The theatre was in need of updating by the end of the 18th century and was demolished in 1791, with the company moving temporarily to the new King's Theatre, in the Haymarket. A third theatre was designed by Henry Holland and opened on 12 March 1794. In the design of the theatre boxes, Henry Holland asked John Linnell for assistance. The designs by Linnell survive in the V&A Print Room – there are also designs by Henry Holland and Charles Heathcote Tatham who were involved in the design process. This was a cavernous theatre, accommodating more than 3,600 spectators. The motivation behind building on such a large scale? In the words of one owner:
I was aware of the very popular notion that our theatres ought to be very small; but it appeared to me that if that very popular notion should be suffered to proceed too far it would in every way deteriorate our dramatic performances depriving the proprietors of that revenue which is indispensable to defray the heavy expenses of such a concern.
New technology facilitated the expansion: iron columns replaced bulky wood, supporting five tiers of galleries. The stage was large, too: 83 ft (25 m) wide and 92 ft (28 m) deep. Holland, the architect, said it was "on a larger scale than any other theatre in Europe." Except for churches, it was the tallest building in London.
The "very popular notion that our theatres ought to be very small" proved hard to overcome. Various accounts from the period bemoan the mammoth size of the new theatre, longing for the "warm close observant seats of Old Drury," as one May 1794 theatre-goer put it. Actress Sarah Siddons, then part of the Drury Lane company, called it "a wilderness of a place" (and left Drury Lane along with her brother John Philip Kemble in 1803). Not only was any sense of intimacy and connection to the company on stage lost, but the very size of the theatre put a great deal of the audience at such a distance from the stage so as to make hearing a player's voice quite difficult. To compensate, the productions mounted in the new theatre tended more toward spectacle than the spoken word. An example of such a spectacle is a 1794 production that featured real water flowing down a rocky stream into a lake large enough on which to row a boat. This water issued from tanks in the attics above the house, which were installed – along with a much-touted iron safety curtain – as proof against fire.
Richard Sheridan continued as theatre owner during the entire lifetime of this third building. He had grown in stature as a statesman during this time, but troubled finances were to be his undoing. The 1794 rebuilding had cost double the original estimate of £80,000, and Sheridan bore the entirety of the debt. Productions were more expensive to mount in the larger structure, and increased audience revenues failed to make up the difference.
An assassination attempt against King George III took place at the theatre on 15 May 1800. James Hadfield fired two pistol shots from the pit toward the King, sitting in the royal box. The shots missed by inches, Hadfield having been jostled by a Mr Dyte. Hadfield was quickly subdued, and George, apparently unruffled, ordered the performance to continue.
The comedy actor John Bannister became acting-manager in 1802. With Sheridan's son Tom, and in the circle of Richard Wroughton (stage-manager), William Dowton, Michael Kelly, Tom Dibdin and their likes, he helped to see the Theatre Royal through its next catastrophe. On 24 February 1809, despite the previously mentioned fire safety precautions, the theatre burned down. On being encountered drinking a glass of wine in the street while watching the fire, R.B. Sheridan was famously reported to have said: "A man may surely be allowed to take a glass of wine by his own fireside." Already on the shakiest financial ground, Sheridan was ruined entirely by the loss of the building. He turned to brewer Samuel Whitbread, an old friend, for help. As well as investing strongly in the project, Whitbread agreed to head a committee that would manage the company and oversee the rebuilding of the theatre, but asked Sheridan to withdraw from management himself, which he did entirely by 1811.


The Theatre Royal Haymarket (also known as Haymarket Theatre or the Little Theatre) is a West End theatre on Haymarket in the City of Westminster which dates back to 1720, making it the third-oldest London playhouse still in use. Samuel Foote acquired the lease in 1747, and in 1766 he gained a royal patent to play legitimate drama (meaning spoken drama, as opposed to opera, concerts or plays with music) in the summer months. The original building was a little further north in the same street. It has been at its current location since 1821, when it was redesigned by John Nash. It is a Grade I listed building, with a seating capacity of 888. The freehold of the theatre is owned by the Crown Estate.
The Haymarket has been the site of a significant innovation in theatre. In 1873, it was the venue for the first scheduled matinée performance, establishing a custom soon followed in theatres everywhere. Its managers have included Benjamin Nottingham Webster, John Baldwin Buckstone, Squire Bancroft, Cyril Maude, Herbert Beerbohm Tree, and John Sleeper Clarke, brother-in-law of John Wilkes Booth, who quit America after the assassination of Abraham Lincoln. Famous actors who débuted at the theatre included Robert William Elliston (1774–1831) and John Liston (1776–1846).


