic devotion of the Canadians who fell in the South African War and the valour of their comrades.
It is the only equestrian statue in Montreal, and atypically, is not mounted, but restrained. The Boer War Memorial faces north, towards Mount Royal Cross, which would have been visible from the square until 1929. Around the base of the statue are copper reliefs and the names of each battle. Montreal's First World War cenotaph is in Place du Canada to the south.
The Boer War was widely unpopular in Quebec society, viewed as an imperial war. Prime Minister of Canada Wilfrid Laurier opposed the war, but ultimately compromised with the proposal for militia and volunteers en lieu of conscription.
For two decades after the war, Canadians would gather on February 27 (known in Canada as "Paardeberg Day") around memorials to the South African War to say prayers and honour veterans. This continued until the end of the First World War, when Armistice Day (later called Remembrance Day) began to be observed on November 11.
The four principal monuments – the others being the Robert Burns Memorial, Wilfrid Laurier Memorial, and Queen Victoria Diamond Jubilee Fountain – in the square are arranged to form a five equilateral cross with the kiosk towards the Dominion Square Building.
On July 8, 2009, the official first shovelful of dirt was lifted in the $23-million project to restore Dorchester Square and Place du Canada near the Boer War memorial monument.


Bogdana Monastery is a Romanian Orthodox monastery in the town of Rădăuți, northern Romania. Its church is the oldest still standing religious building in Moldavia. The monastery was built by Bogdan I of Moldavia (1359–1365) sometime around 1360.
It was to become his and some the Mușatini voievods necropolis. Here are buried all the rulers of Moldavia from Bogdan I to Alexandru cel Bun. There are ten graves inside the monastery's church:
seven in the naos:
Bogdan I (in the south-eastern corner)
Lațcu Voievod (besides the same wall as Bogdan I)
an unmarked grave supposedly Maria's–Bogdan I's wife, or Ana's–Lațcu's wife; the grave is at ground level and not above it as the other ones
Ștefan I (on the northern wall)
Roman I (on the northern wall)
Bogdan, brother of Alexander the Good (on the northern wall)
Bogdan, son of Alexander the Good (on the northern wall)
three in the pronaos:
Doamna Stana, wife of Bogdan III cel Chior and the mother of Ștefăniță Vodă (on the northern side)
Anastasia, daughter of Lațcu (on the northern side)
Bishop Ioanichie (died 1504) (before the pronaos door)
The graves were attended to, and marked properly by Ștefan cel Mare. The rocks on top of the graves were created by Jan (c. 1480) at the order of Ștefan cel Mare, "in a style that is different in principle from the oriental decorative sculpture" (P. Comărnescu). They are decorated with Byzantine-oriental ornaments like palmata–a stylized palm plant leaf and local motives like leaves of beech, ash tree leaves, elm tree leaves.
The first internal painting of the church is from the times of Alexandru cel Bun (14th century). In 1558 Alexandru Lăpușneanu started the restoration of the original painting and following year enlarged the church building. Other restorations happened in the 18th and 19th centuries: between 1745 and 1750, in the time of Bishop Iacob Putneanul and in 1880 when Epaminonda Bucevschi, a Bukovinean painter, created the current frescoin tempera.


The natural reserve is among the last  places where the endangered Saiga antelopes hope to recover from being hunted close to their extinction. There are several carnivorous hunters, including the Wolf, the Red fox, the Corsac fox and the Golden jackal. Among the smaller preditors are the African wildcat, the Marbled polecat, the Stoat and the Steppe polecat.
Numerous Rodents serve as prey for the hunters, among them are various ground squirrels (Spermophilus), meriones (such as Meriones tamariscinus and Meriones meridianus), jerboas (Allactaga major and Allactaga elater), hamsters (Cricetus cricetus and Cricetulus migratorius), as well as some mice.


Big Bogdo mountain is considered a sacred site by some Buddhists, and there is one trail open to visitors - a 2.5 km hike to Big Bogdo ("Trail Legends of the Holy Mountain") with an observation deck and informational placards.   There is also driving tour escorted by reserve officers to the shore of the lake.  Passes must be obtained from the reserve office in Akhtubinsk.  As a strict nature reserve in a sensitive environment, however, most of the Reserve is closed to the general public and access is strictly guarded by patrols.  Scientists and those with 'environmental education' purposes can make arrangements with reserve management for visits.


The building was built in the 1640s on the initiative of Per Brahe the Younger (1602–1680) and was later rebuilt several times.
The house received its current appearance with towers and gothic windows in the 1860s according to drawings by the architects Fredrik Wilhelm Scholander
(1816–1881) and Thor Medelplan  (1832-1863).


Boggo Road Gaol in Brisbane, Australia, was Queensland’s main jail from the 1880s to the 1980s, by which time it had become notorious for poor conditions and rioting. Located on Annerley Road in Dutton Park, an inner southern suburb of Brisbane, it is the only surviving intact gaol in Queensland that reflects penological principles of the 19th century. After closing in 1992, the larger 1960s section was demolished, leaving the heritage listed section (built as a women’s prison in 1905), which is open to the public through guided tours run by Boggo Road Gaol Pty Ltd.
It was officially known as "Brisbane Gaol" but was commonly known as "Boggo Road" after the original name of the Annerley Road. A new street formed after 1996 now has the name Boggo Road.


In the 1850s, the district where the gaol was subsequently located was known unofficially as 'Boggo', and by the 1860s the track through the area was known as Boggo Road.
It has been suggested that the name came about because the area was very boggy in wet weather. Another theory is that Boggo (or 'Bloggo' or 'Bolgo') was a corruption of an Aboriginal word meaning 'two leaning trees', and that the road was named after two prominent trees at either One-Mile Swamp or what is now Wilkins Street, off Annerley Road. Another possibility is that Boggo Road was an unofficial and unmaintained short-cut between Ipswich Road and Stanley Street that became very boggy after rain. Boggo Road was officially renamed Annerley Road in 1903, but the colloquial name for the gaol that had long been in use stayed.
In 1863, land off Boggo Road was set aside as a government reserve, finally proclaimed a gaol reserve in 1880. The first cellblock opened on 2 July 1883, built by Robert Porter, contained 57 cells, and was constructed using materials from the demolished Petrie Terrace Jail. In 1903, a new prison was built to hold female prisoners. This later became known as the No.2 Division, and is now the only section still standing, and is listed on the Queensland State Heritage Register. The 'No.1 Division' built in 1883 was the scene of 42 hangings, including the hanging of Ernest Austin in 1913—the last execution in Queensland. A new prison was built around the perimeter of No.1 prison during the 1960s and No.1 prison was demolished leaving area for an oval and recreational facilities for the newly built prison, which had running cold water and toilet facilities in all cells. Under the oval was the facility that became known as the "black hole" where prisoners were subjected to "punishment". The "black hole" continued in use until the late '80s. A new women’s gaol was also built at this time. The gaol was originally designed to cater for 40 male prisoners serving as a holding place for prisoners heading to St Helena Island in Moreton Bay. However, by 1989 there were 187 male prisoners and the women's facility had around 200 additional prisoners.
Protests at the gaol during the 1970s saw inmates undertake hunger strikes, roof-top protests, and rioting over the poor conditions and treatment. The prison was constantly in the headlines and became notorious around Australia. Cells in the No. 2 prison did not have any form of sanitation, and facilities for washing were lacking. Prisoners were required to use a bucket through the evening for toilet breaks and empty it, or 'slop out', in the morning. A Queensland Government inquiry into the living conditions of State prisons found Boggo Road to be outdated and inadequate for prisoners' needs. No. 2 Division was closed in 1989. No. 1 division was closed in 1992 and was demolished in 1996 (a small section of what was "C5" and guard tower still remain). The women’s prison operated until 2000 and was demolished in 2006.
Since 1992, the No. 2 Division was home to the Boggo Road Gaol Museum, which featured displays of prison-related artefacts. Throughout the 1990s, ex-officers conducted guided tours of the site, and from 2003 the museum and tours were operated by the Boggo Road Gaol Historical Society, a non-profit incorporated association of volunteers. Since December 2012, Boggo Road Gaol became a tourist attraction for Queensland, with guided tours being conducted by Boggo Road Gaol Pty, who are now officially licensed to run tours and events at the gaol. Like many other similar places around the country, the site also hosts guided ghost tours.
Redevelopment of the surrounding site began in 2006, leading to the temporary closure of the Boggo Road Gaol historical site. Since 2012 the gaol has been re-opened to the public. Boggo Road has since been turned into an urban village called Boggo Road Urban Village and was completed in 2010.


The No. 2 Division and the remnants of No. 1 Division were listed on the Queensland Heritage Register in 1993.


Bogstadveien is a street in the district of Frogner in Oslo, Norway. It is considered a central business district and features many of the city's wide range of exclusive shops as well as entertainment, hotels and restaurants. The road is known for the frequent Farmer's Markets on weekends as well as its biannual car-free shopping events.
Bogstadveien stretches from the neighbourhood Majorstuen to the neighbourhood Hegdehaugen. The street was originally named Sørkedalsveien as it led to Sørkedalen, but was renamed to Bogstadveien when, in 1878, it was incorporated into Oslo. It was named for the Bogstad Manor in Sørkedalen. In 1892, the street was extended in width to serve as the main street towards Majorstuen. On 2 March 1894, the first electric tramway line in Oslo, the Briskeby Line, was opened. The line runs through almost the entirety of the street, and has a single stop named for it, located by the street junction with Industrigaten. Previously the street was served by two stops, named Schultz' gate and Rosenborg, but these were replaced by the eponymous Bogstadveien stop, due to their proximity. In 1892, the street's width was extended to serve as an avenue from the Royal Palace. In 1932, the two last wooden houses in the street were demolished.
The writer Aasmund Olavsson Vinje lived in one of these houses, where he became friends with the painter Peder Balke. The writer Peter Christen Asbjørnsen also lived for a while in a house at the intersection of Bogstadveien and Rosenborggaten Street.


