With terra cotta, rich colors, intricate gold accents, and distinctive dome, the theater's design redefined architecture in the 1920s. The interior of the Fox Theatre was delicately crafted and said to be described as “mystical”. With its intriguing resemblance of an Indian temple, the Fox Theatre was a fascinating attribute to downtown Oakland. At this time, theaters across the nation strived to be more than just a typical building. The designs of various theaters were inspired greatly by Middle Eastern and Indian architecture.


Bagwell, Beth. Oakland: The Story of a City. Oakland Heritage Alliance, 1996.
Fox Oakland Theatre Restoration Project. 2007. Oct. 2009 http://www.oaklandfox.com.
Friends of the Oakland Fox. 2004-2009. Oct. 2009 http://www.foxoakland.org.
"Kylie Minogue preps for first ever North American tour." Live Daily. 6 May 2009. Oct. 2009
Oakland School for the Arts. 2009. Oct. 2009 website.
The Fox Oakland. 2009. Another Planet. Oct. 2009 Fox Oakland.com.
"Oakland's Historic Fox Theatre Reopens." CBS Channel 5, 5 Feb. 2009; Oct. 2009.


The Frédéric Chopin monument at Żelazowa Wola is a notable Żelazowa Wola statue, located in a park adjacent to Chopin's birth house.


The monument was designed in 1955 by Józef Gosławski, but unveiled on 13 July 1969 by Tadeusz Zaorski, vice-minister of culture and art. The pedestal was designed by Wanda Gosławska. The bronze cast was produced by the Decorative Bronze company (Polish: Brąz Dekoracyjny).
A model of the statue has been featured at several International Frédéric Chopin Piano Competitions.
The Polish Mint's Famous Medallic Artists medal series includes one bearing an image of the Żelazowa Wola Chopin monument. The medal was produced in 2009 by Hanna Jelonek. The sculpture also inspired Polish painter Piotr Pawiński, who painted a series of pictures.


Fréjus Cathedral (French: Cathédrale Saint-Léonce de Fréjus) is a Roman Catholic church located in the town of Fréjus in the Var department of Provence, southeast France, and dedicated to Saint Leontius of Fréjus.
The cathedral was the seat of the Bishop of Fréjus from the 5th century. The diocese was abolished in 1801 but restored in 1822 under bull Paternae charitatis. In 1957, the Diocese of Fréjus was united with that of Toulon to form the present Diocese of Fréjus-Toulon, with its seat at Toulon Cathedral. Since then, Fréjus Cathedral has been a co-cathedral in the new diocese.
The church is part of a complex of medieval religious buildings dating from between the 5th and 13th centuries, when Fréjus was an important religious and commercial centre of Provence. It includes a parish church and a cathedral under one roof; a baptistery; the bishop's residence; a canonry, for the community of priests who served under the bishop; and a cloister. The baptistery of the cathedral is a fine example of early Christian or Merovingian architecture. It was built in the 5th century but hidden during later reconstruction, and was rediscovered in 1925 by French architect Jules Formigé. It is considered the oldest Christian structure in Provence and one of the oldest in France.
It was declared a French monument historique in 1862.


Fréjus, founded by Julius Caesar, had been an important Roman port and capital of Provence. The existence of a Christian community is documented as early as 374, but it is not known where they worshipped. The foundation of the cathedral is traditionally attributed to Saint Leontius of Fréjus, bishop of Fréjus (ca. 419-ca. 488). During his time the first monastery in the region, Lérins Abbey, was also founded.
The cathedral is located close to what appears to have been the Roman forum of Fréjus; the ruins of monumental buildings have been found next to the cathedral under the garden of the former hospital, now the Palais de Justice. It was also near the cardo maximus, the principal north-south axis of Roman towns; its walls were aligned with the sites of earlier Roman villas; and elements of Roman buildings, such as columns and walls, were incorporated into its structure. The north wall of a Roman villa dating to the period of the Emperor Augustus (1st century BC – 1st century AD) was re-used as the foundation of the south wall of the baptistry of the cathedral, while the south wall of the same villa became a part of the south facade of the Bishop's palace until its demolition in the 13th century.
Beginning in late Roman times, the town suffered a series of invasions and was pillaged by Goths, Burgundians, Franks, Lombards and Saracens. A plague carried away much of the population in the 6th century. In the 10th century, Saracen pirates ravaged the coast. The expulsion of the Saracens in 972 brought a period of relative peace.
In the 12th century, Fréjus was governed jointly by the Viscount of Fréjus, who had a castle near the port, and by the bishop, whose palace was next to the cathedral. The town had shrunk considerably since Roman times – whereas the Roman walls had enclosed fifty hectares, the medieval walls of the 12th century enclosed only five hectares.
At the end of the 12th century, the Count of Provence asserted his authority over both the church and state. He nominated the bishops of Fréjus, while the local nobles lost power. The 13th century saw considerable enlargement and modification to the Cathedral. A bell-tower and porch was erected on the west side of the cathedral, on the axis of the nave, a distinctive feature of Provencal architecture of that period. The high tower gave the cathedral a more military appearance. The church received a new chevet at the east end, as well as additions to the bishop's palace and a chapter hall.
The Cathedral of Notre Dame, governed by the bishop, was rebuilt with new vaults between the bell tower and west porch and the chevet. The new vaults rested on massive pillars. and had unusual arches, of a type called "Lombard"; unlike the traditional Romanesque barrel vault; these vaults were supported by rounded arches between the side arcades; segmented arches, with less than a half-circle for the ogives, and arches with greater than a half-circle for the doubleaux. This was an intermediate step between Romanesque and the emerging Gothic style. The adjoining parish Church of St. Stephen received a similar enlargement, with the addition of three new traverses covered with more traditional barrel vaults, to match the older part of the nave, and a new vault of the choir in the Lombard style.
In the 13th century, as the Gothic style gradually became popular, the cathedral was modified further, bringing the two separate naves closer together. The arcades separating them were widened], but nonetheless the two sides continued to have separate altars.
The period of prosperity did not last long. The old Roman road, the Via Aurelia, was abandoned; and the old Roman port gradually silted up and became an unhealthy swamp, carrying fever and disease to the town. Aside from a brief economic revival in the sixteenth century, which saw the building of a new city wall, Fréjus lost its economic importance, and the bishopric was moved in 1751 to Draguignan. By 1765 the population had declined to 2,000 people.
Fréjus saw a new growth in population at the beginning of the 20th century, caused by a large immigration of Italians, and later growth caused by increasing tourism in the region. Today the population is about 47,000.


The baptistery is the oldest part of the cathedral, dating to the 5th century. It is similar in form to the Lateran Baptistery in Rome, built in 440, and the baptistry at Albenga Cathedral in Liguria. the same period. On the exterior, the lower part is a square, about eleven meters to a side. On top of that is a domed octagonal structure. In the interior, the lower level is divided into eight deep arched niches, alternating between semicircular niches and those with flat walls, with the arches resting on columns. The columns support the upper level, which has sixteen small arched niches with windows, which in turn support the dome. Some of the granite columns predate the church, and were probably taken from Roman temples; other columns were made at the same time as the baptistery.
In the centre of the floor is the octagonal baptismal basin, large enough for a person to be entirely immersed, surrounded by a stone ledge. A smaller basin is located in the floor nearby, either for the baptism of infants or for washing the feet of the priest.
In the 13th century, the baptistery was surrounded by a new wall, and the baptismal basin was covered over. It was rediscovered in the 1920s by Jules Formigé, the Inspector of French Historical Monuments, and the interior was restored during the 1930s to what he believed to be its original appearance.


The baptistry was not originally connected directly with the nave. The principal entrance to the nave was on the north side of the church, reached by passing through the cloister. This was due to the difference in elevation between the floor of the cathedral and the higher ground outside. A cemetery was located outside the south of the baptistery and nave. In 1530 the cemetery was transferred outside the church complex and the space became a public square. Then a new entrance and vestibule to the church was built to the south. A large altar, devoted to Saint Honorat, was placed against the north wall of the vestibule, and the south portal was given a very fine door of carved walnut wood. The upper floor of the vestibule became the chapter hall.
The decoration of the south doorway, built in 1530, with its pointed gable, or accolade arch, with pinnacles and sculptural decoration, is one of the rare touches of late Gothic architecture in the cathedral.


The cathedral contains two separate churches under the same roof; one, the Church of S. Etienne (Saint Stephen], is the local parish church; and the other, the Eglise Notre-Dame, belongs to the Bishop. The spaces were gradually merged beginning in the 13th century, and now are separated only by arches, but each has its own altar. This arrangement was not unique in Provence; it is also found in Aix Cathedral and Apt Cathedral.
The church of St. Étienne (Saint Stephen), the parish church of the city, was probably begun in the 11th century and enlarged in the 12th century. It consisted of a long nave under a barrel vault ceiling, divided on the north side into four parts by lateral arcades resting on massive rectangular pillars. The south wall, which divided the church from the adjoining cathedral of Notre Dame, was reconstructed in the 12th century and replaced with arcades. The marks of the stonemasons can still be seen on the vault of the third traverse. Many of the stones appear to have been taken from earlier buildings, either Roman or later.
The choir of St. Etienne, the portion reserved for the clergy where the altar is located, was rebuilt as a polygon with murals in 1337, and enlarged with a lateral chapel between 1340 and 1343. It was given its present form in the 16th century. The tombs of the bishops were traditionally placed there in the 14th and 15th centuries. Two sarcophagi are still in place, that of Bishop Guillaume de Rouffilhac (bishop from 1361 to 1364) and Louis de Bouillac (1385-1405. The sarcophagus of Bishop de Bouillac dates to the Roman Empire, with a sculpture of a griffon at one end. The sarcophagus was opened and was found to contain, along with his remains, his rings and an enamelled cross dated to 1280.
The nave and choir of the cathedral of Notre Dame, the bishop's portion of the church, were built next, in the 13th century, against the south wall of the church of St. Étienne. The first part constructed was the porch and bell tower, at the western end of the nave, between the baptistery and the nave. This part of the church, like the residence of the bishop at the other end, had a strongly military appearance, as if to stress the power of the bishop in temporal as well as spiritual affairs.