The first Hay Market theatre  was built in 1720 by John Potter, carpenter, on the site of The King's Head Inn in the Haymarket and a shop in Suffolk Street kept by Isaac Bliburgh, a gunsmith, and known by the sign of the Cannon and Musket.  It was the third public theatre opened in the West End.  The theatre cost £1000 to build, with a further £500 expended on decorations, scenery and costumes. It opened on 29 December 1720, with a French play La Fille a la Morte, ou le Badeaut de Paris performed by a company later known as The French Comedians of His Grace the Duke of Montague. Potter's speculation was known as The New French Theatre. Its name was changed to Little Theatre in the Hay.
The theatre's first major success was a 1729 production of a play by Samuel Johnson of Cheshire, Hurlothrumbo, or The Supernatural, which ran for 30 nights – not as long as John Gay's The Beggar's Opera (62 performances), but still a long run for the time. In 1730, the theatre was taken over by an English company.  Among the actors who appeared there before 1737 when the theatre was closed under the Licensing Act 1737 were Aaron Hill, Theophilus Cibber, and Henry Fielding. In the eight to ten years before the Act was passed, the Haymarket was an alternative to John Rich's Theatre Royal, Covent Garden and the opera-dominated Drury Lane Theatre. Fielding himself was responsible for the instigation of the Act, having produced a play called The Historical Register that parodied prime minister Robert Walpole, as the caricature, Quidam.
In particular, it was an alternative to the pantomime and special-effects dominated stages, and it presented opposition (Tory party) satire. Henry Fielding staged his plays at the Haymarket, and so did Henry Carey. Hurlothrumbo was just one of his plays in that series of anti-Walpolean satires, followed by Tom Thumb. Another, in 1734, was his mock-opera, The Dragon of Wantley, with music by John Frederick Lampe. This work punctured the vacuous operatic conventions and pointed a satirical barb at Walpole and his taxation policies. The piece was a huge success, with a record-setting run of 69 performances in its first season. The work debuted at the Haymarket Theatre, where its coded attack on Walpole would have been clear, but its long run occurred after it moved to Covent Garden, which had a much greater capacity for staging. The burlesque itself is very brief on the page, as it relied extensively on absurd theatrics, dances, and other non-textual entertainments. The Musical Entertainer from 1739 contains engravings showing how the staging was performed.
Carey continued with Pasquin and others. Additionally, refugees from Drury Lane's and Covent Garden's internal struggles would show up at the Haymarket, and thus Charlotte Charke would act there in a parody of her father, Colley Cibber, one of the owners and managers of Drury Lane. The Theatrical Licensing Act, however, put an end to the anti-ministry satires, and it all but entirely shut down the theatre. From 1741 to 1747, Charles Macklin, Cibber, Samuel Foote, and others sometimes produced plays there either by use of a temporary licence or by subterfuge; one advertisement runs, "At Cibber's Academy in the Haymarket, will be a Concert, after which, will be exhibited (gratis) a Rehearsal, in the form of a Play, called Romeo and Juliet."
In 1749 a hoaxer billed as The Bottle Conjuror was advertised to appear at the theatre.  The conjuror's publicity claimed that, while on stage, he would place his body inside an empty wine bottle, in full view of the audience.  When the advertised act failed to appear on stage, the audience rioted and gutted the theatre.  Although the identity of the hoax's perpetrator is unknown, several authors consider John Montagu, 2nd Duke of Montagu, to have been responsible.


In 1754, John Potter, who had been rated (i.e. paid property tax) for the theatre since its opening, was succeeded by John Whitehead. In 1758 Theophilus Cibber obtained from William Howard, then the Lord Chamberlain, a general licence under which Foote tried to establish the Haymarket as a regular theatre. With the aid of the Duke of York he procured a royal licence to exhibit plays during four months in each year from May to September during his lifetime. He also bought the lease of the theatre from Potter's executors and, having added to the site by purchasing adjoining property, he enlarged and improved the building which he opened on 14 May 1767, as the Theatre Royal, the third patent theatre in London. Several successful seasons followed, with Foote producing numerous plays at the theatre, but Foote finally got himself into difficulties by his custom of caricaturing well-known persons on the stage and this, combined with increasing ill-health, resulted in his selling both the theatre and patent to George Colman Sr. on 16 January 1777.
During the season of 1793–94 when Drury Lane Theatre was being rebuilt, the Haymarket was opened under the Drury Lane Patent. The season was notable for a 'Dreadful Accident' which occurred on 3 February 1794, 'when Twenty Persons unfortunately lost their lives, and a great Number were dreadfully bruised owing to a great Crowd pressing to see his Majesty, who was that Evening present at the Performance.' Amongst the dead were John Charles Brooke, Somerset Herald and Benjamin Pingo York Herald. Colman died in 1794, and the theatre descended to his son. George Colman Jr., though successful both as playwright and manager, dissipated his gains by his extravagance. For a time he lived in a room at the back of the theatre and he was finally forced to sell shares in the latter to his brother-in-law, David Morris. Monetary difficulties increased and for a while Colman managed the theatre from the King's Bench Prison, where he was confined for debt.
All the buildings on the east of the Haymarket from the theatre southward were rebuilt circa 1820 in connection with John Nash's schemes for the improvement of the neighbourhood. Nash persuaded the proprietors of the theatre to rebuild on a site a little south of the old one so that the portico should close the vista from Charles Street. The main front feature of Nash's elevation in the Haymarket was (and is) a pedimented portico of six Corinthian columns which extends in depth to the edge of the pavement and includes the whole frontage. It is sometimes stated that Nash rebuilt the theatre entirely, but there is evidence that he incorporated a house in Little Suffolk Street with the theatre, removed two shops which were in front, in the Haymarket, built a portico, increased the number of avenues and added a second gallery to the existing auditorium.
A lease dated 10 June 1821, was granted to David Edward Morris. The theatre was opened on 4 July 1821, with The Rivals. Benjamin Nottingham Webster became the theatre's manager from 1837 to 1853. He and his successor, John Baldwin Buckstone, established the theatre as a great comedy house, and the theatre hosted most of the great actors of the period. The illusionist Ching Lau Lauro performed here on 25 July 1827.