The Bohlenplatz is an approximately 200×80 meter square in the historical old town of Erlangen, arranged in a west–east direction. Although it was not built until later, the square fits the pattern of Erlangen's New Town as a Baroque planned city. The square is bordered to the south by the Friedrichstraße-Luitpoldstraße street, to the north by the Obere Karlstraße-Marquardsenstraße street and the east by the Östliche Stadtmauerstraßee-Waldstraße street. Raumerstraße starts from the southern extent. A footpath and cycle path in the "Flucht Krankenhausstraße-Holzgartenstraße" divide the square into two unequal parts. The former German Reformed Church occupies the western third. The eastern part is leafy and park-like. A children's playground is available. The eastern end is marked by the new building of the University Authorities which was built in 1970.


The façade’s decorations  are attributed to Andrzej Bemer. The western wall is considered to be the most important. It includes a great amount of decorative elements. The whole façade is covered densely with figures and ornamental sculptures, made of sandstone. The facade is divided with cartouche frieze and cornice on two parts. The upper part is decorated with two corinthian columns. The lower part is decorated with six corinthian columns. It also includes the  statues of the Apostles Peter and Paul, which are located in the  niches on both sides, with the prophets’ circular medallions over the door, windows and niches. Though this façade demonstrates the impression of exaggeration and manners.
In the second tier of the cartouche above sculpture’s images of the prophets are located the quotes from the Bible in Latin (on the facade from left to right):
«Morte turpissima condemnemus / eum sapi I» ("Condemn him to death shameful" (Bk. Wisdom 2.20) - above St. Peter;
«Foderunt manus meos et pedes meos / DA Psal. XXI » ("They pierced my hands and my feet" (Psalm. 22 (21). 17);
«Corpus meum dedi percucientibus et genas vellentibus / Esai. L »(« I gave my back to those who hits, and my  cheeks to those who pinches" (Isaiah 50.6);
«Mittamus lignum in panem eius. Et eradamus eum de terra viventium / Ier: XI » ("Cut down the tree with its fruit, and cut off it from the land of living " (Jeremiah 11.19));
«Et post hebdomadas LXII occidetur Christus / DAN. IX » ("And after 62 weeks Messiah shall be cut off "(Daniel 9.26);
«Et appenderunt mercedem meam XXX argenteos / Zach XI» ("So they weighed my wages - thirty pieces of silver" (Zechariah 11.12) - the entrance;
In Virga percutien [t] maxillam ivdicis / Mich. V. ("Rod upon the judge’s cheek" (Micah 4.14)) - the entrance;
«Et dicent non est Rex Noster / Ose X» ("And they say, We have no king" (Hosea 10.3) - above St. Paul.
The third tier has many relief images. It contains compositions, dedicated to the Passion of Christ: "Castigate", "Carrying the Christ," "Crucifixion", "Withdrawal of Christ." Due to the expressiveness these compositions and  the interior’s composition are called "Bible of the poor". As  it does not need to know the letters, to understand the essence.


The interior of the chapel includes four stone figures of prophets, located in the altar, which resembles some images on frieze.  The whole plastic decoration is made of stucco. A special attention is paid to pendentives and the dome. On the pendentives, which have the rich framing of the telescopes from both sides. This framing consists of a flat - convex brass motifs and medallions with heads of angels, the same type as on the frieze external. On the pendentives there are angels, which hold cartouches with images of divinities, coats of arms and house marks.
Beneath them there are figurines of patrons, both founders: St. Stanislaus and Adalbert of Prague. The majority of sculptures of the chapel’s  interior are made by Hans Ficher.
The dome is divided into 36 rectangular panels, recessed in three rows. They fill the figures of Christ, the apostles, prophets, angels with instruments of the Passion Pańzkiej and saints. At the top of the dome there is the octagonal lantern light. This arrangement gives the impression of a much bigger  height chapel than it actually is.
Three round windows provide chapel’s interior lighting. Two of them  are situated at the top of the northern wall and another — under the dome of the octagonal lantern light on the western facade. Additional lighting is provided by four lower tier of the lower windows of the main facade.


The Bois-de-Liesse Nature Park (French: Parc-nature du Bois-de-Liesse) is a large nature park that spans several cities on the northwestern part of the Island of Montreal in Quebec, Canada.
Most of the western reach of the park is in Dollard-des-Ormeaux, with a small part in Dorval.  The rest of the park spans the Montreal boroughs of Ahuntsic-Cartierville, Pierrefonds-Roxboro and Saint-Laurent. Bertrand Brook runs through the park.
The park is named after the Côte-de-Liesse, a former municipality that existed in the area, before being divided into Dorval, Lachine and Saint-Laurent in 1957. The town was named for Liesse-Notre-Dame in France.
The park was established in 1984 and has an area of 158 hectares (390 acres). The reception center is located in Pitfield House, which was built between 1952 and 1954 according to plans by the architectural firm Archibald, Illsley and Templeton. It was acquired by the Montreal Urban Community in 1979.


The Bois des Moutiers is located in Varengeville-sur-Mer, Normandy, France. This estate of 30 acres (0.12 km²) is well known for its rhododendrons, azaleas and magnolias, which were introduced and naturalized among local flora. The house and gardens, both dating from the turn of the 19th and 20th centuries, are a first-class example, unique in France, of the work of the famous English partnership of architect Edwin Lutyens and garden designer Gertrude Jekyll.
A large park overlooking the sea and formal gardens surrounding a manor house make up the Bois des Moutiers. The estate is listed as a historical monument and a Remarkable Garden of France.


The original, undistinguished house was built around 1850. It was later extended and substantially remodelled in the Arts-and-Crafts style by Edwin Lutyens. This style is characterized by a desire to recognise the importance of the materials, to create unique, relatively plain works, and above all by a reminder that craft deserves to be considered as a work of art. Consistent with this, the buildings of the Bois des Moutiers are conceived as a full-fledged work where every detail of wrought iron and woodwork has been taken care of during their creation. Unfortunately, occupying German troops removed all the iron door handles (by Morris & Co) during World War II. The Adoration of the Magi, a tapestry made by Morris & Co to a design of Edward Burne-Jones, was hidden during the war by the family, who eventually sold it to Yves St Laurent and Pierre Bergé. In 2009 Bergé donated it to the Musée d'Orsay. Many of the original Morris & Co furnishings of the house remain. Besides the entrance to each bedroom is a Pre-Raphaelite portrait in bas-relief on the wall, including one of Jane Morris.
The gardens, seven in all, are enclosed areas (chambres verts –  "green rooms" of plants) surrounding the house on the south and east sides. Gertrude Jekyll, their creator, mixed colours and scents together in order to design a unique atmosphere in each of them. The layout of the gardens relates closely to the rooms within the house; for example, the two stone seats set in niches in a yew hedge at the end of the White Garden mirror the arrangement of two small closets and a large mullioned window at the opposite end of the music room. Reflecting the Theosophist philosophy of Guillaume Mallet and his wife, Marie-Adélaïde Grunelius, "it was understood that the architecture and gardens should work together towards the harmonious development of the spirit."
The acidic soil and maritime climate are favourable for introducing species such as Himalayan rhododendrons and azaleas from China. Behind the house, beyond a wide lawn, Guillaume Mallet designed and planted a vast area, which stretches down to the sea cliffs, with a maze of winding paths through a dense woodland of native and exotic trees, sheltering an understorey of rhododendrons and azaleas, hydrangeas, Japanese maples, camellias and magnolias.


The depot was built in 1925 by the Union Pacific Railroad, and service by its Portland Rose began with service between Chicago, Illinois, and Portland, Oregon. Thousands attended its debut with mainline service in mid-April, including Union Pacific president Carl Gray, granted a key to the city by Mayor Eugene Sherman.
The UP's City of Portland also Chicago to Portland, for several decades made stops in Boise. Union Pacific discontinued the Portland Rose and the City of Portland (along with all its passenger rail service) on May 1, 1971, the day Amtrak began operating.
Six years later, Amtrak (the National Railroad Passenger Corporation) resumed passenger service to the station in 1977 with the Pioneer, Initially run between Salt Lake City, Utah, and Seattle, Washington, it was later extended further east and provided daily service from Chicago to Seattle. The next eastbound stop on the Pioneer was originally in Mountain Home, but that station was dropped in 1981, so the next eastbound stop was Shoshone; the next westbound stop was Nampa.
Forty-nine years after its debut, the Boise Depot was listed on the NRHP on August 7, 1974, as the Union Pacific Mainline Depot. The last passenger train to use the depot was the Pioneer, which ended service 25 years ago in 1997.
In 1990, Boise-based Morrison–Knudsen Corporation (MK) purchased the depot and renovated it to pristine condition. The City of Boise took it over in 1996 and opened it for tours and special events; it is open to the public Sundays and Mondays from 11:00 am to 5:00 pm.