The cloister, which served as a place of meditation for the bishop and the dozen canons who served him, was built in the 13th century on the north side of the cathedral. It consists of pointed arches resting on double Corinthian columns. The decoration of the capitals of the columns features the key, the symbol of the bishops of Fréjus, and the fleur-de-lis, the symbol of Charles I of Anjou, the brother of Louis IX of France, (Saint Louis), who had become the Count of Provence in 1246.


The art and decoration of the cathedral includes a retable named for Saint Margaret the Virgin, in the second of the lateral chapels on the north side of the nave of Saint Stephen. It was painted in tempera on a wood panel by Jacopo Durandi in the 15th century. The central figure is Saint Margaret stepping out of the jaws of a dragon that had swallowed her. She was the saint addressed by young women who were giving birth. To her right is Saint Anthony of Antioch and Saint Mary Magdalen, holding a vase of perfume. To her left Saint Michael has slain the dragon, and Saint Catherine of Alexandria is holding a piece of the wheel on which she had been unsuccessfully tortured.
On the west wall of the nave of Saint Stephen, placed in niches framed by pilasters, are two funeral monuments to bishops of the cathedral, Barthelemi de Camelin (1599–1637) and his nephew Pierre de Camelin (1637–1654).
The main altar in the choir of Saint Stephen was made in 1778 of polychrome marble by the Marseille sculptor Dominique Fossaty. It was characteristic of the new style of the 18th century, to have the altar in the center of the choir, rather than against a wall. It was originally in the choir of Notre-Dame, where it had replaced an enormous work of sculpted gypsum made in 1551, of which only a few fragments remain.
The carved choir stalls in the Notre-Dame choir are made of walnut, and to date to 1441. They were made by the Toulon craftsman Jean Flamenc. Originally in the third traverse of the Notre-Dame nave, they were moved to their present position at the end of the apse when the church was remodelled in 1778.


An upper level was added to the cloister between 1350 and 1360, reached by a monumental stairway. The builders added a wooden ceiling to the lower level and decorated the brightly painted panels with biblical scenes, fantastic animals, and scenes of daily life. Only half of the paintings remain today, and the bright colours have been faded by oxidation, but they provide a remarkable look at medieval life and the medieval imagination.
The panels include paintings of the Virgin Mary and the Infant Christ; Saint Peter; several canons (recognizable by their fur hats); several priests praying or preaching; a demon with the tail of a serpent; angels playing instruments; a fallen angel with the wings of a bat; a centaur; a mermaid; a dragon; an elephant; a tiger; an ostrich; domestic animals, such as horses, dogs and pigs; and common wild animals, such as wolves and deer. People from ordinary medieval life are also portrayed; a butcher, a knight, a juggler, a young woman performing her toilet, and both a man and woman answering the call of nature. All together the panels portray the history of the world and ordinary life as known and imagined in the Middle Ages.


The first known organ was put into place in 1600 and was repaired in 1778 and 1806. It was enlarged and replaced by a new organ in 1810. In 1857 a new organ from the firm of Cavaillé-Coll was installed and was restored in 1926.  However, in 1944, in the course of World War II, the cathedral complex was damaged by bombing.  The organ was exposed to dust and to the wind. The organ moved to another building, where it was largely forgotten, and many pieces disappeared.  Construction of a new organ did not begin until 1962, and this organ was installed in 1967.  However, this organ deteriorated quickly.  In 1986 the French government commissioned the construction of a new organ by the firm of Pascal Quorin. It was installed in 1991.


The Franciscan Monastery lies on the edge of the town of Kadaň, Czech Republic and near the river Ohře. Its history dates back to the 15th century. It is now the seat of the Municipal Museum of Kadaň with an exposition of life in a monastery. The church's dedication to the Fourteen Holy Helpers shows the connection to then popular German shrines of the same cult. Around the building is a beautiful vineyard, a French park and many plum trees. The monastery was ranked among the national cultural monuments by the Ministry of Culture of the Czech Republic in 1995. The monastery faces the Úhošť hill on the opposite slope of the Ohře valley.


The first building on the site of the present-day Franciscan Monastery in Kadaň was a moderate holy shrine first mentioned in 1469. At Easter 1473 Franciscan Order assumed the shrine and with the  support of Kadaň inhabitants and the House of Vitzhum built a temporary Convent house around it with the view of building a stone monastery. The Order experienced a bloom and expansion in Bohemia particularly after the visit of Saint John Capistran. The monastery was built in several periods between 1473 and 1500. The sanctuary of the church with the quadripartite rib vault was built first and it was dedicated by the Hierapolitan bishop and the auxiliary bishop of Regensburg, Johann Ludwig in 1480. The three-aisled nave with sexpartite rib vault was finished in 1493 and dedicated by the bishop of Kamień Pomorski, Benedikt of Valdštejn. All the monastery was probably completed by 1500. The walls of the church were decorated with abundant Gothic and Renaissance paintings that are now being restored. The first presumptions show an affinity with the Lucas Cranach school.
In 1481 the monastery was handed over to Jan Hasištejnský z Lobkovic, who continued its development and is buried there. Its development reached its peak in 1522 when the provincial Franciscan school was established. However, the monastery was abolished in 1564 in connection with the stormy spread of Lutheranism in the area. It was soon reestablished by Jiří Popel z Lobkovic, but was corrupted again after the 1618 uprising.
A revival did not come until the second half of the 17th century, when the buildings were renovated and the church received new furniture and fixtures. The 18th century brought several unfavourable events. French soldiers of the anti-Habsburg coalition used the church as their shelter while withdrawing after they had been driven from Prague by the army of Maria Theresia in 1742. The church became a witness to a bloody exchange of gunfire. The riddled Baroque door still evokes those moments.
The monastery escaped abolition during Joseph II's reforms by a hair's breadth. The number of monks was, however, limited from thirty-six to twelve.
During World War II the Franciscans had to surrender half of their monastery to the Wehrmacht for Hitlerjugend needs. Communists closed the monastery in 1950 and it was used as a record office's depositary and got dilapidated due to insufficient maintenance. In 1991 the monastery was given back to Franciscans but they passed it over to the favour of Litoměřice diocese in 1994. The diocesan officials entered into the agreement with the Municipal Office to lease the monastery to the town of Kadaň. The municipality has been giving means to reconstruct the valuable interior and wall frescos. In 1999 the newer parts of the buildings were dedicated to the Elementary Music, Dancing and Fine Arts School and a permanent exhibition of mining was opened in the cellars. The Municipal Museum was inaugurated in May 2004.


The Church is dedicated to the Annunciation of Jesus Christ and to the Fourteen Holy Helpers. It was built in the Late Gothic style with a ribbed vault and the pointed windows. The furniture and equipment is from the Baroque period.
The Franciscans are a mendicant order, which is why they did not own the church and the monastery. Therefore the king owned the buildings (at the time of its erecting Ladislaus II Jagellion was on the throne) or an aristocrat. In 1481 the dynasty of Lobkowitz became the owners. They had been the baillie holders of Kadaň from 1469. In the sanctuary is their family vault. The secular founder of the monastery is Jan Hasištejnský z Lobkovic. That is why his tomb is the biggest and most beautiful. Originally it stood above the grave of the founder, but during the Baroque period the church was rebuilt and Franciscans put it against the wall. Today nobody knows where the grave of the founder might have been.
The high altar is the dominant feature in the church. On the altar are two wonderful statues – on the left the statue of St. Francis of Assisi, the founder of the Franciscan order, and on the right the statue of St. Anthony of Padua, who holds a lily and the child Jesus Christ in his hands.


Several rooms of the monastery are decorated with late Gothic diamond vaults. It can refer to the use of the rooms by the family of Hasištejn. Such diamond vaults are rare in Bohemia.


The legend of the inception tells about a noble family whose five brothers once offended the monarch. They should have been executed but the intercessions of Kadaň inhabitants made the monarch have mercy on the future of the family and symbolically punish just one of the brothers. They played at dice to decide who would hang for the others. The lot fell upon the eldest brother who was hanged straight afterwards in the place of execution that is said to have been situated in the site of the monastery. He was hanging there for three days and nights without dying. He was asked by the crowds how it was possible and he explained that he had been praying to Fourteen Holy Helpers. After having heard of the miracle the monarch came to save the penitent‘s life, take down the gallows and have a shrine to the Helpers built.
Another miracle occurred during the construction. A pregnant lady asked the masons what they were building and when she heard of the Fourteen Holy Helpers she laughed and said that she would rather give birth to fourteen babies than believe in some Holy Helpers‘ existence. After claiming that she went to the town gate (now Holy Gate) and really gave birth to eleven boys and three daughters – all baptized in the names of the Helpers.


Seven stations of the Cross lead from the Holy gate to the shrine. They are all sculptured in Baroque style. According to a tradition the journey takes the same length as the way from Pilate‘s house to the Calvary. All the stations depict the falls of Christ.


Vine Harvest Festival (Saturday closest to St. Wenceslaus Day)
Beer Festival (of Czech minibreweries)
Franciscan Summer (all-summer weekends folk and country festival)
Night in the Museum
Kirwitzer Day


Frankopan Castle on Kamplin was raised by Croatian noble family of Frankopan through several centuries and several generations. After the death of the first Count (knez) of Krk Dujam I Krčki, his sons continue to dominate over the island and the town of Krk. They left first architectural traces in the town of Krk. The oldest part of fortification is the square tower with the diocese, in which Frankopans courtroom was located. The inscription on the lunette over the entrance confirms that the building was raised in 1191, during the time of Bishop John and counts Vid I and Bartol I (Dujam's sons), with the help of the entire municipality.
The round tower on the northern corner of the castle with a transversely extended lower part, was built after the square, probably in the 13th century. It was restored around 1480, and again around 1600. On the tower there is bricked inscription Aureae Venetorum libertati with lions of St. Mark, which dates from 1500. This cylindrical tower has two floors and attic. On the ground floor once there were two doors, one open to the Kamplin, and the other toward the interior of the castle. On the eastern part of the castle, overlooking the sea there is still a square tower, while on the western part of the castle there was a sentry box for guard. Within the complex there was space for soldiers. It is not known precisely when, but the entire complex was completed before 1348.


History of Frauenstein Castle. Verein „Initiative Frauenstein eV". In German. Retrieved on 2008-12-25.
Frauenstein Castle. In English. Retrieved on 26 December 2008.