In 1951–52 Waters of the Moon by N. C. Hunter starred Sybil Thorndike, Edith Evans and Wendy Hiller. For the Coronation season in 1953, Coward gave a rare performance in a play not written by him, The Apple Cart by George Bernard Shaw, with Margaret Leighton as his co-star. To Coward, the Haymarket was "the most perfect theatre in the world". In 1956, Stuart Watson, who had taken over management of the theatre from his father Horace, died and was succeeded by his son Anthony, and then his daughter-in-law Sylva Stuart Watson, who took over in 1963. Productions under the new management included Flowering Cherry by Robert Bolt (1957) starring Ralph Richardson and Celia Johnson; Ross by Terence Rattigan (1960) starring Alec Guinness; and John Gielgud's production of The School for Scandal (1962), with Ralph Richardson and Margaret Rutherford. In the 1960s, notable presentations included The Tulip Bee by N. C. Hunter starring Celia Johnson and John Clements and Thornton Wilder's Ides of March directed by Gielgud (both 1963).
In 1971, Louis I. Michaels became the lessee of the theatre. Productions of the decade included a revival of Enid Bagnold's The Chalk Garden, with Gladys Cooper (1971, which had played at the Haymarket in 1955–56); the long-running A Voyage Round My Father (John Mortimer) starring Alec Guinness, succeeded by Michael Redgrave (1971–72); and, in 1972, Crown Matrimonial by Royce Ryton, starring Wendy Hiller as Queen Mary. Later productions included a revival of On Approval (Frederick Lonsdale) with Geraldine McEwan and Edward Woodward (1975); The Circle, with Googie Withers and John McCallum (1976); Rosmersholm (Ibsen) with Claire Bloom and Daniel Massey (1977); The Millionairess (Shaw), with Penelope Keith; Waters of the Moon again, starring Hiller and Ingrid Bergman in her last stage role (both 1978); and Keith Michell and Susan Hampshire in The Crucifer of Blood (1979).


The substantial changes to the theatre in the late fifth century BC is conventionally called Periclean since they coincide with the completion of the Odeon of Pericles immediately adjacent and the wider Periclean building programme. However, there is no strong evidence to say the theatre’s reconstruction was of the same group as the other works or from Pericles’ lifetime. The new plan of the theatre consisted of a slight displacement of the performance area northward, a banking up of the auditorium, the addition of retaining walls to the west, east and north, a long hall south of the skene and abutting the Older Temple and a New Temple which was said to have contained a chryselephantine sculpture of Dionysus by Alkamenes.  The seating during this phase was probably still in the form of ikria  but it may be the case that some stone seating had been installed. Inscribed blocks, displaced but preserved in the retaining walls, with fifth-century BC epigraphy on them might indicate dedicated or numbered stone seats. The use of breccia in the foundations of the west wall and the long hall gives a terminus ante quem of the early fifth century BC, and a likely date of the last half of that century when its use was becoming common. Also the last recorded statue of Alkamenes was 404 BC, again placing the works in the late 400s. Pickard-Cambridge argues that the reconstruction was piecemeal over the last half of the century into the period of Kleophon.
From the evidence of the plays there is a larger corpus to draw upon during this most vital period of Greek drama. Sophocles,  Aristophanes and Euripides were all performed at the Theatre of Dionysus. From these we can deduce that stock sets may have been in use to meet the requirements of the plays such that the Periclean reconstruction included post-holes built into the terrace wall to provide sockets for movable scenery. The skene itself was likely unchanged from the theatre’s earlier phase, with a wooden structure of at most two floors and a roof. It is also possible that the stage building would have had three doors, with two in the projecting side-wings or paraskenia.  Mechane or geranos were used for the introduction of divine beings or flights through the air as in Medea or Aristophanes' Birds.
One point of contention has been the existence or otherwise of the prothyron or columned portico on a skene that represents the interior spaces of temples or palaces. It is a supposition partly supported by the texts, but also from vase painting believed to be depictions of plays. Aeschylus Choēphóroi 966 and Aristophanes' Wasps 800-4 both refer directly to a prothyron, while the parodos-chant in Euripides’ Ion makes indirect reference to one. The mourning Niobe loutrophoros in Naples and the Boston volute krater, for example, both depict a prothyron. Pickard-Cambridge questions if this was permanent structure since interior scenes were rare in tragedy. The evidence from the plays for the use of an ekkyklema in this period is ambiguous; passages such as Acharnians 407 ff or Hippolytus 170-1 suggest but don't require the device. The argument for its use depends largely on reference to the ekkyklema in later lexographers and scholiasts.


The distinctive white building resembles a flying saucer that has landed on its four legs. The initial design was created by James Langenheim, of Pereira & Luckman, subsequently taken to fruition by a team of architects and engineers headed by William Pereira and Charles Luckman, that also included Paul Williams and Welton Becket.
The appearance of the building's signature crossed arches as homogeneous structures is a design illusion, created by topping four steel-reinforced concrete legs extending approximately 15 feet above the ground with hollow stucco-covered steel trusses. To counteract earthquake movements, the Theme Building was retrofitted in 2010 with a tuned mass damper without changing its outward appearance.
Constructed near the beginning of the Space Age, the building is an example of how aeronautics and pop culture, design and architecture came together in Los Angeles.