This is the eastern hill. It is covered with a large group of monolithic stupas surrounding the rock-cut platforms of the Maha stupa
The dome of the stupa is found constructed of brick.
It was excavated under the ages of Alexander Rim in 1906. Interesting aspect of this site is it feature all three phases of Buddhism i.e. Hinayana, Mahayana and Vajrayana.
Groups of rock-cut and brick stupas and small chaityas surround this stupa. In two of the brick stupas, stone relic caskets in the form of miniature stupas were found. There is also a stone [Linga being the name locally applied to the stupa]. An image of the Goddess Hariti is found at the foot of the hill as per the archaeological sources.
On this hill there are six rock-cut caves of which some have sculptured panels. One main cave has sixteen pillars, or which five are broken, and it enshrines a monolithic stupa in the centre. There is a pradakshina-patha around it. On the ceiling over the stupa is a carving of a chhatra, i.e., umbrella which was originally connected with the top of the stupa, the shaft being now lost. Above this cave, is an upper storey with the figures of Buddha. In all, on this hill [Bojjannakonda], there are six rock-cut caves of which some have sculptured panels. Most panels consists of a seated Buddha and attendants.
, is covered with a large number of rock-cut small stupas forming the shape of a ridge. Numerous antiquities were recovered during the excavations conducted by Mr. Alexander Rea in 1906
During Excavations From this area, as per the archaeological sources, pottery, seals, terracotta inscribed tablets, terracotta beads, and terracotta figures, one gold coin belonging to Samudra Gupta of the Gupta dynasty who ruled Magadha from 340 to 375 A.D, some copper coins belonging to the Eastern Chalukya king Vishnuvardhana surnamed Vishamasiddhi (633 A.D.) and only one lead coin were recovered. It has the impression of a horse and as such might belong to the later Satavahanas. It is on the evidence of these antiquities that it has been possible to date the Buddhist settlement here as lying between the 2nd and the 9th century A.D. For, among the earliest coins discovered at the site is that of Samudra Gupta of the 4th century AD.
As Buddhism began to spread, many centres of learning and viharas for the monks were set up in various regions.
They can also be seen at Thotlakonda, Bavikonda, Pavurallakonda around Visakhapatnam.
They all flourished around 3rd century BCE to 3rd century CE, but then gradually faded out, probably due to the revival of Hinduism.
Buddhist monks used to worship on the hill 2,000 years ago. It was originally known as Buddhuni konda (hill of the Buddha) but it came to be known as ‘Bojjannakonda' in course of time. Vaisakha Pournami is also celebrated on a large scale here at Bojjannakonda.
The Indian National Trust for Arts and Cultural Heritage, (INTACH), has already appealed to the authorities to ensure better protection of Buddhist sites by taking up the declaration of Bavikonda, Thotlakonda, Pavurallakonda and Bojjannakonda as heritage sites by UNESCO. This will not only pave the way for steady flow of funds, but also generate employment opportunities for the locals.


The castle, which is now a national monument, was excavated in the 1960s and 1970s. It was maintained by English Heritage until 1995 when Heritage Lincolnshire took charge. Much of the lower walls are still visible as are the ground floors of the towers.
In the summertime, the castle is home to numerous events including performances of Shakespeare.


The church is a fortress church, built of coral stones and located on a hill near the sea. It originally served as a watchtower for Moro raids. The church is known for its original terracotta roof tiles and its distinct folk art or Filipino Baroque style seen predominantly on its choir screen and pulpit. Twenty-eight pillars support the 2-metre (6.6 ft) thick walls made of mortar and lime. Its ceiling paintings are the work of Miguel Villareal, a native of Boljoon. The three gates and the walls of the church are made of coral stones and were constructed from 1802 to 1808 under the auspices of Father Bermejo.


The monumental Piast dynasty castle in Bolków is one of the largest fortresses of the Świdnica-Jawor Duchy. This stronghold, erected in the 13th century, defended nearby trade routes. Its monumental walls are still very impressive, stirring the imagination. This fortress is testimony to the dramatic history of this part of Central Europe.
The first mention of the castle comes from 1277, where prince Bolesław II of Legnica writes about it. Bolków Castle was built on the order of the Prince of Legnica, Bolesław II Rogatka, known as Łysy, and later expanded by his son Bolek I Severe, the prince of Świdnica and Jawor. On the initiative of Bolek I, a number of strongholds were expanded to control the passages from the Czech Republic to Silesia through the Sudeten range. This contributed to maintaining the independence of the Świdnica-Jawor Duchy until the end of the 14th century (the longest among all Silesian principalities). In the mid-14th century, the castle was connected with the city fortification system, its southern and south-eastern corners were connected with the city walls. In the Piast times, the castle's residents were ducal burgraves, such as: Logau, Schaffgotsch, Schweinichen, and Salza. In the years 1301-1368, during the reign of princes Bernard Świdnica and Bolek II Mały (from 1353), the castle was enlarged. According to historians, from the time of Bolko II, for about 100 years, the castle served as a treasury, which was later transferred to Prague.
Bolko II was childless, therefore he adopted the daughter of his deceased brother Henryk (1343), Anna, and made her heir to the principality. On May 27, 1353, Anna married the Czech King Charles IV. On July 3, he bequeathed Bolko II to Anna and Charles IV of the principalities, under the condition that he would be able to rule them until his death, just like his wife, Duchess Agnieszka Habsburska. In 1392, the castle became the property of the Czech kings. Until this year, most probably from the times of Bolko I, the castle served as a treasury. The city was destroyed during the Hussite attacks, but the castle was not conquered.
In 1463, the Czech king, George of Poděbrady, imprisoned the knight Hans von Tschirnhaus, who became famous in the area for robberies. This was the reason why the burghers of Wrocław and Świdnica organized an armed expedition to the castle under the leadership of Guncel II Świnka in 1468. In 1491, the castle was besieged by the Czech king Władysław II Jagiellończyk [2]. At the beginning of the 16th century, thanks to King Ferdinand I, the castle was handed over to the Wrocław bishop for life. The bishop, on the order of the monarch, undertook the expansion of the castle. In the years 1539-1540, the castle was rebuilt under the leadership of the Lombard architect Jakub Parr. First of all, the fortified area was enlarged. Courtyards were built, surrounded by walls and bastions, in the south-west part and on the town side. These fortifications were connected with two town towers. The tower was crenellated in the form of dovetails. After the bishop's death in 1543, the castle was transferred to his family as a fief. From 1570, the owner of the castle was Matthias von Logau. In 1596, the castle passed into the hands of the Zedlitz family. In 1640 (during the Thirty Years' War) the castle was besieged. In 1646, it was taken over by the Swedish army.
The castle's current shape was only done so by various constructions in the sixteenth century, the famous Silesian architect Jakub Parr brought elements of the Renaissance into the castle's fortifications. After the construction and expansion, the castle had a total area of 7600 m², making it one of the largest castles in Silesia.
In 1703, the castle in Bolków was bought by Cistercian monks from Krzeszów. Since then, the castle has remained uninhabited. In 1715, the Cistercians completed the interior reconstruction; By an edict of October 30, 1810, the castle becomes the property of the Prussian State Treasury (secularization). During this time, the building begins to fall into ruin. In 1813, after the Napoleonic Wars, Russian soldiers stayed in the castle. Searching for the legendary gold, they dug a hole at the base of the tower to get to the hunger dungeon. In 1885, the authorities allowed the demolition of part of the walls, and the obtained material was used to repair the roads. On March 10, 1913, the mayor of Bolków (Feige) appoints the Verein für Heimatpflege (Bolków Regional Society), which was to revive tourism. However, the outbreak of the war did not allow the plan to be implemented. In 1922, the House of Women was rebuilt, the ground floor was turned into a youth hostel, and the first floor was transformed into a regional museum. After Hitler came to power, the castle became the property of the state. It is assumed that the castle housed a research center supervising nearby factories.


Bolnisi Sioni (Georgian: ბოლნისის სიონი) or Bolnisi Sioni Cathedral is a Georgian Orthodox basilica in the Bolnisi village of Bolnisi District, Georgia. The cathedral was built in 478–493. It is the oldest extant church building in Georgia. Bishop David was the overseeing church leader for the construction of Bolnisi Sioni.
Bolnisi Sioni Cathedral is known for its Georgian inscriptions. These are one of the oldest historical documents of the Georgian alphabet. This church is the first Georgian building to have a completion date on the exterior. Bolnisi Sioni’s decorative scheme was a Sasanian style. The southern and central parts of the church are adorned with curling vine scrolls, arabesques, and foliate motifs. Uniform masonry blocks were used to build on to the original building’s late antiquity remnants on the southern façade.
The country of Georgia was in contact with Persia during the time of Bolnisi Sioni’s construction. Evidence of this is in the decoration of the building. The sculpture and embellishments of Bolnisi Sioni and other surrounding Georgian churches are influenced from Iranian, Armenian, and Near Eastern art and architecture. The hunting depictions and sculpture are similar to Iranian 4th and 5th century art and architecture.


The name of the area, Boloto (literally meaning the marsh), was known since the 14th century, when it was located in the meadows on the low bank of the Moscow River and frequently flooded. It belonged to the district of Zamoskvorechye, south of the river, and became an urban area much later than the left bank of the river, where the Kremlin is located. The square was frequently used for public executions, notably, the famous rebel Stepan Razin in 1671 and Yemelyan Pugachev, a leader of a peasant rebellion, who was executed there in 1775. It was also the last public execution in the square. The area was flooded on a regular basis until the 1780s, when the Vodootvodny Canal was dug to normalize the situation. In the 19th century, the area was built up by the addition houses and warehouses of local merchants, some of which are still intact.
In 1958, the monument to Ilya Repin was built in the center of the square. In 1962, the square was renamed Repin Square. In 1994, together with other streets and squares of the historical center of Moscow, it was renamed back to Bolotnaya Square. In 2001, the sculpture group of Children Are the Victims of Adult Vices by Mihail Chemiakin was unveiled on the square.
On 10 December 2011 several dozens of thousands protesters held a rally in the framework of 2011 Russian protests. This was the biggest rally in Moscow since the 1990s.


Educational theater at the Theater School named after Yevgeniy Yevstigneyev;
Trade Union House;
Former building of the Upper-Posad Chambers of Commerce;
Museum of photography of Russian photographer Andrey Karelin;
Dramatic Theater;
Gentry Assembly Building
State Bank;
Rukavishnikov's Manor House (now the Orlyonok cinema);
The building of philological, financial faculties and the faculty of social sciences of Nizhny Novgorod State University;
The Nizhny Novgorod Puppet Theater;
"Art crafts" - a museum store;
House of Communication.


The initial idea to build a bridge near the Okhta river was circulated in 1829. Even before the Saint Petersburg was founded, there were settlements in the Okhta region, and with the growth of the city, it quickly grew to become big industrial center. Powder factories and shipyards existed here. However, in the 19th century, Okhta district wasn't officially part of Saint Petersburg. The bridge was essential for the developing industry, and Nicholas I approved the bridge as part of strategic city development plan. However, at that time the necessary funds were not found.