The Freedom Square or Liberty Square (Armenian: Ազատության հրապարակ, Azatut'yan hraparak), also known as Opera Square and Theatre Square (Թատերական հրապարակ, T'aterakan hraparak) until 1991, is a town square located in Kentron (Center) district of Yerevan, Armenia. The square is part of the Yerevan Opera Theater complex, located just to the south of the main opera building, between the opera park and the Swan lake. Along with the Republic Square, the Freedom Square is one of the two main squares in central Yerevan. It is bordered with four streets: Tumanyan Street, Teryan Street, Sayat Nova Avenue and Mashtots Avenue. The statues of writer Hovhannes Tumanyan and composer Alexander Spendiaryan are located in the square.


Due to a tradition of demonstrations at the square, it has been described as a "symbol of democracy" in Armenia.
The square can hold an estimated 40,000, 42,000–45,000 to 50,000 people.


The semi-circular square is known for its prominent role in modern history of Armenia. Since the Karabakh movement in February 1988, the Freedom Square has become a center of popular demonstrations. To suppress the demonstrations the square was closed down several times within 1988 by Soviet police and military forces.


After Armenia's independence in 1991 the square has been the main location of anti-government rallies, especially following presidential elections in 1996, 2003, 2008, and 2013.
In the aftermath of the disputed 2008 presidential election, thousands of supporters of opposition leader and Armenia's first president Levon Ter-Petrosyan gathered in the square and began sit-ins. In the early morning of March 1, 2008 these peaceful protests were violently dispersed by the police and the square was closed down for civilians. For around 20 days, the square remained under occupation by police and armed forces to enforce the state of emergency. Subsequently, it was closed down for rallies for over three years, until March 17, 2011 when Ter-Petrosyan's Armenian National Congress staged a large rally.


On August 28, 2008 the Armenian government made a decision to start a construction of an underground parking lot beneath the square to relieve the surrounding streets where parked cars often complicate the traffic. The opposition claimed the decision was intended to prevent demonstration there, although the government denied these allegations. The three-storey parking lot for up to 500 cars was opened on May 24, 2010 in attendance of Mayor Gagik Beglaryan and President Serzh Sargsyan. The project cost about $10.5 million.


Fremont Central Park is a 450-acre (180 ha) park in the central area of Fremont, California on Paseo Padre Parkway at Stevenson Boulevard. It is easily accessible from I-880 and I-680. It began development in 1960, and contains Lake Elizabeth, a shallow 83-acre (34 ha) man made lake surrounded by picnic areas, sports fields, and walking and biking paths.  The lake was dedicated to Fremont's sister city, Elizabeth, South Australia in 1969.  A nine-hole golf course and driving range is northeast of the park, while a skateboarding park and water slide swimming facility are southwest.
Much of the park was once the Stivers Lagoon and is part of the Laguna Creek Watershed.


A visitor center offers information on the several sites of Fremont and the East Bay. Visitors are able to rent out boats for hourly use at varying rates. The park offers one person and two person kayaks, paddle boats for up to four passengers, stand-up paddle boards and sailboats. Park guests are also permitted to bring their private boats for use on the lake for a $7 launch fee. The park often offers coupons for discounted boat rentals on their site.


Most visitors drive or walk to the park, however parking lots overflow on busy weekends. Parking on the curb south of Stevenson and east of Paseo Padre Parkway is prohibited. The Fremont BART station is 1.5 miles (2.4 km) away from the park, and AC Transit provides bus service to the park.
A train tunnel was constructed under the park around 2012 as part of the Warm Springs BART expansion. Underground tracks are costly in comparison to surface tracks, but will lessen the impact of train operations on the park. The cut-and-cover method of tunnel construction was employed. Despite being finished in 2012, the tunnel did not open for revenue service until 2017.


The French Market (French: Marché français) is a market and series of commercial buildings spanning six blocks in the French Quarter of New Orleans, Louisiana. Founded as a Native American trading post predating European colonization, the market is the oldest of its kind in the United States. It began where Café du Monde currently stands and has been rebuilt and renovated a number of times.
The market is included on the Louisiana African American Heritage Trail.


Individual vendors purveyed many different fresh foods, including raw seafood, through the mid-20th century.
The cafés and bars offer New Orleans crawfish and other seafood, Cajun food, Creole cooking, desserts, fruits, vegetables, and more. The French Market is also known for hosting some annual events including the French Quarter Festival and the French Market Creole Tomato Festival.
The flea market is especially busy on weekends. Free musical events are often given in the French Market.  The New Orleans Jazz National Historical Park office and visitor center is in the French Market.


Part of the space has been dedicated as a market since 1791 in the colonial period, but the oldest extant structures date to about 1813.


Major renovations were done by the Works Progress Administration in the 1930s.
Rebuilding and renovations have continued into the 21st century.  Much of the area formerly housing arcades of roofed but wall-less merchant stands now houses shops and restaurants separated by doors and walls, catering to the tourism industry.


The original market, called "the Meat Shops" or "Meat Market," was the only place within the French Quarter that could sell meat. Only after meat was being sold elsewhere did the name change to the "French Market."


The French Market stretches just inland from the Mississippi River in the section of the French Quarter downriver from Jackson Square, from the Café du Monde at the upriver end, to the flea market stalls across from the New Orleans Mint building.


The Frist Art Museum, formerly known as the Frist Center for the Visual Arts, is an art exhibition hall in Nashville, Tennessee, housed in the city's historic U.S. Post Office building, which is listed on the National Register of Historic Places.


The museum is housed in a white marble building that was built in the 1930s to serve as Nashville's main post office. Designed by Marr & Holman Architects, it was built in 1933-34 for $1.5 million. Its location near Union Station was convenient for mail distribution, since most mail at that time was moved by train.
By the 1980s, downtown was no longer a good location for postal distribution. When a new main post office was built near the airport in 1986, the historic old facility became a downtown branch using only a small portion of one floor.
In the early 1990s Thomas F. Frist, Jr., and his family, through the charitable Frist Foundation, identified the post office building, an example of Art Deco and Stripped Classicism style, as a good location for a proposed downtown art museum. The Foundation implemented a public-private venture between the foundation, the U.S. Postal Service, and the city of Nashville. In 1999 the City of Nashville acquired the building from the U.S. Postal Service for the purpose of creating the Frist Center for the Visual Arts, paying $4.4 million. The city contributed $15 million toward renovating the building, and the Frist Foundation and Frist family contributed $25 million for the renovation and to start an endowment for the art museum. The city owns the building but granted the Frist a 99-year lease for $1 per year. A renovated post office branch was opened in the basement in 1999.
The art center opened in April 2001 with approximately 24,000 square feet (2,200 m²) of gallery space presenting visual art from local, state and regional artists, as well as major U.S. and international exhibitions.
On April 2, 2018, the Frist announced that it changed its name from The Frist Center of the Visual Arts to The Frist Art Museum. The change became legally effective April 1, 2018.
The post office branch remains open and has its own separate entrance on the western end of the building.


As a non-collecting museum, the Frist does not have a permanent collection; rather, the center focuses on creating exhibitions as well as securing traveling exhibitions from around the country and the world.
Information regarding past, current and future exhibitions is found on the Frist's website. Each exhibition page contains detailed information about exhibition-related programs and an array of resources, including gallery guides, audio guides, videos and additional information from varying sources.
Martin ArtQuest (MAQ) is a permanent interactive gallery space at the Frist Art Museum. The MAQ space consists of: a drawing station, a painting station, a printmaking station, a zoetrope station, a shadow theater, a stop-motion animation tool, an interactive Everbright wall composed of color-changing dials, a collaborative textile-weaving installation using a large six-sided art deco grid, a full-body-animated digital painting experience, and a sound pattern station which allows visitor to manipulate frequencies with sand on metal plates. MAQ is run by the Frist's Educational department, which is led by Anne Henderson, who is the Director of Education and Community Engagement.


It opened in 1901, and was built by the speed skating club Kristiania Skøiteklub. In 1914, the stadium was moved to its current position, due to the 1914 Jubilee Exhibition. At the inaugural race in 1914, two speed skating world records were set by Oscar Mathisen, in 500 m and 1,500 m. In 1928, Oslo Municipality took over responsibility for the stadium.
Frogner stadion was one of the most important ice skating venues in Norway until 1940. A long series of championships were held at Frogner stadion, both in figure skating and in speed skating. A total of 23 speed skating world records have been set at the stadium (including some not officially listed). Seventeen of the records from Frogner are listed among the official ISU world records in speed skating.
Outside the stadium are statues of Oscar Mathisen and Sonja Henie.
Frogner stadion has been the venue for international matches both in football and bandy, as well as international track and field athletics competitions. The venue hosted the Norwegian Athletics Championships in 1906, 1911, 1912, 1914, 1917, 1918, 1920, 1922 and 1924.
After the rebuild in 2010 it also became the homefield of the Oslo Vikings American football, currently the second best team in Norway.


Several records from Frogner stadion from the 1930s are not listed as official world records. Those that are listed are Synnøve Lie's 50.3 over 500 m in 1934, and Laila Schou Nilsen's 49.3 in 1935. Verné Lesche set a world record over 1,000 m in 1934, with 1:45.7. For the 1,500 m distance, three world records set at Frogner stadium are listed: Synnøve Lie's 3:08.1 in 1932, Undis Blikken's 2:40.0 in 1934, and Laila Schou Nilsen's 2:38.1 in 1937.


The stadium is served by a nearby light rail station on the Frogner Line; the station is named Frogner stadion. The station is served by line 12, which uses high-floor SL79 Trams.