Thenupuriswarar Temple is a Hindu temple dedicated to the god Shiva located in the holy village of Patteeswaram, Tamil Nadu, India. Shiva is worshiped as Thenupuriswarar, and is represented by the lingam. His consort Parvati is depicted as Nyanambikai (Somakamalambigai). The presiding deity is revered in the 7th century Tamil Saiva canonical work, the Tevaram, written by Tamil saint poets known as the Nayanars and classified as Paadal Petra Sthalam. The temple is associated with the legend of Sambandar to whose view Nandi moved to have a direct view of the presiding deity. Muthupandal festival celebrated in the temple in associated with the legend.
The temple complex covers around four acres and entered through a seven tiered gopuram, the main gateway. The temple has a number of shrines, with those of Thenupuriswarar, his consort Somakamalambigai and Durga, being the most prominent. All the shrines of the temple are enclosed in large concentric rectangular granite walls.
The temple has six daily rituals at various times from 6:00 a.m. to 8:30 p.m., and four yearly festivals on its calendar. The Brahmotsavam festival is celebrated during the month of the Chittirai (April - May) is the most prominent festival.
The original complex is believed to have been built by Cholas, while the present masonry structure was built during the Nayak during the 16th century. In modern times, the temple is maintained and administered by the Hindu Religious and Charitable Endowments Department of the Government of Tamil Nadu.


The temple is located 6 km away from Kumbakonam on the Kumbakonam- Aavoor road.  The temple is 3 km away from Darasuram.  The best mode is taking town buses from Kumbakonam or mini buses from Darasuram.  The Darasuram railway station is also close by to the temple.  The temple is surrounded by vast streets on all the four sides. The temple is one of the most visited temples in the district.
The temple of Patteeswarar presents a magnificent sight with five gopurams and three prakarams.  It measures 650 feet (200 m) east to west and 295 feet (90 m) south to north.  Pattisvara, the presiding form of Shiva manifests himself in the form of Linga, in the central mandapa of the first prakaram.  Subsidiary deities like Sapthamatha, Mahalakshmi, Renuka, Navagraha, Surya, Chandra and Bhairava are housed in the inner parts of the temple. Ganesha is represented at three different places in three different forms - Anugai Pillayar, Madhavarna Pillayar and Swarna Vinayagar.  In the northern part of the first prakaram, the consort goddess Gnanambigai (Parvati) lies in a separate shrine. A sculpture of Parvati doing penance is also found inside the temple.
The temple is located at Patteswaram, 8 km (5.0 mi) from Kumbakonam in Kumbakonam - Aavoor road, in the South Indian state of Tamil Nadu. The temple has four  five-tiered Gopurams (gateway tower) and one seven-tiered tower, which is the principal gateway tower facing East. There are three rectangular precincts, each of which has granite walls of incremental dimensions. The sanctum is approached through the gateway tower, the flag staff, Nandi, Mukha Mandapam and Artha mandapam. Unlike other temples, the shrine of Nandi or the flagstaff are not axial to the sanctum and are located on the side providing a direct view of the sanctum from the gateway tower. From the gateway tower, the shrine of Durga is located on the northern side in the third precinct, which also has a gateway tower axial to the shrine of Durga. There is a gopuram on the southern side, which also houses a temple tank called Pushkarani and the shrine of Mathavarana Pillayar. The sanctum houses the image of Shiva in the form of Lingam (an iconic representation of Shiva). There is a shrine of Somaskanda parallel to the shrine where the metal image of Somaskanda is housed. The precinct around they sanctum houses the image of Dakshinamoorthy, Lingothbhava, Durga and Navagrahas. Unlike other temples, eight of the Navagrahas, the planetary deities are set facing the Sun at the centre. The shrine of Amman is located in the second precinct and has sculpted yali images of different poses. The shrine also houses a scrollwork in the ceiling that also has chains made of stone. The images of Govinda Dikshitar and his wife are housed in the shrine of Amman. There are various sculpted pillars in different parts of the temple indicating various legends associated with the temple and Hindu mythology. During the 1970s, there were three metal images of Nataraja, Somaskanda and Lakshmi were found out from the caves inside the temple - these are housed in Thanjavur Art Gallery. There are six water bodies associated with the temple. Gnavavi is a temple tank located in the third precinct closer to the southern gateway. Koditheertham is the well in the first precinct and Thapas keni is the one opposite to the Amman shrine. Thirumalai rajan river, tank outside the eastern gateway and Gayathri Kulam located on the eastern side of eastern gateway are the other waterbodies.


The arena has hosted concerts by many famous artists, including Whitney Houston, Tina Turner, André Rieu, TOTO, Trance Energy and Prince, among others.
Also, the national Miss Universe competition was held in Thialf several times.


The Maitlands came to Britain from Normandy with William the Conqueror in 1066, originally settling in Northumberland. They gained power and influence as a result of military service but largely due to their contributions to law and the arts in the 16th century. William Maitland of Lethington, was Secretary to Mary, Queen of Scots, his younger brother was Sir John Maitland, Secretary of Scotland, who acquired Thirlestane in 1587. In the same year he built a large square keep or tower house upon the foundations and walls of the original fort. In 1590, Sir John was appointed Lord Chancellor of Scotland, and was ennobled as Lord Maitland of Thirlestane.  This new house near Lauder was to replace the Maitland's original but now decaying (Old) Thirlestane Castle, a peel tower situated a mile or so to the south-east, the ruins of which are still extant near the hamlet of Thirlestane.
James VI of Scotland visited several times. He came in February 1591 to celebrate the wedding of John Maitland's niece to the Laird of Lugton. He stayed again in October 1593. After John Maitland's death on 3 October 1595, his widow Jean Fleming married the Earl of Cassilis and on 22 February 1599 Fleming and Cassilis hosted James VI at the castle.
Lord Maitland's son John Maitland was created the 1st Earl of Lauderdale in 1624. His son was John Maitland, Duke of Lauderdale (1616–1682), one of the most important Scottish figures of the late 17th century, being appointed Secretary of State for Scotland in 1660, a position carrying unrivalled power and influence. He employed the architect Sir William Bruce to transform the castle into a residence suitable for conducting the affairs of state. Between 1670 and 1676 the substantial alterations included the addition of the two front towers and the grand staircase, in addition to extensive internal modifications creating lavish staterooms with magnificent plasterwork ceilings. Lauderdale had Bruce retain much of the castle's earlier fabric giving it an external aura of antiquity, while the interiors met the highest fashion in seventeenth century planning and furnishing. This allowed Lauderdale to revere the antiquity of his family residence at the same time as living in high contemporary fashion.
By the 19th century, in more peaceful times, the castle took on the role of a Scottish country mansion for the Earls of Lauderdale. In 1840 the Edinburgh architects David Bryce and William Burn were engaged to design extensions to the castle. Their additions consist of two large wings flanking the central keep and a south wing, constructed around a central courtyard, housing new kitchens, pantries, laundries and servants' quarters.
During World War Two the castle was home to St. Hilary's, a girls' school evacuated from Edinburgh. The 15th Earl and Countess of Lauderdale lived in the north wing of the castle, while the school used the rest. The dorms were on the upper floors, while the main rooms were classrooms. The great dining room was used as the school dining room and assembly hall. St. Hilary's remained at Thirlestane until the end of 1944 when they returned to Edinburgh.