Next time the possibility of building a bridge was raised in 1860-th, when the Emperor approved the decision to join the Okhta district to Saint Petersburg. The city Duma organized international contest. There were total of 16 projects submitted including projects from France, Germany, Austria, Spain and USA. There also were three projects submitted out of contest. And one of these out of contest projects was declared winner. That was the project by professor of Nikolaevskay engineering academy colonel Krivoshein and military engineer Apyshkov. But even after selecting the winning project, the work didn't start for a long time.
In spring of 1907, the passenger ship Arkhangelk which transported people from the left bank of Neva to the right bank sank. This tragic event set things in motion, and on September 24, 1907 the contract for building the bridge was signed. The ceremony of bridge founding took place on June 26, 1909, exactly two hundred years from the Battle of Poltava. Hence the bridge was named after the victor of that battle: Emperor Peter the Great Bridge.
As the result, the bridge itself was manufactured in Warsaw (Firma Braci Ruckich - Rucki Bros. Metalworks in Warsaw), and components were transported to the construction site and assembled.  This is described by the bronze plaque (120 cm by 180 cm) that can be seen from the pedestrian walkway on the right pylon if crossing from the left side of Neva.
The bridge was open for traffic on October 26, 1911. In 1956 the bridge was renamed Bolsheokhtinsky after the Big Okhta river, but in 2004 the original name was partially restored, although the title of Emperor was dropped from the name. Today people call this bridge both Peter the Great Bridge and Bolsheokhtinsky Bridge.
The city rumor has it that one of the clenches in the bridge is made from pure gold, and colored to be the same color as the rest of clenches. Unfortunately it is virtually impossible to verify, since the bridge has more than one million clenches.
In 1963, an Aeroflot Tupolev Tu-124 landed on the Neva just behind the bridge in what remains one of the very few successful controlled water landings in aviation history with no lives lost.


Bolshoy Dom (Russian: Большой дом, lit. the Big House) is an office building located at 4 Liteyny Avenue in Saint Petersburg, Russia. It is the headquarters of the local Saint Petersburg and Leningrad Oblast branches of the Federal Security Service of Russia (FSB) and Main Department of the Ministry of Internal Affairs.
The building is located in the Central District of Saint Petersburg at the beginning of Liteyny Prospekt, one block from the Neva River, at the site of Imperial Russian Old Armoury Building which burned down in 1917. It was originally constructed in 1931–32 for the Joint State Political Directorate (OGPU), the secret police of the Soviet Union at the time. The building was designed by Soviet architects Noi Trotsky, Alexander Gegello and Andrey Ol in the late Constructivist style. The Bolshoy Dom building is part of a larger complex which includes the detention facility on Shpalernaya Street, with both gaining notoriety as a prison during the Great Purge under Joseph Stalin. In July 1934, the building became local headquarters of the newly-created People's Commissariat for Internal Affairs (NKVD), when the OGPU was reincorporated as the Main Directorate of State Security (GUGB) of the NKVD. Bolshoy Dom subsequently became the local headquarters for the more widely known Committee for State Security (KGB) when it replaced the NKVD, and remained under KGB usage until the collapse of the Soviet Union in 1991.
Bolshoy Dom became the subject of numerous urban legends in Soviet and Russian culture due to its association with the secret police, including all buildings of the FSB being nicknamed Bolshoy Dom. The common conspiracy theory about the building is that it contains a large amount of secret underground floors, leading to jokes about Bolshoy Dom being the tallest building in Saint Petersburg. There is also a legend that the building survived the Siege of Leningrad during World War II because Nazi Germany was aware that German prisoners of war were housed in the top floor, preventing it from being bombed.


The original castle was built by the Peverel family in the 12th century and became Crown property in 1155 when William Peverel the Younger died. The Ferrers family who were Earls of Derby laid claim to the Peveril property.
When a group of barons led by King Henry II's sons – Henry the Young King, Geoffrey Duke of Brittany, and Prince Richard, later Richard the Lionheart – revolted against the king's rule, Henry spent £116 on building at the castles of Bolsover and Peveril in Derbyshire. The garrison was increased to a force led by 20 knights and was shared with the castles of Peveril and Nottingham during the revolt. King John ascended the throne in 1199 after his brother Richard's death. William de Ferrers maintained the claim of the Earls of Derby to the Peveril estates. He paid John 2000 marks for the lordship of the Peak, but the Crown retained possession of Bolsover and Peveril Castles. John finally gave them to Ferrers in 1216 to secure his support in the face of country-wide rebellion. However, the castellan Brian de Lisle refused to hand them over. Although Lisle and Ferrers were both John's supporters, John gave Ferrers permission to use force to take the castles. The situation was still chaotic when Henry III became king after his father's death in 1216. Bolsover fell to Ferrers' forces in 1217 after a siege.
The castle was returned to crown control in 1223, at which point £33 was spent on repairing the damage the Earl of Derby had caused when capturing the castle six years earlier. Over the next 20 years, four towers were added, the keep was repaired, various parts of the curtain wall were repaired, and a kitchen and barn were built, all at a cost of £181. From 1290 onward, the castle and its surrounding manor were granted to a series of local farmers. Under their custodianship, the castle gradually fell into a state of disrepair.


The Domesday Book lists Bolton Abbey as the caput manor of a multiple estate including 77 carucates of ploughland (around 9240 acres/3850 ha) belonging to Edwin, Earl of Mercia. The estate then comprised Bolton Abbey, Halton East, Embsay, Draughton; Skibeden, Skipton, Low Snaygill, Thorlby; Addingham, Beamsley, Holme, Gargrave; Stainton, Otterburn, Scosthrop, Malham, Anley; Coniston Cold, Hellifield and Hanlith. They were all laid waste in the Harrying of the North after the defeat of the rebellion of Edwin, Earl of Mercia and classified as the Clamores (disputed land) of Yorkshire until around 1090, when they were transferred to Robert de Romille, who moved its administrative centre to Skipton Castle. The Romille line died out around 1310, and Edward II granted the estates to Robert Clifford.
In 1748 Baroness Clifford married William Cavendish and Bolton Abbey Estate thereafter belonged to the Dukes of Devonshire, until a trust was set up by the 11th Duke of Devonshire turning it over to the Chatsworth Settlement Trustees to steward.
Today, the 33,000 acre (134 km²) estate contains six areas designated as Sites of Special Scientific Interest, including Strid Wood, an ancient woodland (mainly oak), which contains the length of the River Wharfe known as The Strid, and a marine fossil quarry. The estate encompasses 8 miles (13 km) of river, 84 farms, 84 buildings of architectural interest, and four Grade I listed buildings; and is currently home to 27 businesses from tearooms to bookshops. The iconic stepping stones cross the River Wharfe near the Abbey ruins. The estate includes extensive grouse moors, including Barden Moor on the west side of Wharfedale and Barden Fell on the east side of the dale. There is also a pheasant shoot. Apart from people employed within these businesses, the estate employs about 120 staff to work on the upkeep of the estate.
Much of the estate is open to the public. A charge is made for car parking. The Dales Way passes through the estate on a permissive path. Barden Moor and Barden Fell, which includes the prominent crag of Simon's Seat, are on access land, and permissive paths lead up to the moors. Access to the moors may be closed to the public during the shooting season.
Bolton Abbey Hall, originally the gatehouse of the priory, was converted into a house by the Cavendish family. The hall is a Grade II* listed building.
As well as Bolton Abbey, the Cavendish family also own the Chatsworth (Derbyshire, England) and Lismore Castle (Waterford, in the Republic of Ireland) estates.
In the early nineteenth century, a cow known as the Craven Heifer was bred on the Bolton Abbey estate. Weighing 312 stone (1.98 tonnes), and measuring 11 ft 4ins in length and over 7 ft in height, she to this day remains Britain's largest ever cow.


The Priory Church of St. Mary and St. Cuthbert, Bolton Abbey, is an active Church of England church, serving the village and parish of Bolton Abbey, with a full calendar of liturgical events, and a full-time rector who lives in the adjacent Rectory. The current church is the surviving part of the otherwise ruined 12th-century Augustinian religious community originally known as Bolton. It is situated in the Yorkshire Dales National Park, within the Bolton Abbey estate.


Bolton Town Hall in Victoria Square, Bolton, Greater Manchester, England, was built between 1866 and 1873 for the County Borough of Bolton to designs by William Hill of Leeds and George Woodhouse of Bolton. The town hall was extended in the 1930s to the designs of Bradshaw, Gass and Hope and has been designated a Grade II* listed building by English Heritage.


The original building on a rectangular plan is designed in the neoclassical style in the form of a temple with a tall baroque-style clocktower. The town hall has a high basement storey and two principal floors above in sandstone ashlar which is rusticated at basement level. It has a broad flight of steps up to a five-bay portico with a pediment in which there is a high-relief sculpture by William Calder Marshall. All the other architectural sculpture inside and out is by Burstall and Taylor, including the main staircase, the portico and the lions which flank the steps.
Either side of the entrance are five-bay ranges of two storeys with round-arched windows to the first floor. A quarter-chiming clock by Potts of Leeds was installed in the tower in 1871.
In 1890 the design for Bolton Town Hall  was used again by original architect William Hill as the template to build Portsmouth Town Hall, a near identical twin. Though similar in style to that of Bolton, it was conceived on a larger scale. Hill's design for the Portsmouth version added ten domes at its corners to enliven its sky-line. Portsmouth Town Hall was renamed Portsmouth Guildhall in 1926 when Portsmouth was elevated to city status.


Each Bolwoning (literally 'bulb house', or 'ball house') is constructed with reinforced concrete and fiberglass. Each house has three main levels, with storage in bottom. The first, bottom level is the bedroom, the second, middle is the bathroom, and the third, top floor is the living space.
The top space features unique round windows that offer panoramic views.
The houses have been continuously occupied since the community was first constructed.