The Frye Art Museum is an art museum located in the First Hill neighborhood of Seattle, Washington. The museum emphasizes painting and sculpture from the nineteenth century to the present. Its holdings originate in the private collection of Charles (1858–1940) and Emma (d. 1934) Frye. Charles, owner of a local meatpacking plant, set aside money in his will for a museum to house the Fryes' collection of 232 paintings. The Frye Art Museum opened to the public in 1952 as Seattle's first free art museum. The museum building was originally designed by Paul Thiry, although it has since been considerably altered.
Charles Frye's will required that the majority of the Fryes' own collection continue always to be on view in rooms of a certain size; stipulations were also made about lighting conditions and specifically concrete floors (ultimately elided by placing wood over the concrete). He also required that admission always be free. These conditions were enough to keep the Seattle Art Museum from being interested in his collection.
The Fryes' collection consisted entirely of representational works, with a tendency toward "the dark, the dramatic, and the psychological" rather than "the genteel". The museum's permanent collection reflects Charles Frye's relatively conservative artistic tastes, and (despite the lack of any such stipulation in the will) the museum continued to be dedicated exclusively to representational art, both in its acquisitions and its exhibits. This conservatism reflected the artistic and social values of its first director, Walser Greathouse (d. 1966) and of his even more conservative widow and successor Ida Kay Greathouse, who ran the museum until 1993.
However, exhibitions under new, professional management in recent years have been far more venturesome, eliciting comparisons to Seattle's Henry Art Gallery. Exhibitions in recent years have included "Subspontaneous: Francesca Lohmann and Rob Rhee," featuring sculptures involving natural forces and ecological growth, "Agnieszka Polska: Love Bite," and "Unsettling Femininity: Selections from the Frye Art Museum Collection." The museum often redeploys its permanent collection, experimenting with exhibiting it in different arrangements. In 2018, the museum had 109,249 total attendees and a membership base of 2,383.
In 2020, amid the COVID-19 pandemic, the museum temporarily closed for in-person visits and now offers online art viewing and educational opportunities through the Frye From Home program. On August 28, 2020, the museum announced its expectation to reopen for in-person visits in October 2020.


The Frye Art Museum's collection highlights many kinds of paintings, prints, works on paper, and sculptures. Artists represented at the museum include Eugène Boudin, Nicolai Fechin, William-Adolphe Bouguereau, Félix Ziem, Eugène Isabey, Franz von Lenbach, Tim Lowly, Fritz von Uhde (Picture Book), Hermann Corrodi (Venice), Ludwig von Zumbusch, Leopold Schmutzler, and Franz Stuck (Judgment of Paris).


The Frye Art Museum library contains more than 2,000 books. It specializes in 19th and 20th century American and German art.


The Fuguijiao or Cape Fugui Lighthouse is a lighthouse on Cape Fugui near Laomei Village (老梅里, Lǎoméi Lǐ) in Shimen District, New Taipei City, Taiwan.


The lighthouse is named after nearby Cape Fugui, the northernmost point of Taiwan. Its Japanese name was Fūki Kaku. Its Chinese name (derived from a Hokkien transcription of the Dutch word hoek, meaning "hook" or "cape") is also romanized Cape Fukwei for the Chinese Postal Map, Fu-kuei Chiao using simplified Wade-Giles, and Fugueijiao from Tongyong Pinyin. It was also sometimes known in English as the Hoek Lighthouse.


A structure was first erected on the rocks at Cape Fugui in 1896 or 1897 by the occupying Japanese. It was a terminus for undersea cables from the Japanese islands and its construction materials all came from there. It was ruined during World War II but its remains were used by China's Nationalist government for the erection of a 30 m (98 ft) octagonal iron lighthouse in 1949. The foghorn was particularly needful, owing to poor visibility in the area during the fall and winter months.
The lighthouse's current 14.3 m (47 ft) concrete black-and-white octagonal tower was raised in 1962. The height was greatly reduced to improve the reception of the nearby air force radar station.
Taiwan's Customs traditionally welcomed visitors to the lighthouse once a year on Tax Day as an open house gesture. After the enthusiastic public response to opening Eluanbi Lighthouse to more general tourism, Taiwan's Maritime and Port Bureau decided to open Fuguijiao to regular visitors in 2015. The first tourists were allowed onto the grounds on September 5, making it the 11th Taiwanese lighthouse opened to the general public. It remains inaccessible on weekdays because of the radar station. The tower itself remains closed to the public.


The lighthouse is located about 2 km (1.2 mi) north of Laomei Village, off Provincial Highway 2.


The Fukagawa Edo Museum is a museum of old Edo in the former Fukagawa ward (now Kōtō ward) of Tokyo, Japan.
It consists of a large, covered, life-size replica of a Tokyo shitamachi neighborhood from around 1840, near the end of the Tokugawa period. It includes 11 buildings: houses, shops, a theater, a boathouse, a tavern, and a fire tower, all built using traditional techniques. Visitors can walk down the streets and enter the shops and houses. The lighting varies over time, to reproduce different times of day.
The museum opened in 1986, six years after the Shitamachi Museum and seven years before the Edo-Tokyo Museum, all part of a national trend for building local history museums. The exhibits for all three were primarily designed by Total Media.


DK Eyewitness Tokyo, 2017, ISBN 146546512X, p. 76
Simon Richmond, Jan Dodd, The Rough Guide to Tokyo, 2011, p. 62
Tom Flannigan, Ellen Flannigan, Tokyo Museum Guide: A Complete Guide, 2012, ISBN 1462904246, p. 107
Jordan Sand, Jordan, Tokyo Vernacular: Common Spaces, Local Histories, Found Objects, University of California Press, 2013, ISBN 0520275667, p. 120


Fukuoka City Museum (福岡市博物館, Fukuoka-shi hakubutsukan) opened in Fukuoka, Japan, in 1990. The permanent exhibition, which tells the history of Fukuoka, is arranged in eleven sections, including those focussing upon the King of Na gold seal (National Treasure), the Kuroda clan, and the Hakata Gion Yamakasa.


WikiWeb_Funiculaire de Saint-Hilaire du Touvet_0

The Funiculaire de Saint-Hilaire du Touvet, or Saint-Hilaire du Touvet Funicular, is a funicular railway in the département of Isère in the Rhône-Alpes region of France. It links Montfort on the road between Grenoble and Chambéry, with the village of Saint-Hilaire du Touvet, located on the Plateau des Petites Roches 600 metres (1,969 ft) above.
Until the funicular was built, the village of St. Hilaire du Touvet was accessible only on foot, or by mule. The construction of the funicular was started in 1920 and it was opened in 1924, principally to serve several sanatoria built to house tuberculosis patients. A road has long since been opened, and the funicular is now used mostly by tourists and paragliders.
Until 1955, the funicular was served by two 40 passenger cars. These were replaced in that year by a more modern design of car, carrying 60 passengers each. In 1992, these were in turn replaced by new cars to a retro design, not dissimilar to the original cars.


Founded in 1123 by Stephen, Count of Boulogne, it was built originally for the Order of Savigny. Located in the 'Vale of Nightshade', south of Dalton-in-Furness, the abbey is built entirely out of local sandstone. It passed in 1147 to the Cistercians, who gradually enlarged and rebuilt the original ornate church. The majority of the current ruins date from the 12th and 13th centuries. By the 15th century, it had been completely remodelled and had become the second richest and most powerful – as well as one of the grandest – Cistercian abbeys in England, behind Fountains Abbey. The Gothic-style monastery and its adjacent structures cover an expansive area of land and reach a maximum height of 40 metres (131 ft) above ground level.
The monks of the abbey were large landowners, and the most powerful body in what was then a remote border territory. In particular, they were heavily influential on the Isle of Man. One of the kings of Mann and the Isles is buried at the abbey, as are many of the Bishops of Sodor and Man. Rushen Abbey on the Isle of Man was built on land owned by the monks. They also owned mines on the island, and built Piel Castle to control trade between the Furness Peninsula and the Isle of Man.
Being about 70 miles down the coast from Scotland, the monks occasionally found themselves in between the frequently warring Scots and English. When Robert the Bruce invaded England, during The Great Raid of 1322, the abbot paid to lodge and support him, rather than risk losing the wealth and power of the abbey.
The Abbey was disestablished and destroyed in 1537 during the English Reformation under the orders of Henry VIII.


The abbey now lies in ruins and is on the Cistercian Way – a walk which used to link the abbey with the nearby town of Dalton-in-Furness. William Wordsworth visited several times and referred to it in his 1805 autobiographical poem The Prelude, whilst J. M. W. Turner made numerous etchings of the abbey. Queen Victoria and her lady in waiting Augusta Stanley are known to have visited in 1848 based on the diaries of the latter. Other notable tourists include the Theodore Roosevelt family. It was the first unguided visit on their European tour. A young Teddy Roosevelt and his siblings played on the ruins, which, in 1869, were not roped off or restricted. In 1896, while touring industrial Northern England, Chinese statesman Li Hongzhang visited the abbey site. Viceroy Li stayed longer than expected, so that his schedule had to be rearranged.


The Furness Abbey complex is a Scheduled Monument and Conservation Area containing five Grade I listed buildings and structures. Restoration work took place between 2008 and 2017 amid fears that part of the abbey could have collapsed.


There are many stories and sightings claiming that Furness Abbey is haunted. There are supposedly at least three ghosts which have been seen numerous times at the Abbey. First, it is said that the spirit of a monk has been seen climbing a staircase and also possibly walking towards the gatehouse before vanishing into a wall. Another sighting is that of a squire's daughter. She was known to meet her lover at the ruined abbey after the Reformation, although one day her partner took a journey out to sea from which he never returned. It is thought that the girl went back to the Abbey every day until her death to the site she and her partner once loved; the track she walked is today still known as "My Lady's Walk." There have also been many sightings of a white lady, although due to possible conflicting stories, it is unclear whether the White Lady and the ghost of the squire's daughter are the same person or not. Possibly the most famous ghost of Furness Abbey is a headless monk on horseback, who rides underneath the sandstone arch near the Abbey Tavern; the death of this individual is linked to an invasion by the Scots in 1316.
A tunnel is said to run underneath the Abbey to both Piel Castle and Dalton Castle, allowing the monks to receive supplies and keep watch upon the local settlements. It has also been rumoured that the Holy Grail and King John's missing jewels are hidden somewhere inside the 'Ley tunnel'.


Furness Abbey has hosted a number of large-scale mystery plays. The first of these were performed over several consecutive nights in 1958. The mystery plays continued throughout the 1960s until the recruitment of  participants, perhaps over 100, became difficult. Author Melvyn Bragg attended the 1988 mystery plays revival, which were the last such performances at the abbey. Prince Edward has also attended a mystery play.