Captain Gerald Maitland-Carew inherited the castle in 1972 from his maternal grandmother, Ethel, Countess of Lauderdale, wife of the 15th Earl. At this time, the castle was in a serious state of disrepair, requiring extensive renovation. In 1984 the castle was given to a charitable trust established to ensure its preservation, and major repairs were carried out, assisted by financial grants awarded by the Historic Buildings Council and the National Heritage Memorial Fund.
In addition to the grounds, the castle itself and its interiors, Thirlestane is noted for fine collections of paintings, furniture, porcelain and an historic toy collection. In 2016 the castle is open to visitors from 3 May until 2 October (Tuesday to Thursday and Sundays).
In June 2021, planning permission was granted to Lauderdale Estates to construct holiday lodges in the Castle grounds.


The second pipe could deliver 12 million gallons a day, giving a total capacity of the aqueduct of twenty million gallons a day. The water level was raised to 35 ft above natural; the area of the lake now increasing to 690 acres. Seventy-nine acres of Shoulthwaite Moss (north of Thirlmere) were reclaimed as winter pasture to compensate for the loss of acreage around Thirlmere. A third pipe was authorised in 1906,
construction began in October 1908, and was completed in 1915: this increased the potential supply from Thirlmere to thirty million gallons a day against an average daily demand which had now reached forty-five million gallons: in the summer of 1911 it had again been necessary to suspend the water supply at night.  The lake was then raised to fifty feet above natural; a fourth and final pipeline was completed in 1927, its authorisation having been delayed by the First World War until 1921; as early as 1918 Manchester Corporation had identified the need for a further source of water, and identified Haweswater as that source. At the committee stage of Manchester's 1919 Bill to tap Haweswater, the average daily demand on Manchester's water supply in 1917 was said to have been 51.2 million gallons a day, with the reliable supply from Longdendale being no more than 20 million gallons a day and Thirlmere being able to supply 30 million gallons a day, which would rise to 40 million gallons a day when the fourth pipe was laid. The aqueduct capacity could be increased to fifty million gallons a day by laying a fifth pipe, but could not be increased beyond that whilst the aqueduct was still being used to deliver water to Manchester.
At the committee stage of the Haweswater bill, objectors made no mention of the aesthetic concerns raised against the Thirlmere bills: "The world now knows that many of the fears then expressed were very foolish ones, and would never be realised under any circumstances, or at any place" said the Yorkshire Post although Manchester countered the suggestion that it should not annex Haweswater, but instead further raise the level of Thirlmere because "it would mean such injury to the Lake District that they would have the whole country up against them"
When the Lords defeated Manchester's Bill for abstraction of water from Ullswater in 1962, however, many speakers pointed to Manchester's stewardship of Thirlmere to show why the Bill should be defeated:
to improve the retention of water in the catchment area, from 1907 onwards Manchester had planted extensive stands of conifers on both banks of the reservoir; as they grew, they had radically altered the appearance of the area, and (as James Lowther - now Lord Ullswater - complained) destroyed the views from the road on the west bank provided to give the public views of Helvellyn
As Thirlmere water became more essential as a supply to Manchester, the draw-down of the reservoir in dry weather increased to double the 8–9 foot promised in the 1870s.
"Large flooding of a valley bottom means an end to farming, and Thirlmere and Mardale are farmless and depopulated" but this was not just because of the higher water level. There was no provision for water treatment downstream of Thirlmere (or Longdendale), and Manchester therefore relied on minimising pollution at source. To achieve this, it minimised human activity in the catchment area. Much of the settlement around Wythburn church (including the Nag's Head, a coaching inn with Wordsworthian associations) remained above water level but it was suppressed, accommodation for necessary waterworks employees being provided at Fisher End and Stanah east of the northern end of the reservoir. Eventually Manchester Corporation closed Wythburn churchyard, St John's in the Vale being now more convenient for its future customers.
To protect the water from contamination by tourists and visitors, bathing boating and fishing were prohibited, and access to the lake effectively banned. This policy was supported by "...barbed wire, wire netting, regimented rows of conifers and trespass warning notices, as common as 'Verboten' notices in Nazi Germany…" said the Yorkshire Post in 1946.


The temple is revered in Nalayira Divya Prabhandam, the 7th–9th century Vaishnava canon, by Periazhwar, Thirumalisai Alvar and Thirumangai Azhwar. The temple is classified as a Divyadesam, one of the 108 Vishnu temples that are mentioned in the book. During the 18th and 19th centuries, the temple finds mention in several works like 108 Tirupathi Anthathi by Divya Kavi Pillai Perumal Aiyangar.