WikiWeb_Bomber Command Museum of Canada_1

The Nanton Lancaster Society was formed in 1985 with the mission of preserving the town's Avro Lancaster, which had been on outdoor display since 1960. The following year, the society officially began displaying the aircraft as a museum. In 1991 the NLS completed a building to house the plane, and throughout the 1990s the museum acquired a large collection of aircraft to complement the Lancaster. Following the opening of the original building, the museum has expanded in 1998, 2002, and 2007. The museum includes a library, archive, and restoration shop. It is presently working to add second hangar for its collection.
Since 1986, the museum's Lancaster has undergone a full restoration, and all four engines are operational, and the aircraft can taxi under it;s own power, one of only 4 similar Lancasters in the world. The Society elected to restore the aircraft using the livery of Lancaster FM-159 (F2-T) "T for Tommy," the Lancaster in which Ian Bazalgette was killed on 4 August 1944. In 1990 the Society held a dedication ceremony for the aircraft. Among attendees were Mrs. Ethel Broderick, Ian's sister, F2-T crew members Chuck Godfrey and George Turner, as well as 407 Squadron's commanding officer, Colonel Terry Chester.
In 2005 the museum dedicated its Bomber Command Memorial, and in 2010 changed its name to the Bomber Command Museum of Canada. In addition to its airplanes and vehicles, the museum has an extensive collection of engines, art, and other related objects.


Besides the residential buildings, the farm includes a barn with a shed, an attic and a forge. All these buildings are made of wooden logs. The interior of the residential buildings has wallpaper and painted frescoes depicting castles like Ekebyhov or the Rosersberg Palace.


Structure 1:
Structure 1 at Bonampak, built at the end of the eighth century A.D. (officially dedicated on November 11, 791 A.D.), measures 16 meters long, four meters deep, and seven meters tall, and is constructed atop a T-shaped platform. Although there is no evidence to support the claim, some speculate that it may have also had a roofcomb, such as can be seen on Structure 33 at nearby Yaxchilan. Structurally symmetrical, balanced and stable, it is composed of three separate rooms, which contain murals that narrate the events surrounding the accession to the throne by Chooj, son of Bonampak ruler Yajaw Chaan Muwan, and grandson of Aj Sak Teles. Although there has been some disagreement as to the temporal sequence of events, it is generally agreed that the narrative should be viewed in chronological order, beginning in Room 1 (scene of tribute, dressing, dance, mummery and musical performance); then on to Room 2 (scene of violent conflict, and a display in which a human cull is presented, tortured and killed in the company of the highest members of court and upper echelons of the victorious force); and, finally, to Room 3 (scene of a dance, with observers, and ritual bloodletting). In total, there are some 281 human figures represented within the three rooms, many with captions (approximately 1/3 of the figures are named, while another 10 percent of the figures have blank captions, and slightly more than half have no caption at all). A few theories as to why some captions were left blank include deaths or political realignment, an interruption of the murals related to the ostensible Lowland Maya collapse during the period of Structure 1's creation, and the possibility that it became politically impolite to name certain figures. The planning and execution of the Bonampak murals points to a large team of specialists, and
not to one solitary genius. This team would have included plasterers, pigment preparers, and possibly calligraphers, in addition to the painters and planners whose artistic conception is most visible on the walls.
The exterior of Structure 1, although poorly preserved, was once richly painted in bright hues of Maya blue, blue-green, red, and yellow. Indeed, almost everything would have been covered in paint, as even the floors in each room were painted black. Only the top surfaces of the interior benches appear to have been left unpainted. In addition to the various colors applied, there were further artistic elements on the facade of Structure 1.  Just below the binder molding, there are remnants of a single band of some eighty glyphs that wrapped around the building, and broad vertical bands of red, interchanged with areas of unpainted white stucco. Essentially, the artists at Bonampak framed the lower course of the exterior of Structure 1 as if it were a Maya vase; more specifically, this was done in the codex-style vases of the Petén, and not mirroring those of the Usumacinta region where Bonampak is located. Above each room there is a small niche housing a seated figure—likely representations of a ruling lord.  Between these niches there were two larger stucco scenes, only one of which has survived the ravages of time. Hinting at what is depicted within on the murals, the image depicts a figure in a forward stride toward a captive on his knees before him, his hair being gripped firmly by his vanquisher. On the east and west sides of the building, the upper course featured additional seated figures within niches set atop long-snouted god heads—these still have some remnants of red paint visible. Finally, the doorway to each room features a carved lintel of a warrior subduing a captive. Lintel 1 (Room 1) depicts Yajaw Chaan Muwan, ruler of Bonampak, capturing an enemy on January 12, A.D. 787 (Longcount date: 9.17.16.3.12, 8 Eb 10 K’umk’u); Lintel 2 (Room 2) likely shows the overlord from Yaxchilan, Shield Jaguar IV, on January 4, A.D. 787 (Longcount date: 9.17.16.3.8, 4 Lamat 6 K’umk’u); and Lintel 3 (Room 3) displays Aj Sak Teles, probably on July 25, A.D. 780 (Longcount date: 9.17.9.11.14, 3 Ix 2 Yax). It is worth noting that the height of each doorway is only roughly 5’ 7” (1.75 meters), and around 3 feet wide. Thus, it is clear that no Maya noble in full regalia would have ever entered these rooms without a bow of deferential respect.
In 1996, a team from Yale University led by professor Mary Miller began The Bonampak Documentation Project, which included making an even more detailed study, photographic record, and reproductions of the murals. These reproductions, completed by artists Heather Hurst and Leonard Ashby, bring to life many details, thanks to infrared photographs, that can no longer be seen with the naked eye. Most saliently, the images captured many glyphs that were previously unknown, lost either to natural erosion, or due to the many failed attempts at preservation, some of which did far more damage than conservation. For a more detailed description about The Bonampak Documentation Project, and a thorough discussion on the murals, see Mary Miller and Claudia Brittenham's 2013 seminal work on the subject titled, The Spectacle of the Late Maya Court: Reflections on the Murals of Bonampak.
*Note: The numbered human figures (HF) mentioned below can be found in the aforementioned publication on page 73, in addition to excellent large foldouts in the back of the book.
Room 1:
This is the scene of a regal event: the acknowledgement, in front of the court and visiting dignitaries, by the Bonampak ruler, Yajaw Chaan Muwan, of his son's right to rule. There are 77 human figures in this first room fulfilling various functions within the narrative. Some of the actors that capture immediate attention are the elegantly costumed figures on the lower register of the south wall (HF's 62, 63, and 64). The large, feathered back racks, in addition to the various jaguar, quetzal and serpent elements in their costumes, underscore the importance of these figures. These are the three ch’oks (young heirs). It was at first thought that the central figure (HF 63) was the ruler of Bonampak, Yajaw Chaan Muwan. However, further readings of the accompanying glyphs show this figure to be the future ruler, Chooj, who is in between his two brothers: Bird Balam and Aj Balam. With heels raised, all three brothers are in the middle of a ritual dance. To the viewer's left of HF 62, beginning on the south wall and leading to the east wall, there are several figures playing instruments (rattles, drums, and turtle shells) and singing, which fill this room with celebratory music. To the viewer's right of the three ch’oks, leading to the west wall, there are eight sajals (regional governors). Of particular note is HF 71, standing in a familiar pose to smokers of today, as he, too, embraces a long, thin cigarette, expressing some combination of calm, lack of interest and boredom. Behind him, HF's 73 and 74, as well as HF's 52 and 54 on the east wall work together, holding parasols that frame the Initial Series Text right above them on the middle register. These are the only quotation marks in all of the Pre-Columbian New World. On the lower register of the north wall, still more musicians (HF's 43 and 44) blast their trumpets, while other performers (HF's 45–50) wear various costumes, including that of a crocodile (HF 48).
Of all the images of visiting messengers, nobles and dancers held within the upper register, a few individuals, and one recently discovered detail in particular, stand out. Conspicuously placed upon a raised platform on the upper register of the south wall, just above two holes where wooden beams had once ran through to help support the structure, stands a lone figure (HF 16) presenting a child (HF 15) to the lords. At first, many thought that this child was the young heir; however, as noted previously, the central dancing figure below (HF 63) was the heir to the throne at Bonampak. Yet, even without having decoded the glyphs next to the three festive brothers, one notices a couple of peculiarities. Firstly, the young figure is actually wearing face paint and garments that are suggestive of a girl, perhaps a wife for the future ruler. Secondly, no one is looking at the child, not even the individual holding her. In fact, he is glancing over his left shoulder into the upper register of the west wall at the figure (HF 19) sitting upon an elevated throne. This seated figure is likely Yajaw Chaan Muwan, ruler of Bonampak. It is important to mention here that the caption above this individual, like so many captions in Structure 1, was left blank. Therefore, the identification of HF 19 as Yajaw Chaan Muwan is deduced rather than known unequivocally based on a name glyph. Beneath the throne, one can view five bundles, albeit with some difficulty.  It was not until Professor Mary Miller's aforementioned Bonampak Documentation Project that scholars finally knew what these bundles contained. After analyzing infrared images of this scene, glyphs for “5 pi kakaw” were revealed. “Kakaw” was the classic Maya term for the cacao bean, and Harvard University professor David Stuart has suggested that the “pi” glyph represents units of 8,000 beans. Therefore, if this is so, it appears that there has been a tribute payment to Yajaw Chaan Muwan of 40,000 cacao beans, which is a considerable sum of wealth. Finally, in the vault across the whole scene in Room 1, the faces of the Sun God are shown as it moves across the sky. On the east wall, a large crocodilian, representing the vault of the sky, carries the myriad avatars of the Sun God upon its back.
Room 2:
This is the scene of what has been referred to as the greatest battle scene in all of Maya art. Room 2 is the largest of the three, which alludes to its greater importance. It also contains more human figures than either Room 1 or Room 2, with 139 of them. The south wall, which is the first that is viewed upon entering, along with the east and the west walls, depict warriors in the heat of battle. Bodies are intertwined on both the lower and the upper registers. Trumpets blast as the battle rages on (HF 7). As one begins to focus more and more on the individuals, a couple of
artistic elements and their symbolic meanings become clear. The ancient Maya believed that to be left-handed was a sign of femininity and weakness, thus the warriors who are shown as defeated—including already being stripped nude, with the victors gripping them by the hair—or those in the process of being defeated, are depicted as being left-handed (e.g., HF's 61 and 67). Some are even illustrated with two left hands. To contrast this sharply, several victors are given two right hands, doubling their strength and masculinity. In addition to left-handedness, the losers are also all wearing some element of a bird—or, at least those that are still in their battle costumes, and have not yet been stripped of them. This is also indicative of defeat. The victors, on the other hand, all wear costumes with feline elements—specifically, the jaguar. Therefore, it is of no surprise to see the main character on the upper register of the south wall, Yajaw Chan Muwaan (HF 55), firmly gripping a jaguar skin-covered spear in his right hand while donning a large, extravagant jaguar headdress—which may contain a water-lily scroll—and wearing a jaguar jerkin and jaguar boots. Although it is clear that the events surrounding the ascension to the thrown of Chooj depicted in Structure 1 are narrating actual events, it is equally clear that Bonampak's version of the actual events is more propagandistic in nature. The aforementioned outfits of the losers underscore this fact. That is, no one intending to win would enter battle wearing costumes related to defeat, nor would all of the warriors of the losing side be left-handed. Professor Mary Miller describes the battle scene of Room 2 as an “...official historical portraiture, not by any means a photographic glimpse of Maya warfare.” Above the chaotic battle, the south vault depicts three individuals within ancestor centipede cartouches. Between them are two bound captives. As one turns to view the north wall, the viewer is greeted by the sequel to the battle: torture and sacrifice of the captives taken in battle.
To view the north wall, a visitor would have sat on the
south bench above bound captives, as though becoming a part of the scene. The
north wall is one of pain and suffering. Nude and almost nude captives (only
wearing a loin cloth) are depicted in deep agony, as some of them are in the
process of getting their fingernails ripped off, or have already undergone this
torture and bleed from their wounds (HF's 101–109). HF 101 may have even had
his teeth removed, while HF 106 has already expired, and HF 120 is only a
severed head. Yajaw Chan Muwaan is the main figure here, too, wearing only a
slightly different variant of his battle costume from the south wall. He stands
stately over his captives, while several warriors and nobles observe the
ritual, including his wife (HF 97). In the vault, directly above this scene,
are four cartouches representing various celestial imagery.
Note: During a radar survey of Structure 1 in 2010, archaeologists discovered a tomb beneath Room 2. It is small and relatively simple. It contained the body of one man between the ages of 35 and 42. It was a complete skeleton, minus the cranium, which scientists believe is simply due to natural erosion, and not evidence of beheading. The skeleton was accompanied by jade earrings, a jade necklace and bracelets, a spondylus shell pendant, two polychrome plates, an alabaster vase with a hole in the base, and a stone knife. The last two items—perforated vase and a stone knife—lead some to believe that this individual was one of the sacrifice victims depicted in Room 2. Other theories include him being a wounded warrior, or a possible relative of Yajaw Chan Muwaan, as his jewelry matched that of the nobles depicted in Room 1. It is clear that this tomb was part of the original construction of Structure 1 and was not, therefore, created at a later date.
Room 3:
This is the scene of ritual celebration for victory in battle, including bloodletting by nobles, and contains 65 human figures. As with Rooms 1 and 2, the south wall is the first to be viewed. What captures one's attention immediately are the three elaborately dressed individuals in the upper register (HF's 16, 21, and 24) wearing tall, green, quetzal-feathered headdress and dancers wings. These are the same brothers from Room 1, with the young heir, Chooj, in the center (HF 21). Each brother holds a bloody femur bone that has been modified into a ritual ax. Right below Chooj is another figure (HF 22) on his knees; he is also holding an ax in his right hand and another object in his left. Here is another instance where the Bonampak Documentation Project was able to decipher that which is not able to be seen by the naked eye—in this instance, the paint had been completely eroded in this area. However, the infrared images revealed that what HF 22 had in his left hand was none other than the still beating heart of the sacrificial victim below (HF 19), who is being dragged down the pyramid steps by two attendants (HF's 18 and 20).
Covering almost the entire bottom register of the south and west walls are seven more elaborately costumed characters (HF's 13, 15, 17, 26, 26, 27 and 28) with similar headdresses to those of the brothers above them. They are depicted with one heel raised and arms stretched out, as if captured right before a spinning dance, perhaps to imitate the flight of the quetzal.  Above the entire south wall scene, set among a background of yellow —the first appearance of a color not representing reality— is a supernatural entity with square eyes, and a single frontal, pointed tooth. It lacks pupils and a real nose; behind it emerge two serpent-like supernatural entities that expel additional entities. The upper register of the west wall contains a musical procession with masked performers, carrying a dwarf (HF 42) who is lifted into the yellow background of the vault, demonstrating his connection to the supernatural world. The upper register of the east wall shows the noble women of Bonampak (HF's 2, 5 and 6) holding stingray spines to their tongues in a bloodletting ritual. Meanwhile, a large man (HF 7) offers bloodletting supplies to the women on the throne. Of note is the fact that these individuals also seem to appear previously—HF 7 in Room 2 on the middle of the east wall; the others in Room 1 on the west wall throne scene. Above them, surrounded by yellow, another supernatural entity appears to spew blood. Turning to the north wall, one can see an almost identical supernatural in the vault as that of the south wall vault. Below, 10 ebeets (lords) dressed in white mantles engage in conversation, while nine more seated individuals below also gesticulate as they talk to one another, perhaps commenting on the performance taking place on the south wall in front of them.  Finally, on the bottom register, more musicians raise their instruments skyward as part of the procession on the west wall. Room 3 engulfs the viewer in the celebration.
Professor Mary Miller wrote, "Perhaps no single artifact from the ancient New World offers as complex a view of Prehispanic society as do the Bonampak paintings. No other work features so many Maya engaged in the life of the court and rendered in such great detail, making the Bonampak murals an unparalleled resource for understanding ancient society."