Furness Abbey is located off Manor Road close to Barrow's main thoroughfare, Abbey Road, which is named after the Abbey itself. The Abbey also lies next to the Furness Line and was served by Furness Abbey railway station until closure in 1950. The closest stations are now Roose and Dalton.
English Heritage operates a small visitor centre at Furness Abbey which includes a number of stone carvings and effigies as well as a gift shop. It, alongside the abbey is open to the public between 10am and 6pm daily, although this is restricted to 10am to 4pm on weekends within the winter/spring season. Free passes are available for English Heritage members as well as local residents, while standard visitor entry in 2018 is £5.70 per adult. During Winter venturing into the Abbey is strongly discouraged due to the Abbey grounds being prone to flooding.


Furness Abbey features twice in the Fisher's Drawing Room Scrap Books of the 1830s, both with a poetical illustration by Letitia Elizabeth Landon: in the 1832 edition: Furness Abbey, in the Vale of Nightshade, Lancashire and, in the 1835 edition: Chapter House, Furness Abbey.


Gåsö is an island in the Swedish province of Bohuslän, county of Lysekil. Gåsö is situated at the entrance of the Gullmarn fjord and is a part of the Gullmarn nature reserve. The Gåsö archipelago consists partly of two larger islands, Gåsö and Storön, and partly of a large number of smaller islands. The old fishing village on the main island is today only inhabited during summer, when the population reaches approximately 250 people. The Gåsö archipelago has many natural harbours and is a popular destination for boating tourists.


Gåsö gained some notoriety in August 1969 when a suitcase containing the dismembered remains of a woman was found in the water by two divers. The incident was known as the Suitcase Murder (Swedish: Koffertmordet). The woman was identified as Countess Margareta af Forselles, of the af Forselles family, from Gothenburg. The case was closed and a suspect was never arrested


Gąski Lighthouse (Polish: Latarnia morska Gąski) is a lighthouse located in Gąski, on the Polish coast of the Baltic Sea. The lighthouse is located in Gąski, West Pomeranian Voivodeship, in Poland.


The lighthouse is located about 100 metres from the coast of the Baltic Sea; situated next to the road between Ustronie Morskie and Mielno. The construction of the lighthouse began in 1876 and was completed about two years later, in 1878. Built from red bricks, the lighthouse has a height of 41.2 metres, with the lighthouse's light having a focal height of 50.1 metres.
Originally it was fitted with a Fresnel lens with the light source provided by kerosene lamps. The intermittent beam was achieved by three screens rotated by a clock-work mechanism. In 1927 the kerosene lamps were replaced by electric lamp. In 1948, after the Second World War, the lighthouse was reactivated and the clock mechanism was replaced by an electric motor, with the rotation frequency changed from 12 to 15 seconds. The current range of the lighthouse's light glare is about 43.5 kilometres.
The lighthouse is open to the public, allowing tourists to access its top view point. From here there are panoramic views of the Baltic Sea, where one can see the nearby settlements of Sarbinowo, Chłopy, Mielno, and Unieście, all of which are nearby resort towns and villages. At the base of the tower there is the lighthouse keeper's living quarters.


Light characteristic
Darkness: 1.2 s.
Light: 2.5 s.
Darkness: 1.2 s.
Light: 2.5 s
Darkness: 1.2 s.
Light: 6.4 s.
Period: 15 s.


Għar Dalam ("Cave of Dalam" (a fifteenth century family name), IPA: [aːr 'dalam]) is a 144 metre long phreatic tube and cave, or cul-de-sac, located in the outskirts of Birżebbuġa, Malta. The cave contains the bone remains of animals that were stranded and subsequently became extinct in Malta at the end of the Last Glacial Maximum. It has lent its name to the Għar Dalam phase in Maltese prehistory, and is viewed as one of Malta's most important national monuments. Pottery similar to that found in Stentinello was found at Għar Dalam, but lacking details such as stamp decorations.
Dwarf elephant, hippopotamus, giant swan, deer and bear bone deposits found there are of different ages; the hippopotamuses became extinct about 10,000 years ago, whilst the deer species became extinct much later, about 4000 years ago during the Chalcolithic. It is also here that the earliest evidence of human settlement on Malta, some 7,400 years ago, was discovered.


The cave was first investigated for its Neolithic remains in 1865, with excavations by Italian palaeontologist Arturo Issel. An excavation was carried out in 1892 by John H. Cooke. The bulk of this material was stored in Malta, while a comparative collection was sent to the British Museum. This material was studied by Forsyth Major in 1902, who isolated a new dwarf species of dwarf hippopotamus, Hippopotamus melitensis, based on these findings.
The cave was included on the Antiquities List of 1925, but was not opened to the public until March 1933. A museum was set up on site by the then-Curator of Natural History, Joseph Baldacchino. Within a year of his appointment as curator in 1935, Baldacchino published a booklet on Għar Dalam, highlighting the main excavations and investigations of the cave. The museum was slowly upgraded, new specimens replacing the old, and a labelling system set in place.
The showcases around the walls of the Għar Dalam museum house skeletal remains found in the cave. These are organised by species and type. The showcases in the centre of the museum's room contain complete skeletons of modern examples of deer, elephant and other species. These were not found in the cave, but imported as reference specimens for the use of scholars working on the fossil examples.
It was used as an air-raid shelter during World War II. In 1980, the most important and irreplaceable relics—such as four tusks of dwarf elephants and the skull of a Neolithic child—were stolen from the museum.
The cave was investigated in 1987 under the direction of Emmanuel Anati, professor of paleontology at the University of Salento. His team of Italian archaeologists from the Centro Camuno di Studi Preistorici discovered Palaeolithic cave art depicting human hands, anthropozoomorphic, and several animal designs from underneath the stalagmatic formations. Some depict elephants which have been extinct in the Maltese region since the Pleistocene. Most of these finds were destroyed due to recent vandalism.
The cave is some 144 metres (472 ft) deep but only the first 50 metres (160 ft) are accessible to visitors. The museum, which still exhibits a remarkable wealth of finds from animal bones to human artifacts, is the entrance to the whole area.
Għar Dalam Cave and Museum is operated by Heritage Malta. In 2019, a project was announced to improve the physical accessibility between Għar Dalam, Ta’ Kaċċatura, Borġ in-Nadur, and other sites which are in close proximity to one another.


The cave consists of six layers.
Domestic animal layer (c. 74 cm). This layer has mainly cultivated animals in it, such as cows, horses and sheep/goats. Human remains, like pottery, flints, tools and ornaments or amulets are present here.
Calcareous sheet (c. 0.6 cm).
Deer Layer (c. 175 cm). The dwarf deer found in this layer are derived from the red deer (Cervus elaphus). Small numbers of carnivores are known from this layer, namely brown bear, red fox and wolf. Also big swans, giant turtles and voles are found.
Pebble layer (c. 35 cm). This layer consists completely of small boulders and pebbles. They are indicators of a river that streamed through the cave. The stones are quite large, as it was a fast-flowing river.
Hippopotamus layer (c. 120 cm). This layer consists of mainly Hippopotamus melitensis. Other species found are dwarf elephant and the giant dormouse Leithia cartei.
Bone-Free clay layer (c. 125 cm). No bones found in this layer, only some impressions of plant material


[A].Buhagiar (2007) notes that the name Għar Dalam does not mean the 'Cave of Darkness,' but the 'Cave of Dalam,' or 'of the Dalam family.' The surname Dalam is attested in 15th century records.


Głogówek Town Hall - a Renaissance building built in 1608, and in the subsequent years frequently renovated and reconstructed. In 1945, the building was partially burnt down, and later rebuilt between 1955 and 1957. Currently, the town hall is the seat for the Głogówek City Council.


The first town hall in Głogówek existed since the middle half of the fourteenth century, the building was used for commerce. In exactly the same location, in 1608, a new building to house the local authorities was built. In the years 1659-1660 the building was renovated after being plundered by Swedes. In 1774, the town hall was decorated with wall paintings and molding, and in 1890 the building was renovated in the spirit of Historicism, with which the interior was also modernised. During World War II, the building was partially burnt down, and subsequently rebuilt between 1955 and 1957.


Gadhimai Temple (Nepali: गढीमाई मन्दिर) is a temple of Gadhimai Devi, an aspect of Kali, the Hindu goddess of power. The temple is situated in Mahagadhimai Municipality in Bara District of south central Nepal, though the term usually refers to Gadhimai festival, conducted at the Gadhimai temple area in central Terai of Nepal.


Galichya Gora was founded on 25 April 1925. Originally it was administered by Yeletsky regional museum. However, on 17 April 1936, administration was transferred to Voronezh State University.


Galichya Gora is located in the East European forest steppe ecoregion, a transition zone between the broadleaf forests of the north and the grasslands to the south.. This ecoregion is characterized by a mosaic of forests, steppe, and riverine wetlands.
The climate of Galichya Gora is Humid continental climate, warm summer (Köppen climate classification (Dfb)). This climate is characterized by large swings in temperature, both diurnally and seasonally, with mild summers and cold, snowy winters.


The reserve consists of six different areas:
Galichya Gora, (the original reserve)
Morozova Gora (added on 5 May 1941)
Pluschan (added since 1953)
Bykova Sheya (added since 1953)
Voronov Kamen (added since 1953)
Vorgolskoe (added since 1953)


Galway Bay (Irish: Loch Lurgain or Cuan na Gaillimhe) is a bay on the west coast of Ireland, between County Galway in the province of Connacht to the north and the Burren in County Clare in the province of Munster to the south. Galway city is located on the northeast side of the bay.  The bay is about 50 kilometres (30 mi) long and from 10 kilometres (6 mi) to 30 kilometres (20 mi) in breadth. The Aran Islands (Oileáin Árann) are to the west across the entrance and there are numerous small islands within the bay. To the west of Galway, the rocks are granite but to the south they are limestone.
The approaches to the bay between the Aran Islands and the mainland are as follows:
the North Sound (An Súnda ó Thuaidh) lies between Inishmore and Leitir Mealláin in Connemara; known as Bealach Locha Lurgan in Irish.
Gregory's Sound (Súnda Ghríoghóra) lies between Inishmore and Inishmaan; known as Bealach na h-Áite in Irish.
Foul Sound (An Súnda Salach) lies between Inishmaan and Inisheer; known as Bealach na Fearbhaighe in Irish.
South Sound (An Súnda ó Theas), known as Bealach na Finnise in Irish, lies between Inisheer and County Clare.
Galway Bay is famous for its unique traditional sailing craft, the Galway hooker.