The present temple is built in Kerala Temple Architecture style, which is almost common in all temples in Kerala.
A rectangular wall around the temple, called kshetra-matilluka pierced by the gateways, encloses all the temples within the temple. The metal plated flag-post (dvaja sthambha) is located axial to the temple tower leading to the central sanctum and there is a dipasthambha, which is the light post. Chuttuambalam is the outer pavilion within the temple walls. The central temple and the associated hall is located in a rectangular structure called nalambalam, which has pillared halls and corridors.
Between the entrance of nalambalam to the sanctum, there is a raised square platform called namaskara mandapa which has a pyramidal roof. Thevrapura, the kitchen used to cook offering to the Navamukunda is located on the left of namaskara mandapa from the entrance. Balithara is an altar is used for making ritualistic offering to demi-gods and the festive deities. The central temple called sri kovil houses the idol of the Navamukunda. It is on an elevated platform with a single door reached through a flight of five steps. Either sides of the doors have images of guardian deities called dvarapalakas. As per Kerala rituals, only the main priest called tantri and the second priest called melsanti alone can enter the sri kovil.
The central temple has a square plan with the base built of granite, superstructure built of laterite and conical roof made of terracotta tile supported from inside by a wooden structure. The roof projects in two levels to protect the inner structure from heavy rains during monsoon. The roof of the temple and some of the pillars have lavish wood and stucco carvings depicting various stories of epics, Ramayana and Mahabharata. The outer walls around the sanctum have a series of wooden frames housing an array of lamps, which are lit during festive occasions.
The idol of Navamukunda is portrayed only from above the knee, the rest of the idol being concealed within the ground. There is believed to be a bottomless unexplored pit behind the idol in the sanctum. The idol of the Navamukunda is 6 ft (1.8 m) tall, and is made of stone and covered with pancha loha. The idol is in a standing posture, with four hands carrying Panchajanya conch, lotus flower, Kaumodaki mace and the terrible Sudarshana discus. The idol is facing east.
Goddess Lakshmi has a separate sri kovil in the Tirunavaya Temple. The sri kovil is in the north-west of the nalambalam, to the left of Navamukunda, and the idol is facing east. The idol only have two hands, with varadabhaya mudra.


Brahmanda Purana and Padma Purana detail the history of the temple. During the Ramayana period, Ravana, the demon king abducted Sita, the wife of Rama who were both in the forest. Jatayu, the eagle king, fought a valiant battle with Ravana who was travelling with Sita in Pushpaka Vimana. Jatayu was severely injured in the battle and fell down to the ground. Jatayu was able to narrate the events to Rama who was in search of Sita. Jatayu died after narrating the events and Rama performed the rites. As per Hindu customs, the wife of the individual performing the final rites has to accompany him. Since Sita was not present, Bhumadevi appeared to accompany Rama from a golden lotus. The same legend is associated with Vijayaraghava Perumal temple in Thiruputkuzhi King Krita is believed to have worshiped Vishnu here.


The project was conceived by then Chief Minister M. Karunanidhi in December 1975. On 15 April 1979, the then Prime Minister Morarji Desai laid the foundation stone for the statue, in the presence of the then Chief Minister, M. G. Ramachandran. However, the actual sculpting work, led by Dr. V. Ganapati Sthapati, former principal of the Government College of Architecture at Mahabalipuram, began a decade later on 6 September 1990, on the tiny island adjacent to the Vivekananda Rock Memorial when funds were allocated in the 1990–91 budget. Sthapathy was chosen for the project over 300 master builders because his suggestion for an all-stone monument to the poet-philosopher prevailed. He observed that stone would be more durable than metal, citing that the Statue of Liberty, which is made of copper, required extensive renovation just a century after its installation. Initially, the project stalled, perhaps owing to Karunanidhi's election loss, but then recommenced in 1997 when he returned to office. At the cost of more than ₹61.4 million (equivalent to ₹220 million or US$2.9 million in 2020), the project employed about 150 workers, sculptors, assistants and supervisors, who worked about 16 hours a day to complete the work. The bend around the waist depicting a dance pose made the design challenging. However, the problem was tackled well in advance by the sculptor by creating a full-length wooden prototype before construction. Study of this prototype led to the identification of an energy line (known in Vastu as kayamadhyasutra), currently an empty cavity in the center of the statue from top to bottom.
The stonework was divided amongst three workshops, in Kanyakumari, Ambasamudram and Sholinganallur. Ambasamudram contributed 5,000 tonnes (4,900 long tons; 5,500 short tons) of stones, while Sholinganallur was quarried for 2,000 tonnes (2,000 long tons; 2,200 short tons) of high-quality granite stones for the outer portion of the statue. While the largest of the 3,681 stones were 4 metres (13 ft) long and weighed over 15 tonnes (15 long tons; 17 short tons), the majority weighed 3 to 8 tonnes (3.0 to 7.9 long tons; 3.3 to 8.8 short tons). Stones of such proportions were previously used only in Mayan temples in South America. An interesting detail is a 6-metre-high (19 ft) face, with the ears, nose, eyes, mouth, forehead all made of individual stones carved by hand. The work was done mostly by hand, with each carver wearing down 40 to 50 sharp chisels a day. The sculptors' team considered that the manual method on granite stones is the most dependable since machines may tend to break stones and precision is difficult. Stumps of palmyra tree and poles of casuarina (ironwood) were used for scaffolding. It took 18,000 casuarina poles tied together with two truckloads of ropes to reach the top of the statue. The statue was placed on its pedestal on 19 October 1999.
The statue was unveiled on the millennium day of 1 January 2000. The statue was inaugurated on 1 January 2000 by Dr. M. Karunanidhi, the then chief minister of Tamil Nadu. Besides Indian political leaders and celebrities, foreign delegates including those from Malaysia, Singapore, and Sri Lanka, participated in the opening ceremony. Several Tamil teachers from the state of Tamil Nadu took out a rally from Kottaram to Kanyakumari carrying Tirukkural placards to mark the ceremony. More than fifty thousand people gathered for the event. The chief minister, after unveiling the statue, called it a "beacon of light to guide human life for all time to come."
The monument was hit by the Indian Ocean tsunami on 26 December 2004 but stood unaffected. The statue is designed to survive earthquakes of unexpected magnitude, such as magnitude 6 on the Richter Scale occurring within 100 kilometres (62 mi). This is far beyond that of any event recorded in the regional history because the bedrock in the region is ancient and without known local faults.