The cemetery is located on the former site of Bonaventure Plantation, originally owned by Colonel John Mullryne. On March 10, 1846, Commodore Josiah Tattnall III sold the 600-acre (2.4 km²) plantation and its private cemetery to Peter Wiltberger. The first burials took place in 1850, and three years later, Peter Wiltberger himself was entombed in a family vault.
Major William H. Wiltberger, the son of Peter, formed the Evergreen Cemetery Company on June 12, 1868. On July 7, 1907, the City of Savannah purchased the Evergreen Cemetery Company, making the cemetery public and changing the name to Bonaventure Cemetery.
In 1867 John Muir began his Thousand Mile Walk to Florida and the Gulf. In October he sojourned for six days and nights in the Bonaventure cemetery, sleeping upon graves overnight, this being the safest and cheapest accommodation that he could find while he waited for money to be expressed from home. He found the cemetery even then breathtakingly beautiful and inspiring and wrote a lengthy chapter upon it, "Camping in the Tombs."
"Part of the grounds was cultivated and planted with live-oak (Quercus virginiana), about a hundred years ago, by a wealthy gentleman who had his country residence here But much the greater part is undisturbed. Even those spots which are disordered by art, Nature is ever at work to reclaim, and to make them look as if the foot of man had never known them. Only a small plot of ground is occupied with graves and the old mansion is in ruins.
The most conspicuous glory of Bonaventure is its noble avenue of live-oaks. They are the most magnificent planted trees I have ever seen, about fifty feet high and perhaps three or four feet in diameter, with broad spreading leafy heads. The main branches reach out horizontally until they come together over the driveway, embowering it throughout its entire length, while each branch is adorned like a garden with ferns, flowers, grasses, and dwarf palmettos.
But of all the plants of these curious tree-gardens the most striking and characteristic is the so-called Long Moss (Tillandsia usneoides). It drapes all the branches from top to bottom, hanging in long silvery-gray skeins, reaching a length of not less than eight or ten feet, and when slowly waving in the wind they produce a solemn funereal effect singularly impressive.
There are also thousands of smaller trees and clustered bushes, covered almost from sight in the glorious brightness of their own light. The place is half surrounded by the salt marshes and islands of the river, their reeds and sedges making a delightful fringe. Many bald eagles roost among the trees along the side of the marsh. Their screams are heard every morning, joined with the noise of crows and the songs of countless warblers, hidden deep in their dwellings of leafy bowers. Large flocks of butterflies, flies, all kinds of happy insects, seem to be in a perfect fever of joy and sportive gladness. The whole place seems like a center of life. The dead do not reign there alone.
Bonaventure to me is one of the most impressive assemblages of animal and plant creatures I ever met. I was fresh from the Western prairies, the garden-like openings of Wisconsin, the beech and maple and oak woods of Indiana and Kentucky, the dark mysterious Savannah cypress forests; but never since I was allowed to walk the woods have I found so impressive a company of trees as the tillandsia-draped oaks of Bonaventure.
I gazed awe-stricken as one new-arrived from another world. Bonaventure is called a graveyard, a town of the dead, but the few graves are powerless in such a depth of life. The rippling of living waters, the song of birds, the joyous confidence of flowers, the calm, undisturbable grandeur of the oaks, mark this place of graves as one of the Lord’s most favored abodes of life and light."

- "Camping in the Tombs," from A Thousand Mile Walk
Greenwich Cemetery became an addition to Bonaventure in 1933.