The coastal parts of Galway Bay have been designated a Special Area of Conservation. This is because of the wide range of important habitat types which include intertidal mud and sandflats, other littoral habitats, coastal lagoons, saltmarshes, turloughs, vegetated cliffs, calcareous grassland and limestone pavements. Galway Bay offers habitat to common seals and otters, and is an important ornithological site for seabirds, waders and waterfowl.
The lagoons are slightly brackish and have a diverse flora, including tasselweed and the algae Chaetomorpha linum, Chara canescens and Lamprothamnion papulosum, all of which are lagoon specialists. There are areas of fen dominated by great fen-sedge and black bog-rush, with common reed, purple moor-grass, bogbean and long-stalked yellow-sedge. The turlough at Ballinacourty forms a temporary lake of about 25 ha (60 acres) in winter. Wetland species found near the exit-hole of the turlough include amphibious bistort, marsh bedstraw and marsh cinquefoil, with silverweed, water mint and creeping bent in the less frequently flooded places near the edge; sedges (Carex spp.) dominate the rest of the area.
The orchid-rich grassland occurs on the flanks of some low drumlin hills to the west of Galway City. The plants here are calcium-loving species including kidney vetch, harebell, spring gentian,  yellow-wort, greater knapweed, common spotted-orchid, lesser twayblade, pyramidal orchid and some scrubby juniper. An unusual feature of the saltmarshes is that, beside thrift, lax-flowered sea lavender, red fescue, common scurvygrass, common saltmarsh-grass, saltmarsh rush and sea rush, dwarf brown seaweeds are present among the vegetation.


On 4 May 1902, eight fishermen from a nearby village lost their lives while sailing on Galway Bay, near Kilcolgan. Seven (Patrick Folan, Patrick Burns, Patrick McDonagh, John Barrett, Michael Burke, Michael Dwyer and Stephen Hynes) drowned; Patrick Walsh swam to shore at nearby Kilcolgan, but died of exhaustion on the beach. A fundraising campaign was organised for the families of the drowned fishermen.


O'Carra, B., Williams, D.M., Mercer, B. and Wood. B. 2014. Evidence of environmental change since the earliest medieval period from the inter-tidal zone of Galway Bay. Ir. Nat. J. 33: pp 83–88.


Ganthem Church (Swedish: Ganthems kyrka) is a well-preserved Romanesque church in Ganthem on the island of Gotland. It contains murals from the 15th century as well as a number of medieval furnishings. It lies in the Diocese of Visby (Sweden).


Ganthem church is a well-preserved Romanesque church, finished in the middle of the 13th century. The choir with its apse is the oldest part, dating from the late 12th century. The nave is slightly later, from the beginning of the 13th century while the tower is the most recent addition. Apart from an enlargement of the windows made in the 19th century, and the addition of a sacristy in the 1930s, the church has remained unchanged since the 13th century.
The interior of the church is decorated with murals from the 15th century. On the northern wall, a set of paintings depict the Passion of Christ. This set is unusual inasmuch as it has never been painted over, and has retained much of its original vibrancy. On the southern wall, another set of murals depicts other religious subjects.
The church still contains a number of medieval items. The baptismal font is from the latter half of the 14th century and has been ascribed to the artist Hegvald. The triumphal cross is from circa 1200 and unusually well-preserved. The altarpiece is furthermore a copy of the original, 14th-century altarpiece now belonging to the Swedish History Museum.


Garibaldi Lake is a turquoise-coloured alpine lake in British Columbia, Canada, located 37 km (23 mi) north of Squamish and 19 km (12 mi) south of Whistler. The lake lies within Garibaldi Provincial Park, which features mountains, glaciers, trails, forests, flowers, meadows, waterfalls. The park is a wildlife protected area.


Garibaldi Lake lies in a deep subalpine basin, with its surface at nearly 1,500 m (4,900 ft) above sea level and a depth exceeding 250 m (800 ft).  It is almost entirely surrounded by mountains except at its northwestern tip, with volcanoes along the north, west, and south sides and non-volcanic peaks along the northeast and eastern shores. Lava flows from the volcanoes of Mount Price and Clinker Peak to the south blocked the ancestral valley, damming the waters of the lake behind the lava formation known as The Barrier.   This lava dam is over 300 m (1,000 ft) in thickness and about 2 km (1.2 mi) wide where it impounds the lake.  A series of lava outcrops along the northwestern shore of the lake form the numerous tiny Battleship Islands, several of which have been connected to the shore by simple man-made stone causeways.
The turquoise colour of the lake's water is due to glacial flour suspended in the meltwater from its two primary inflows, the large Sphinx Glacier to the east and the Sentinel Glacier to the south on the flanks of Mount Garibaldi.  Throughout most of the year, outflow from Garibaldi Lake occurs only via seepage through cracks in the lava dam, with Rubble Creek appearing from springs at the base of The Barrier. During spring snowmelt, outflow is sufficient for surface drainage to occur via a shallow channel across the lava flow, into Lesser Garibaldi Lake and Barrier Lake about 1.6 km (1 mi) west of the main lake's shore.


The unstable lava formation of The Barrier has in the past unleashed several debris flows in the area below the lake, most recently in 1855-56 forming a large boulder field which gives Rubble Creek its name.  Concerns about the Barrier's instability due to volcanic, tectonic, or heavy rainfall activity prompted the provincial government to declare the area immediately below it unsafe for human habitation in 1981.  This led to the evacuation of the nearby village of Garibaldi, British Columbia, and the relocation of residents to new recreational subdivisions away from the hazard zone.  Collapse of the barrier has been speculated upon, and there have been suggestions of potential catastrophic downstream consequences, however, the "District of Squamish, Integrated Flood Hazard Management Plan Background Report" (PDF). concludes that there has never been any suggestion in any scientific evidence that the Barrier will eventually collapse to the point of creating an uncontrolled release of Garibaldi Lake or cause extreme flooding in downstream neighbourhoods along the Squamish River.  However, the "District of Squamish Integrated Flood Hazard Management Plan - Final Report" (PDF). notes that a large collapse of the Barrier could potentially block the Cheakamus River increasing the possibility of a debris flood that could affect the Paradise Valley.


All recreational activities in the area are governed by the regulations of Garibaldi Provincial Park.  Primary access to the lake is via the 9 km (5.5 mi) long Garibaldi Lake Trail, which gains approximately 920 m (3,020 ft) of elevation from the Rubble Creek Trailhead.  There are campgrounds and day-use shelters on the west shore of Garibaldi Lake, and also farther northwest at Taylor Meadows. Nearly all sites have tent platforms to protect the surrounding ecosystem. During the summer, access to the eastern end of the lake is severely limited, since no trails have been constructed along the steep and unstable slopes which plunge directly into the lake.  During winter, the lake is typically frozen from late December to late April, allowing backcountry skiers and snowshoers to easily reach the far shore.  A pair of small alpine huts are located in Sphinx Bay on the eastern shore and Sentinel Bay at the southeastern tip of the lake.


The first school sessions in Rockford, Illinois were held in a log cabin starting in 1837. Until 1855, all education in Rockford was handled through private school. Prompted by a new state law in 1855, the city built its first public schools. The first schoolhouse, named Kent School, opened in 1857. Initially split into two districts, one on each side of the Rock River, the districts were consolidated in 1883. The first high school, Rockford Central, opened in September 1884.
Garrison School was built in 1887 to serve the booming west side residential district. The building was designed by George Bradley & Son, a prominent local architectural firm. It was named after Thomas Garrison, one of the early real estate developers of the district who died in 1871. Upon its completion, the school already struggled to meet the demands of the growing district. It was doubled in size in 1892 and other schools were opened to meet the needs. The first four principals were women. A gymnasium was added in 1920. Another addition, a one-story octagon, was completed in 1969. On February 9, 2006, the building was recognized by the National Park Service with a listing on the National Register of Historic Places. When the Garrison–Coronado–Haskell Historic District was established on January 12, 2012, the Garrison School was considered a contributing property.


The Gate of the Sun, also known as the Gateway of the Sun, is a monolith carved in the form of an arch or gateway at the site of Tiahuanaco by the Tiwanaku culture, an Andean civilization of Bolivia that thrived around Lake Titicaca in the Andes of western South America around 500-950 CE.
Tiwanaku is located near Lake Titicaca at about 12,549.2 ft (3,825.0 m) above sea level near La Paz, Bolivia. The Gate of the Sun is approximately 9.8 ft (3.0 m) tall and 13 ft (4.0 m) wide, and was carved from a single piece of stone. Its weight is estimated to be 10 tons. When rediscovered by European explorers in the mid-19th century, the megalith was lying horizontally and had a large crack through it.  It presently stands in the location where it was found, although it is believed that this is not its original site, which remains uncertain.
Some elements of Tiwanaku iconography spread throughout Peru and parts of Bolivia.  Although there have been various modern interpretations of the mysterious inscriptions found on the object, the carvings that decorate the gate are believed to possess astronomical and/or astrological significance and may have served a calendrical purpose. In addition, scholars have found that the design below the central figure is meant to represent celestial cycles. Being a later monument to the site in which it stands, the Gateway of the Sun could have also represented a transition from lunar religion to a solar religion based on its positioning to the sun to the West.


Among the early investigators of the Gate of the Sun were Arthur Posnansky and Edmund Kiss, who each interpreted this monument in the context of erroneous theories of an early contact with Nordic Aryans. Their interpretations lacked modern data and methods and are now regarded as pseudoarchaeology.


The lintel is carved with 48 squares surrounding a central figure. Each square represents a character in the form of winged effigy. There are 32 effigies with human faces and 16 anthropomorphic figures with the heads of condors. All look towards the central motif: the figure of a person whose head is surrounded by 24 linear rays, thought by some to represent rays of the Sun. The styled staffs held by the figure apparently symbolize thunder and lightning. Some historians and archaeologists believe that the central figure represents the “Sun God” and others have linked it with the Inca god Viracocha. The image of the central figure on the gateway is thought to be Thunupa, or Tunupa, a major weather god in Aymara culture and in the Titicaca Basin throughout the Middle Horizon period. The deity is also known as the front-facing figure or Staff God and was believed to provide rain, lightning, and thunder to the Titicaca Basin. The mythological emergence of the creator gods from Lake Titicaca is the foundation of Tiwanaku religious belief, making the city of Tiwanaku a significant symbol for the whole Andes region. A central theme of Andean religion, including religion in the Inca Empire was the worship of gods that represented elements related to the Earth, especially for the Tiwanaku and Inca cultures. In Inca culture, the Sun God was known as Inti, depicted as a young boy holding various objects of gold. Scholars have drawn comparisons between the Inca and Tiwanaku icons as proof of Tiwanaku influence had on Inca mythology and iconography.