The temple is revered in the verses of Tevaram, the 7th century Saivite canonical work by the three saint poets, namely, Appar, Sambandar and Sundarar. As the temple is revered in Tevaram, it is classified as Paadal Petra Sthalam, one of the 275 temples that find mention in the Saiva canon. The temple is counted as one of the temples built on the northern banks of River Kaveri.
The temple priests perform the puja (rituals) during festivals and on a daily basis. Like other Shiva temples of Tamil Nadu, the priests belong to the Shaiva community, a Brahmin sub-caste. The temple rituals are performed six times a day; Ushathkalam at 6:30 a.m., Kalasanthi at 8:00 a.m., Uchikalam at 12:00 a.m., Sayarakshai at 5:00 p.m., and Ardha Jamam at 8:00 p.m. Each ritual comprises four steps: abhisheka (sacred bath), alangaram (decoration), naivethanam (food offering) and deepa aradanai (waving of lamps) for both Sivayoginathar and Soundaranayagi. The worship is held amidst music with nagaswaram (pipe instrument) and tavil (percussion instrument), religious instructions in the Vedas (sacred texts) read by priests and prostration by worshipers in front of the temple mast. There are weekly rituals like somavaram (Monday) and sukravaram (Friday), fortnightly rituals like pradosham and monthly festivals like amavasai (new moon day), kiruthigai, pournami (full moon day) and sathurthi.
Brahmotsavam during the Tamil month of somavaram (September – October), Thiruvadhirai during the month of Margazhi (December – January) and Annabhishekam during the Tamil month of Masi are the major festivals celebrated in the temple. The Aipassi Brahmotsavam festival is the major festival in the temple when there is Panchamurthi procession. The Chittirai festival is celebrated for three days when Sunlight falls directly on the presiding deity.


Tholos de El Romeral, situated 2.5 kilometres (1.6 mi) north east of the town of Antequera (Andalusia), is one of the most important examples of Neolithic architecture in southern Europe. Tholos de El Romeral, also known as Cueva de Romeral (Cave of Romeral) and Dolmen de Romeral, is a megalithic burial site built circa 1800 BCE. It is one of three tombs in region, the others being Dolmen de Menga and Dolmen de Viera, both situated to the south west.
In 2016, the dolmens of Menga, Viera, and El Romeral were all inscribed as a UNESCO World Heritage Site under the name "Antequera Dolmens Site".


As late as the 20th century it was believed that the three megalithic tombs in the area (Dolmen de Menga, Dolmen de Viera and Tholos de El Romeral) originated from the same period. However subsequent research supports widely spaced dates between the first two (around 3800 BCE) and the construction of Tholos de El Romeral which is now thought to have been built around 1800 BCE.  It is recognised and attributed to the wider culture of the Los Millares, which had its centre more than 200 kilometres to the east. The main reasons for this are the different stone materials used and the differing floor plans of the chambers, as the other two tombs have rectangular chambers.


By 1910 there were two "reading rooms," one in the Atlantic neighborhood on Atlantic Street and one in West Quincy.  By the 1920s the system had expanded to nine branches in all, adding ones near the Parker Elementary School and the Furnace Brook Parkway, and ones in the Squantum, South Quincy, Wollaston and Quincy Point neighborhoods. Municipal budget cutbacks in 1981 slashed the number to just three besides the main building: the Wollaston branch (1922), which is listed separately on the National Register of Historic Places, the North Quincy branch (1963) on Hancock Street near North Quincy High School, and the Adams Shore branch (1970) on Sea Street in Hough's Neck.


The Georgian Revival mansion was designed by Stanford White of the prominent architectural firm of McKim, Mead & White. It is a notable example of an adaptation of 18th century English-American residential architecture with consideration given to late-19th century needs of space, scale and function. The residence was completed in 1896 for writer Thomas Nelson Page and his second wife, heiress Florence Lathrop Field Page. It was the center of Washington's literary and social life in late 19th and early 20th centuries.


The pass is a popular destination for tourists and adventurers. Heliskiing and snowboarding are popular recreational activities.