The industrial complex was built in 1753 by Richard Ford's small business, the Newland Company. The site was chosen because there was enough wood in the area for the production of charcoal, as well as the fact that there was enough water pressure in the river to drive a water wheel. As the company itself was established in Cumbria, the blast furnace was managed by a local representative of the firm. During construction, most of the building materials were brought in from Cumbria. For the furnace to produce pig iron, it first had to be brought up to temperature, which took about one week. The oven was used almost continuously for nine months at a time.
The complex employed as many as 600 people at the height of its operation. The majority of the staff were needed for the collection of timber and the manufacture of charcoal. The daily output could reach up to 2500 kilograms of pig iron and the annual production was about 700,000 kilograms. As the complex did not include a forge, finished iron products could not be manufactured, with the exception of simple objects such as cannonballs. The majority of pig iron was taken to offices of the Newland Company in Cumbria to be shipped for further processing.
As of 1750, the use of coke as fuel was becoming common. The first blast furnace in Scotland which made use of coke was built in 1759 near Falkirk.  This new development in the production of iron in the complex made Bonawe less profitable. In the nineteenth century, production fell sharply and the complex was closed in 1876.

The remains of Bonawe Iron Furnace are currently managed by Historic Scotland.


This building was built on a slope to facilitate loading and unloading of materials. In the building were hematite and other minerals, including limestone. All of these minerals were needed in the preparation of pig iron.


The Bonde Palace (Swedish: Bondeska palatset) is a palace in Gamla stan, the old town in central Stockholm, Sweden.  Located between the House of Knights (Riddarhuset) and the Chancellery House (Kanslihuset), it is, arguably, the most prominent monument of the era of the Swedish Empire (1611–1718), originally design by Nicodemus Tessin the Elder and Jean De la Vallée in 1662-1667 as the private residence of the Lord High Treasurer Gustaf Bonde (1620–1667) it still bears his name, while it accommodated the Stockholm Court House from the 18th century and since 1949 houses the Swedish Supreme Court.  On the south side of the building is the street Myntgatan and the square Riddarhustorget, while the alleys Riddarhusgränd and Rådhusgränd are passing on its western and eastern sides.


The original design by Simon de la Vallée and Tessin the Younger, based on French Baroque and Renaissance prototypes, was H-shaped in plan, the planned two southern wings flanking a main court, while the northern wings surrounded a small Baroque garden. The central building was covered by a tall steep-pitched, copper-dressed roof surrounded by the cupolas of the corner pavilions, while the façades were decorated with Ionic pilasters, festoons and portraits of Roman Emperors. The Reduction in 1680 (e.g. the Crown recapturing lands earlier granted the nobility) dramatically reduced the financial power of the Bonde dynasty, and therefore, following the devastating fire of the royal palace Tre Kronor in 1697, the Royal Library and the Svea Court of Appeal were lodged in the Bonde palace. The original elaborated roof was destroyed in a fire in 1710, the original cupolas, however, are still preserved on the northern wings. In 1730, the palace was finally bought by the city in order to relocate the Town Hall from the central square Stortorget, thus definitively ending the buildings history as a private palace.
The reconstruction following another fire in 1753 produced much of the present shape of the building; the design of Johan Eberhard Carlberg resulting in the construction of the southern wings to the original plans, the addition of a new top floor, and an up-to-date low hipped roof; the present interior still reflecting the taste of the mid 18th century. As a City Hall, the palace commenced its central role in Swedish legal history by witnessing several dramatic historical events, including the public flogging of Jacob Johan Anckarström in 1792, and the mob beating of statesman Axel von Fersen the Younger to death in 1810.
As the bridge Vasabron, extending the alley Riddarhusgränd between the Bonde Palace and the House Knights, was constructed in the 1870s, proposals were made to adapt the width of the narrow alley to that of the new bridge, plans effectively suggesting the demolition of the palace. The plans were, however, never carried through, and one of the bridge's roadways is forced to make a detour around the still intact palace. During the 19th century, the building gradually failed to accommodate the court house, and as a new court house was finally built on Kungsholmen in 1915, the palace was to accommodate various municipal offices instead, the gradual decay that followed resulting in a second proposed demolition in 1920. The building was however restored in 1925, using the original white colour of the façades.
In 1948, the building was transferred from the city to the state. A comprehensive restoration led by the architect Ivar Tengbom, including the reinforcement of the foundations, the replacement of the windows, and interior lightwells being used for installations, transformed the decayed structure to its present classical shape; the updated interiors designed by Carl Malmsten, however, making the interior connote the 1940s. Additional restorations in 1986 and 2003–2004, have carefully focused on the building's origin from the 17th and 18th centuries using original materials and craftsmanship as far as possible while adapting the offices of the Supreme Court to modern requirements regarding accessibility and security. The building is today classified as a historical monument of national interest administered and maintained by the Swedish National Property Board (Statens Fastighetsverk).


Surf bathing had become a mass leisure pursuit after World War One.  In 1923 Waverley Council commenced the implementation of the Bondi Beach and Park Improvement Scheme. The scheme included provision of a kiosk and surf sheds, three lavatory blocks, a band stand, parks to surround the buildings and increased car and pedestrian facilities. A competition was held to design the structures and was won by the architectural firm of Robertson and Marks.
The foundation stone marking the commencement of the project was laid in May 1928. In OctoberThe Sydney Morning Herald photographed the building, which was still under construction, as shown below.
The pavilion was a very ambitious project. It had extensive dressing cubicles, which were originally in two courtyards on the ground floor of the building. One courtyard was for men and the other for women, and the individual changing booths were constructed in rows in each courtyard. These rows within the courtyards can be seen in the photograph above. It also had Turkish and hotwater baths, shops, a ballroom, cabaret theatre, an auditorium and a cafe. Tunnels leading from the two courtyards passed underneath Marine Parade (now Queen Elizabeth Drive) to a pair of concrete groynes which opened onto the beach.
The pavilion was not officially opened until the end of 1929. However, by October 1928 the project was sufficiently completed to allow people to use the dressing accommodation. The council placed the advertisement shown below, outlining the attractions of Bondi.


The official opening of the Bondi Beach improvement scheme was held on 21 December 1929. The Sydney Morning Herald outlined the event in detail:
A great crowd attended the official opening of the Bondi Beach improvement scheme by the Mayor of Waverley (Alderman D Hunter) on Saturday afternoon. Bondi was permeated with music all through the day and evening. There were brass bands, fife and drum bands and bugle bands and when there was no band playing loud speakers took their place. A little after noon King Neptune landed from a surf boat in front of the pavilion where he was welcomed by the Mayoress. His majesty brought a number of balloons and these were eagerly struggled for by hundreds of children. The beach was alive with surfers and sea nymphs, Girl Guides and Boy Scouts and thousands of spectators. It was estimated that there were between 160,000 and 200,000 people present, the marine drive, promenade and the sands being covered by a dense mass of pleasure seekers.
A photo of some of the beach improvements is shown below. Some of the material commissioned by the council to promote Bondi is also shown.


The Bondi Pavilion was well utilised for about two decades after its opening. During the war the first floor, where the Esplanade Cabaret had been, was requisitioned by the American Red Cross and the U.S. military to become an officers' club until the end of the war. After the war, dances were organised at the pavilion, and the proceeds went to disadvantaged Australian returned soldiers. In 1948 the pavilion obtained a liquor licence.


By the mid-1950s utilisation of the pavilion had begun to decline, as changes in bathing costumes from heavy material to nylon reduced the need for changing rooms. In 1955 the council reported a substantial operating loss for the building. During the 1950s and 1960s the ground floor refreshment rooms were still in use and operated by lessees; however, the main hall and auditorium were rarely used.
In the early 1970s old Palm Court Ballroom space was transformed into a theatre, the Bondi Pavilion Theatre, which was opened in 1974 by Gough Whitlam.
In 1977 and 1978 the changing rooms, lockers, former Turkish baths and courtyard were demolished. In their place a new netball court, an art gallery, a gymnasium and an amphitheatre were constructed. In 1978 the building was officially reopened as the Bondi Surf Pavilion Community Centre.


On 22 June 1993, the Australian Heritage Commission added the Bondi Beach area to the Register of the National Estate. Today the pavilion is still a community centre where the accomplished French born dancer Jeanine Claes did teach from 1985 till 2001. It has a theatre, a gallery and rehearsal, meeting and function rooms. Many cultural and film festivals are held at the building, and shops, changing rooms and toilets are still available to the public but the Pavilion has been the subject of controversial development proposals that residents argue would change the area from a community and artistic one to a commercial one.
As of 2021 the Bondi Pavilion Theatre continues to host performances.


Service takes place at 10 am every Sunday. Sometimes tourists have arrived only to find the church closed at that time. Others report that the sermons consist of political rhetoric. Whether or not the local congregation are authentic believers has been debated.
South Korean pastor Soh Kyung-suk describes his observations during visits: "There were little signs of spontaneity during a service. I also found no child in attendance and no Bible study groups there, and we were even banned from talking to North Korean service participants ... What was most startling was that church officials didn't even know any hymns at all."
Bradley K. Martin, author of Under the Loving Care of the Fatherly Leader, also described his visit to the church. The congregation sang "Jesus Loves Me" and many seemed to know it by heart. Preaching and prayer were on political themes such as Korean reunification and nuclear non-proliferation. Churchgoers, according to Martin, were not Workers' Party of Korea members and all of them had removed their Kim Il-sung lapel pins. "This church is a sacred place. We call it the 'house of heaven'. That is why political symbols are not allowed", a church employee explained.
The church is Protestant, but no denomination is specified. It is overseen by the Korean Christian Federation.
The congregation was about 300 strong on Sundays before the church was enlarged due to increase in attendance. Now the church seats 1,200 persons. The building has three stories. The church is staffed by a head minister, a vicar, eight elders, five deacons and fourteen deaconesses. The church runs a theological seminary for 12 people, in a separate building in the premises.
The church has an associated noodle factory, which is supported financially by the Presbyterian Church of the United States, and a bakery.


The combination of old art and contemporary art under one roof gives the Bonnefanten Museum its distinctive character. The department of old masters is located on the first floor and displays highlights of early Italian, Flemish and Dutch painting. Exhibited on the same floor is the museum's extensive collection of Medieval sculpture. The contemporary art collection is usually exhibited on the second floor and focuses on American Minimalism, Italian Arte Povera and Concept Art. The second and third floors are also used for temporary exhibitions.