The Gateshead Millennium Bridge is a pedestrian and cyclist tilt bridge spanning the River Tyne between Gateshead arts quarter on the south bank and Newcastle upon Tyne's Quayside area on the north bank. It was the first tilting bridge ever to be constructed. Opened for public use in 2001, the award-winning structure was conceived and designed by architectural practice WilkinsonEyre and structural engineering firm Gifford. The bridge is sometimes called the 'Blinking Eye Bridge' or the 'Winking Eye Bridge' due to its shape and its tilting method. The Millennium Bridge stands as the twentieth tallest structure in the city, and is shorter in stature than the neighbouring Tyne Bridge.


Gateshead Millennium Bridge is part of a long history of bridges built across the River Tyne, the earliest of which was constructed in the Middle Ages. As quay-based industries grew during the Industrial Revolution and Victorian era due to its accessible port, the area became more prosperous. However, industry declined along the River Tyne following World War II and the quay deteriorated into the 1980s. This prompted regeneration activities in both Newcastle and Gateshead, beginning with the construction of Newcastle Crown Courts on the riverbank. In 1995, Gateshead Council devised plans to develop a new contemporary arts centre, the Baltic Centre for Contemporary Art, and the need for a footbridge to link the two cities became more apparent.


A competition was held by Gateshead Council in 1996 to design a new bridge to link Gateshead to Newcastle, the first opening bridge to be built on the River Tyne in over 100 years. The bridge would form part of the regeneration on both sides of the River Tyne, providing a crossing between new commercial buildings and housing built in Newcastle and cultural and leisure developments in Gateshead. It would also facilitate a 1-mile (1.6 km) circular promenade around the Quayside. Although river-based traffic had decreased by the 21st century, the cities of Gateshead and Newcastle still intended to retain the image of the River Tyne as a working river. The advert for the competition was published in the New Civil Engineer magazine with the brief "We are looking for design teams who can create a stunning, but practical, river level crossing which fits this historic setting, opens for shipping and is good enough to win Millennium Commission funding." There were over 150 entries and Gateshead residents voted for their favourite out of a shortlist of six architectural teams. WilkinsonEyre and Gifford and Partners claimed the prize in February 1997 with Gateshead Councillor Mick Henry remarking that the design was "something very special."
By July 1997, a final design was under preparation for submission to the Millennium Commission in order to secure funding. The bridge, which is the world's first tilting bridge, ultimately cost £22 million, with funding from the Millennium Commission, the European Regional Development Fund, English Partnerships, East Gateshead Single Regeneration Budget, and Gateshead Council.  By this point, the name of the bridge was still undecided. The original proposed name of 'Baltic Millennium Bridge' (in reference to the adjacent Baltic Centre for Contemporary Art on the Gateshead side) was objected to by Newcastle City Council. In response, Gateshead Council decided upon the final name of 'Gateshead Millennium Bridge' in 1998, which caused an ongoing feud between the two councils.


Gateshead Council originally announced that the bridge would be open in September 2000, but it was not completed until September the following year. The first tilt took place on 28 June 2001 to 36,000 onlookers. It was opened to the public on 17 September 2001 to a crowd of thousands. The barrier lifted at 2 pm to allow the first public crossing, and the first people to cross received a commemorative medal gift from the Council. The bridge was dedicated by Queen Elizabeth II on 7 May 2002, during her Golden Jubilee tour. A commemorative plaque unveiled by the Queen reads: "Gateshead Millennium Bridge. Opened by Her Majesty The Queen on 7th May 2002." Before a formal dinner at the Baltic Centre for Contemporary Art, the Queen said "Today I see the tangible signs of the determination of all those within this region to create a new future. There have been so many personal acts of kindness, especially over the last two months, now I have the chance to express my gratitude to the people of the North East."


Gateshead Millennium Bridge was constructed to fulfil the following main design constraints: the bridge must be 4.5 metres (15 ft) above river-level during high spring tides when closed; nothing must be built on the Gateshead Quayside; the deck must have a 1:20 slope to allow disabled access. The bridge consists of two steel arches – a deck which acts as the pedestrian and cycle path, and a supporting arch. The bridge was designed to be as light as possible to allow for easy opening and closing, so the two arches are lighter towards the centre span than at the hinges. The pedestrian and cycle deck is a parabolic shape with a 2.7 metres (8.9 ft) vertical camber. It is divided into two separate paths on different levels for the different modes of transport, separated by a stainless steel "hedge" with seating areas and steps interspersed throughout. The supporting arch is also a parabola, designed in such as way to match the shape of the Tyne Bridge upstream. The two arches are joined together by 18 suspension cables which provide stability for people crossing the bridge.
Six hydraulic rams (three on each side) tilt the entire 850,000 kg bridge as a single structure, meaning that when the supporting arch lowers, the pedestrian deck rises to create 25 metres (82 ft) of clearance for river traffic to pass underneath. The bridge takes around four minutes to rotate through the full 40° from closed to open, moving as fast as 18 mm (0.71 inches) per second. The design is so energy-efficient that, in April 2017, it cost just £3.96 per opening. The appearance of the bridge during this manoeuvre has led to it being nicknamed the "Blinking Eye Bridge", and has solidified its reputation as being not only a functional piece of infrastructure but a spectacle in and of itself. The rotation of the bridge is also used as a self-cleaning mechanism, as rubbish collected on the deck rolls towards traps built at each end.
A lighting system designed by Jonathan Spiers and Associates is used at night to attractively illuminate the bridge without causing light pollution, as the cables are too thin to be visible or reflect light at night. The lights shine white during the week and a variety of colours over the weekend. Green and red LEDs are used during the day to alert cyclists and pedestrians to the bridge's opening and closing.


Gateshead Council selected Gateshead-based Harbour & General as the main contractor for the construction of the bridge. Harbour and General then selected over 12 sub-contractors to cover elements of construction including control systems, metalwork, lighting, and piling and river work. Consulting engineering group Ramboll provided further engineering, construction, and contract management services. The bridge's structure was modelled in LUSAS using 3D elements. LUSAS modelling allowed a model of the bridge to be built and allowed analysis of buckling forces, wind, and temperature. Another software – Pertmaster Professional – was used for risk and project management and cost analysis.
Watson Steel was appointed as the specialist contractor to prefabricate the bridge, and they subcontracted the design of the hydraulic system to Kvaerner Markham. The pre-fabricated sections of the bridge were shot-blasted and painted in Hadrian's Yard, 6.5 km (4.0 miles) from the bridge's final position. The entire structure was assembled by first welding together the nine arch sections and deck sections, and then attaching the cables to the arch and deck. Protective paintwork (Interzone 505 and Interthane 990 from International Protective Coatings) was applied to the arch before it was erected.
The bridge was lifted into place in one piece by the Asian Hercules II, one of the world's largest floating cranes, on 20 November 2000. Whilst being transported by the crane, the bridge was rotated 90° in order to navigate narrow bends along the river. It was successfully slotted into threaded bolts in the piers with only 3 mm (0.12 inches) of tolerance. Handrails, seating, and the hydraulic systems were installed after the bridge was in place. The transportation of the bridge took only one day and was a spectacle, attracting crowds on onlookers.
The Port of Tyne Authority required the design of the bridge to incorporate a vessel collision protection system. As a result, two rows of parallel fixed piles, splaying out diagonally on each side of the bridge, were installed. However, it became clear to members of the construction project team and WilkinsonEyre that they were unsightly and undermined "the finesse of the bridge". Between February and June 2000, the unsightly nature of the piles also caught the attention of the public, with multiple news articles and letters expressing discontent. Complaints included the fact that the Millennium Bridge in London did not have similar piles, and that a Newcastle University boat race had to be moved specifically to avoid potential collision with the piles. Over time, Gateshead Council and the Harbourmaster noted that the piles were not required and they were removed in 2012. This decision was ultimately less expensive than maintaining them.


Gateshead Millennium Bridge has retained its status as a significant local landmark and tourist attraction, not only built to develop the local area but establish local pride. It is one of several cultural landmarks on Gateshead Quays, including Baltic Centre for Contemporary Art and Sage Gateshead. It opens periodically for sightseers and for major events such as The Boat Race of the North and the Cutty Sark Tall Ships' Race. The bridge also lights up to mark celebrations or dedications. For example, it was lit blue on 4 July 2020 as part of the 'Light it Blue' campaign celebrating the 72nd anniversary of the NHS and its contributions during the COVID-19 pandemic. It was also lit green in April 2020 in recognition of social care workers.
The bridge has been featured in film and on TV including the BBC TV drama 55 Degrees North and the British 2005 film Goal!. On 17 July 2005, Spencer Tunick used the bridge in an art installation whereby 1,700 people gathered together nude and were photographed around the Millennium and Tyne Bridges and the Baltic Centre for Contemporary Art. The bridge was pictured on a first-class stamp in 2000, and a pound coin depicting the bridge was produced by the Royal Mint in 2007.


Gateshead Millennium Bridge has won a total of 25 awards for design and lighting. For the construction of the bridge, the architect WilkinsonEyre won the 2002 Royal Institute of British Architects (RIBA) Stirling Prize. This was a somewhat controversial decision; although the RIBA judges described the bridge as a "truly heroic piece of engineering and construction", there was debate among the attendees of the awards ceremony as to whether it also counted as architecture, with some citing the fact that it was not a building. However, Jim Eyre of WilkinsonEyre argued that the feat did cross over into the boundary of architecture. WilkinsonEyre and Gifford also won the 2003 IStructE Supreme Award. The bridge was awarded the British Constructional Steelwork Association's Structural Steel Design Award in 2002. In 2005, the bridge received the Outstanding Structure Award from the International Association for Bridge and Structural Engineering.