Since Alexander van Grevenstein became director in 1986, the Bonnefanten Museum has focused mainly on contemporary art. The main focus of the permanent collection is on:
Conceptual art: Jan Dibbets, Marcel Broodthaers, Joseph Beuys, Bruce Nauman, Gilbert and George, Ai Weiwei;
Minimal Art: Sol LeWitt, Robert Ryman, Robert Mangold, Richard Serra;
Arte Povera: Luciano Fabro, Mario Merz, Jannis Kounellis;
Neo-expressionism: Neo Rauch, Peter Doig, Gary Hume, Grayson Perry, Luc Tuymans, Marlene Dumas.
The collection also features video art and room-size installations by younger artists: Atelier Van Lieshout, Francis Alÿs, David Claerbout, Patrick Van Caeckenbergh, Roman Signer, Franz West, Pawel Althamer.
In 2011, a deal was negotiated between the collectors Jo and Marlies Eyck and the province of Limburg. The result was that the Eyck collection of postwar art and the castle of Wijlre and its grounds, are now part of the museum.


In 1896, prior to this damming of the river, the Cascade Locks and Canal were constructed, allowing ships to pass the Cascades Rapids, located several miles upstream of Bonneville.
Prior to the New Deal, development of the Columbia River to provide flood control, hydroelectricity, navigation, and irrigation was deemed to be important. In 1929, the US Army Corps of Engineers published the Columbia River 308 Report that recommended ten dams on the river, but no action was taken until the Franklin D. Roosevelt administration and the New Deal. During this period, America was in the Great Depression, and the dam's construction provided jobs and other economic benefits to the Pacific Northwest. Inexpensive hydroelectricity gave rise to a strong aluminum industry in the area (which has totally shut down since then). With funding from the Public Works Administration in 1934, two of the larger projects were started, the Grand Coulee Dam and the Bonneville Dam. Working in non-stop eight-hour shifts, 3,000 laborers from the relief or welfare rolls were paid 50 cents an hour for the work on the dam and raising local roads for the reservoir.
To create the Bonneville Dam and Lock, the Army Corps of Engineers first built one of the largest scale models in history of the proposed dam, the section of river on which it was to be located, and its various components to aid in the study of the construction. First a new lock and a powerhouse were constructed on the south (Oregon) side of Bradford Island, and a spillway on the north (Washington) side. Cofferdams were built to block half of the river and clear a construction site where the foundation could be reached. These projects, part of the Bonneville Dam, were completed in 1937.
Both the cascades and the old lock structure were submerged by the Bonneville Reservoir, also known as Lake Bonneville, the reservoir that formed behind the dam. The original navigation lock at Bonneville opened in 1938 and was, at that time, the highest single-lift lock in the world, with a vertical lift of 60 feet. Although the dam began to produce hydroelectricity in 1937, commercial electricity began its transfer from the dam in 1938.
A second powerhouse and dam structure were started in 1974 and completed in 1981. The second powerhouse was built by widening the river channel on the Washington side, creating Cascades Island between the new powerhouse and the original spillway. The combined rated capacity electrical output of the two power houses at Bonneville is now 1.2 gigawatts.
Despite its world record size in 1938, Bonneville Lock became the smallest of eight locks, including seven built subsequently at different locations upstream on the Columbia and Snake rivers. Eventually a new lock was needed at Bonneville; this new structure was built on the Oregon shore, opening to ship and barge traffic in 1993. The old lock is still present, but it is no longer used.
The largest fish hatchery in Oregon, called Bonneville Fish Hatchery, is located next to Bonneville Dam. It is a tourist destination that is often connected to Bonneville Dam tourism.


The Bonneville Dam blocked the migration of white sturgeon to their upstream spawning areas. Sturgeon still spawn in the area below the dam, and the lower Columbia River supports a healthy sturgeon population. Small, very depressed populations of white sturgeon persist in the various reservoirs upstream.
To cope with fish migration problems, the dam features fish ladders to help native salmon and steelhead get past the dam on their journey upstream to spawn. The large concentrations of fish swimming upstream serve as a tourist attraction during the spawning season. California sea lions are also attracted to the large number of fish, and are often seen around the base of the dam during the spawning season. By 2006, the growing number of sea lions and their impact on the salmon population had become worrisome to the Army Corps of Engineers and environmentalists. Historically, pinnipeds such as sea lions and seals have hunted salmon in the Columbia River as far as The Dalles and Celilo Falls, 60 miles (97 km) farther upstream from Bonneville, as remarked upon by people such as George Simpson in 1841.


Motorcar racing has taken place at the salt flats since 1914. Racing takes place at part of the Bonneville Salt Flats known as the Bonneville Speedway. There are five major land speed events that take place at the Bonneville Salt Flats. Bonneville "Speed Week" takes place mid-August followed by "World of Speed" in September and the "World Finals" take place early October.
These three events welcome cars, trucks, and motorcycles. The "Bub Motorcycle Speed Trials" are for motorcycles only. World records are contested at the Mike Cook ShootOut in September. The Southern California Timing Association and the Utah Salt Flats Racing Association organizes and plans the multi-vehicle events, but all event promoters contribute to prepping and maintaining the salt. "Speed Week" events in August were canceled in 2015 and 2022, due to the poor condition of the salt in certain parts of the flats. The salt flats had been swamped by heavy rains earlier in the year, which usually happens, but the rains also triggered mudslides from surrounding mountains and onto a section of the flats used for the land-speed racing courses.


Construction of this Neoclassical building began in 1844 and were completed in 1847. It was designed by British architect William Footner, and alterations completed in 1860 were designed by Irish-born Montreal architect George Browne (1811–1885). Bonsecours Market also housed Montreal City Hall between 1852 and 1878. The former city hall chambers later became a 3700-square-meter meeting room.
The market building was also a venue for banquets, exhibitions and other festivals. Browne was charged with adding a 900-square-meter concert hall and banquet hall.
The building continued to house the farmer's central market, an increasingly multicultural mix of small vendors, until it was closed in 1963 and slated for demolition. However, the building was later transformed into a multi-purpose facility, with a mall that houses outdoor cafés, restaurants and boutiques on the main and second floors, as well as a rental hall and banquet rooms on the lower and upper floors and municipal office space.
Bonsecours Market was designated a National Historic Site of Canada in 1984.


The Riversleigh Fossil Fields Section of the park is a World Heritage Site and contains many fossil remains. Animal bones dating back 25 million years are preserved in the sediments.
The park contains several permanent creeks, waterholes, gorges, and sandstone ranges. Boodjamulla's ancient sandstones and limestones have been gradually stripped away over millions of years leaving behind rugged escarpments, gorges, and rock outcrops. There are four main habitats contained with the park: riverine, alluvial flats, rocky hills, and clay plains.
Lawn Hill Gorge, the primary attraction in the park, cuts through the sandstone plateau of the Constance Range, on the eastern extremity of the Barkly Tableland. The gorge has been carved out by Lawn Hill Creek, which flows all year and is fed by numerous freshwater springs from the limestone plateau to the west. The gorge is a rich oasis with cabbage palms and other tropical vegetation.
Also located in the park are the Gregory River and O'Shanassy Rivers which flow all year round. The park contains 20 km (12 mi) of walking tracks.


On the sandstone hills are spinifex, acacias, eucalypts and grevilleas. Growing on the river plains are western bloodwoods and mitchell grass.  Paperbarks, river red gums, figs, ferns, pandanus and cabbage palms are found along the creek and river banks. A diverse range of aquatic plants such as waterlilies, ferns, mosses, sedges and bulrushes grow in the creeks.


Named after the famous Book Brothers of Detroit, it was briefly the tallest building in the city until the completion of the Penobscot Building in 1928. A taller Book Tower of 81 stories was to be built at the opposite end of the Book Building, but the Great Depression cancelled those plans. The building contains a cartouche by the Detroit architectural sculptor Corrado Parducci.
From its opening through the mid-1970s the Book Tower remained a prestigious address on Washington Boulevard. Like many structures in the city, its fortunes declined until 1988 when the owners defaulted on the mortgage. In 1989, Travelers Insurance, the principal mortgage-holder, took possession and sold the building to developer John Lambrecht who previously purchased and renovated the Cadillac Tower a few blocks east. Lambrecht had similar plans for the Book Building and Tower; however, his untimely death later that year brought things to a halt.
Lambrecht's widow attempted to manage the property and made some improvements, but she was unable to maintain momentum. On July 25, 2006, she sold the Book Tower to the Pagan Organization, a New York-based investment group. Pagan's plans were for a renovation and conversion of both the Book Tower and Book building into a mix of retail, residential, and office units. The Pagan Organization created the Northeast Commercial Services Corp. to manage the building. Northeast Commercial Services Corp. filed for Chapter 11 protection Wednesday, May 24, 2007, after defaulting on its mortgage loan. The last tenant, Bookie's Tavern, closed on January 5, 2009, and moved to a new location downtown, leaving the entire building vacant.
In November 2009, Key Investment Group of Clinton Township, Michigan announced intentions to buy and renovate the building as a mixed-use development with high rise residential units, office space, and retail. Weeks earlier, the investors revealed that they were looking to purchase the building from AKNO Enterprises of Vancouver for a green renovation. In January 2010, Rosemarie Dobek, CFO of Key Investment Group, reported that the group was pursuing plans for a US$320 million green renovation to include the Book Tower and four other Detroit buildings.
In August 2013, Book Tower owner ANKO Enterprises of Vancouver, British Columbia, filed a tax abatement for a future renovation of the building; however, specific plans were not disclosed.
On August 28, 2015, Bedrock Real Estate, owned by Dan Gilbert, announced it would purchase the ±Book complex, including the Book Tower. The purchase price was reported to be about $30 million. Since that time, work has been on-going to renovate and restore the building into mixed-use retail, commercial and residential. Public tours were given in 2019 showing the progress of the project. The renovation project is expected to be complete sometime in 2022.