WikiWeb_Gdansk Port Ponocny Lighthouse_0

Gdańsk Port Północny Lighthouse (Gdańsk North Port Lighthouse) is a lighthouse in Gdańsk, located on the Polish coast of the Baltic Sea, by the Bay of Gdańsk. It is the youngest lighthouse in Poland; located between the lighthouse in Hel, and the lighthouse in Krynica Morska.
The lighthouse houses the admiralty of the Port of Gdańsk and is not open for the public. The lighthouse is the only lighthouse in Poland to have a lift to get to the top command deck. The lighthouse was built in 1984.


The Gehrdener Berg is a forested ridge in the Calenberg Land in Hanover Region in the north German state of Lower Saxony. On its slopes nestles the town of Gehrden that gives the ridge its name. The ridge is about 2.7 kilometres long and is the sister hill range of the Benther Berg in southwest Hanover. Its highest point is the Burgberg at 155 metres above  sea level (NN).


Werner Fütterer: Gehrden – Vom Flecken zur Großgemeinde. Gehrden 1991
August Kageler: Geschichte der Stadt Gehrden. Gehrden 1950


The General Post Office, situated on the corner of Elizabeth and Bourke streets in Melbourne, is the former General Post Office for Victoria, Australia.
Still owned by the Federal Government, the building appears on all major heritage lists: the National Trust of Victoria (Australia), the Commonwealth Heritage List, and the state of Victoria where it is noted for its fine and impressive architecture and historical significance. The location of the post office is still used as a point of reference for the measure of distances from the centre of Melbourne.


The General Post Office is historically significant as one of the foremost public buildings in Victoria, both architecturally and as the centre of postal communications for the Colony of Victoria, being the conduit of communication with other colonies, and the United Kingdom, the birthplace of most 19th century Victorians. It retained this central postal role for much of the 20th century, adding telegraphic and telegram functions. The surrounding steps and clock tower are city landmarks and have prominently featured in meetings, protests, and Armistice Day and New Years Day celebrations.
The building occupies the north-eastern corner of the Elizabeth and Bourke Street intersection. The design is a fine and elaborate example of Renaissance Revival, with its use of arcading, pedimented windows, and layers of attached and overlaid columns, piers and pilasters, employing the characteristic order of Tuscan columns in the first level, Ionic columns in the second and Corinthian columns in the third. The use of Mansard roofs on central and end sections set slightly forward of the main walls add a French Second Empire flavour.


In 1858 a design competition was held for a new General Post Office building, with the winners announced on Friday 7 May 1858. The competition was in two parts, Crouch and Wilson won first prize for their exterior design, while A. E. Johnson won second place for exterior, and also won second place for the interior arrangement. Johnson was then employed by the Public Works Department, and eventually construction started in 1861 on what was said to be Johnson's design, rather than the Crouch and Wilson design, which proceeded slowly and at great expense.  In 1861 however, Johnson himself claimed that it was an entirely new design prepared by the Public Works Department.


The 1861 design consisted of two storeys, taking up the full site, with a main floor fronted by arcades raised up on a stepped plinth (possibly due to the frequent flooding of Elizabeth Street), mansard roofed end and central pavilions, and a corner clocktower. Construction of this design ceased in 1867, without the northern half of the Elizabeth Street wing, the central mansarded portion or the mansarded roof to the tower. The grand hall, lit by a skylit roof, was designed as the mail sorting room; the public transacted all business outside, at window-counters opening into the arcade, with various counters designated for different purposes. It was constructed with bluestone from Brunswick quarries, and sandstone from Tasmania for the facade, including the Doric and Ionic columns.


After 20 years, with the rapid growth of Victoria, the General Post Office became overcrowded, and A. E. Johnson designed a third level, an attic level, and a taller and more ornate clock tower with sandstone sourced this time from the Grampians. This work was supervised by Peter Kerr of the Public Works Department and was completed in 1887 (leaving the Little Bourke Street end still incomplete). The Mansard roof originally intended for the central section of the Elizabeth Street facade was also constructed, as well as similar curved roofs as part of the tower, which, along with the increased height, gave the building much of its Second French Empire grandeur. The clock was made in Williamstown with parts from Glasgow. The clock plays 28 tunes. In the early years, it would play one tune every 15 minutes, all day and night.


In 1906-7, the GPO was extended to the north in Elizabeth Street by five bays. The new façade matched the original design, although there were only two storeys and a basement.
In 1913, it was decided to remodel the building, turning the sorting hall into a public postal hall, with entrances from both Bourke and Elizabeth Streets. Architect Walter Burley Griffin was hired to design the works. His plan was later modified by architect John Smith Murdoch of the Commonwealth Department of Works and Railways, and finally completed in 1919.
One of Melbourne's major grand 19th century public spaces, the hall of the GPO served as such during the 20th century, and the steps were a common meeting place. For a period, there was a tradition of celebrating the New Year on the steps of the GPO as the clock struck midnight.


In the 1990s, Australia Post began a program of closing and selling or leasing out many of the large and historic post office buildings across Australia, moving post office functions into smaller shopfronts. In 1993, the closure of the Melbourne GPO was first announced and various commercial schemes proposed amid some controversy, but none proceeded until 2001, when it was leased to developers for conversion into a shopping centre, with contemporary extensions to the still incomplete north end. Shortly after postal functions were moved into a smaller building on Little Bourke Street a fire severely damaged the interior of the building, especially the postal hall, on 10 September 2001. The redevelopment proceeded as planned, including the restoration of the postal hall, and a contemporary styled extension, reopening in late 2004 as a high-end fashion retail precinct.
The redevelopment opened up a new link through the building to Little Bourke Street, and escalators in the new addition made the first and second floors easily accessible, and open to the public for the first time, with the old offices occupied by boutiques. Cafes occupied the delivery laneway on the east side, and part of the outer colonnade, while the hall itself was subdivided with glass walls into retail tenancies. This work was designed by Williams Boag architects, and won two Architect's Institute awards in 2005. A lift was added into the postal hall in 2010, but the development was not a commercial success.
The GPO was redeveloped again, reopening on 5 April 2014 occupied almost entirely by Australia's first branch of Swedish retail giant H&M, with crowds forming hours in advance. The cafes in the former delivery lane and the arcades remained in place, and the top (second) floor is occupied by offices.


Genipabu (or Jenipabu) is a beach with a complex of dunes, a lagoon and an environmental protection area (APA) located close to Natal, one of the most famous post-cards of the Rio Grande do Norte Brazilian state.
Genipabu is used for "buggie" and formerly dromedary rides. Camel rides on the dunes were popular for many years, but as of 2020 they are no longer available. A sport that is played in the dunes around the lake is the "esquibunda", in which a person slides the dunes with a wooden board.
"Buggie" rides are offered locally in two styles, com emoção (lit:'with emotion': a riskier ride) or sem emoção (lit:'without emotion': a safer one). One should be aware, however, that only authorized professionals responsible for security of both tourists and environment should be hired.
The dunes of Genipabu are movable, because the hard winds in the Rio Grande do Norte coastline moves the sand from one point to another, shaping the landscape.


Gent-Sint-Pieters railway station (Dutch: Station Gent-Sint-Pieters, French: Gare de Gand-Saint-Pierre), officially Gent-Sint-Pieters, is the main railway station in Ghent, East Flanders, Belgium, and the fourth-busiest in Belgium and busiest in Flanders, with 17.65 million passengers a year. The station is operated by the National Railway Company of Belgium (NMBS/SNCB).


The station is served by the following services:
Intercity services (IC-01) Ostend - Bruges - Ghent - Brussels - Leuven - Liege - Eupen
Intercity services (IC-02) Ostend - Bruges - Ghent - Sint-Niklaas - Antwerpen
Intercity services (IC-03) Knokke/Blankenberge - Bruges - Ghent - Brussels - Leuven - Genk
Intercity services (IC-04) Lille/Poperinge - Kortrijk - Ghent - Sint-Niklaas - Antwerpen
Intercity services (IC-12) Kortrijk - Ghent - Brussels - Leuven - Liege - Welkenraedt (weekdays)
Intercity services (IC-12) Kortrijk - Ghent (weekends)
Intercity services (IC-20) Ghent - Aalst - Brussels - Hasselt - Tongeren (weekdays)
Intercity services (IC-20) Ghent - Aalst - Brussels - Dendermonde - Lokeren (weekends)
Intercity services (IC-23A) Bruges - Ghent - Brussels - Brussels Airport
Intercity services (IC-28) Ghent - Sint-Niklaas - Antwerp (weekdays)
Local services (L-02) Zeebrugge - Bruges - Ghent - Dendermonde - Mechelen (weekdays)
Local services (L-02) Zeebrugge - Bruges - Ghent (weekends)
Local services (L-05) Eeklo - Ghent - Oudenaarde - Ronse
Local services (L-05) Eeklo - Ghent - Oudenaarde - Kortrijk (weekdays)
Local services (L-25) Ghent - Zottegem - Geraardsbergen
Local services (L-28) Ghent - Dendermonde - Mechelen (weekends)


The George Gordon Meade Memorial, also known as the Meade Memorial or Major General George Gordon Meade, is a public artwork in Washington, D.C. honoring George Meade, a career military officer from Pennsylvania who is best known for defeating General Robert E. Lee at the Battle of Gettysburg.  The monument is sited on the 300 block of Pennsylvania Avenue NW in front of the E. Barrett Prettyman United States Courthouse.  It was originally located at Union Square, but was removed and placed in storage for fourteen years before being installed at its current location.  The statue was sculpted by Charles Grafly, an educator and founder of the National Sculpture Society, and was a gift from the state of Pennsylvania.  Prominent attendees at the dedication ceremony in 1927 included President Calvin Coolidge, Governor John Stuchell Fisher, Secretary of the Treasury Andrew W. Mellon, and Senator Simeon D. Fess.
The memorial is one of eighteen Civil War monuments in Washington, D.C., which were collectively listed on the National Register of Historic Places in 1978.  The marble and granite sculpture, which includes depictions of Meade and seven allegorical figures, rests on a granite base and granite platform.  It is surrounded by a public plaza and small park.  The monument is owned and maintained by the National Park Service, a federal agency of the Interior Department.
Another monument to Meade by sculptor Henry Kirke Bush-Brown is on the Gettysburg Battlefield.  It was dedicated in 1896 as the first equestrian monument erected on the battlefield and is one of scores of Gettysburg monuments and markers.