Draining the Alma Range, part of the western slopes of the Great Dividing Range, the northernmost headwaters of the river begin as Torrens Creek, inland from Charters Towers. The watercourse becomes the Thomson just north of the town of Muttaburra, where the channels of Landsborough River, Towerhill Creek and Cornish Creek meet. Aramac Creek joins the river from the east, at Camoola south of Muttaburra and Maneroo Creek flows from the west, joining the Thomson south of Longreach. Just to the west of Longreach the river is crossed by the Landsborough Highway.
The river continues in a south westerly direction, passing the towns of Longreach, Stonehenge and Jundah, before reaching its confluence with the Barcoo River, 40 km north of Windorah, to form Cooper Creek. This is the only place in the world where the confluence of two rivers form a creek. From source to mouth, the Thomson is joined by 41 named tributaries over its 350 km (210 miles) course.
As with all of the rivers in the Lake Eyre Basin, the waters of the Thomson never reach the sea, and instead either evaporate, or, in exceptional flood, empty into Lake Eyre. Floods are relatively common within the catchment because of the summer monsoon rains. Due to the flat nature of the country traversed, the river can then become many kilometres wide. For much of the time, however, the river does not flow, and becomes a line of billabongs, of which fifteen are named.
The area through which the river flows is semi-arid blacksoil plains. The main industries of the area are sheep and beef cattle.


Thorpe Bay railway station is the penultimate station on the London, Tilbury and Southend line served by c2c from London Fenchurch Street (the last being Shoeburyness railway station). Consequently, a large number of London commuters choose to live in Thorpe Bay. Thorpe Bay enjoys good access by bus, provided by Arriva Shires & Essex including the number 1, 4(a), 7, 8 and 9. In 1914, Southend-on-Sea Corporation Tramways' network was extended from Bournes Green to Thorpe Bay. The Tramway closed in 1942 after being superseded by the motorbus.


Thorsager church was built using the same floor plan as the former church of Schlamersdorf in Wagria and is one of the so-called "Absalon round churches", along with Bjernede Church and Horne Church. The church's round nave is domed by small, ribless cross vaults. A spiral staircase, which circles around the nave, leads to a low-ceilinged room above the vaults. This loft within the tower is relatively large, but is rarely used because the narrow staircase which accesses it would become a hazard in the event of a fire. The loft and the tower above are supported by four large brick pillars that stand in the middle of the nave. During the middle ages, a second tower and a church porch were added to the western side.
The current brick altar was built in 1952. The altarpiece is a late gothic crucifix from the 15th century which bears the inscription "In me you shall have peace" (Danish: ”I mig skal I have fred”). In the window above the altar hangs a piece of stained glass, created by the artist Harald Borre in 1955, which depicts the resurrection of Jesus. A bible, which was published by King Christian VI in 1740, is displayed on the altar. The candle holders date back to the 17th century, while the Chalice is from 1878, and the pyx was made in 1965.
The baptismal font is from the middle ages and is the oldest fixture in the church. Its basin is from the 18th century. An organ was installed in 1909, and replaced in 2004.


Thotlakonda Buddhist Complex is situated on a hill near Bheemunipatnam about 15 kilometres (9.3 mi) from Visakhapatnam in Andhra Pradesh, India. The hill is about 128 metres (420 ft) above sea level and overlooks the sea.  The Telugu name Toṭlakoṇḍa derived from the presence of a number of rock-cut cisterns hewn into the bedrock of the hillock. In 2019, the stupa was partially damaged due to monsoons, but it was restored by 2021 at the cost of Rs 42 lakh.
Thotlakonda was well within the influence of ancient Kalinga, which was an important source of dissemination of Buddhism to Sri Lanka and various parts of Southeast Asia. Also, it is one of the Ports of entry for all the Visitors coming from high Seas to visit all Buddhist prominent places located closely around 83.3 degrees Meridian East. It provides an insight into the process of transoceanic diffusion of Indic culture, especially Buddhism.
A hill on the sea coast with salubrious climate was an ideal attraction for the Buddhist monks to build a monastery complex here. The placid sea sheltered by the deeply in curved coastline here, provided a safe haven for anchoring ships. People coming from far away places to India are well guided by the longitude 83.3 degrees Meridian East. Thotlakonda, Sarnath, Kushinagar and Lumbini happens to lie almost on the same Longitude. Those coming to India by high Seas wanna travel by the shortest distance and so visited Thotlakonda a transit place, anchored their Ships, took rest for some time on the hill and travelled along 83.3 degrees Meridian East to Buddhist prominent places.
Thotlakonda came to light during an aerial survey by the Indian Navy for setting up a naval base. After its discovery, major excavations have been conducted by the Andhra Pradesh State Archaeology Department from 1988 to 1993.  The excavations established the existence of a Hinayana Buddhist complex which flourished 2000 years ago. To the south of the complex there is a tank which served as a water source to the inhabitants of the monastery.
The excavations reveal Satavahana dynasty lead and Roman silver coins indicating foreign trade; terracotta tiles, stucco decorative pieces, sculptured panels, miniature stupa models in stone, and Buddha footprints were also found. The excavations also yielded twelve inscriptions in the Dhamna script. From polygraphic studies, it appears that the hill might have been known as Senagiri; Sena in Pali means "elder, superior".
Thotlakonda's peak activity was between the 2nd century BCE and the 2nd century CE owing to brisk Roman trade and religious missions sent abroad. Thotlakonda came into existence along with nearby sites in Visakhapatnam like Bavikonda and Pavurallakonda. The lofty stupas shining during the day, with their light lime plaster and with rows of wick lamps during nights, might have served as guiding landmarks of nautical commuters. There appears to have been no royal patronage for this monastery. However traders and local believers seem to have supported the complex. In its heyday, Thotlakonda might have accommodated more than 100 bhikkhus.
The complex had arrangements for storing food, clothing, medicines and served as a religious cum academic centre. Nikaya Buddhism appears to have been practiced here, including the worship of Gautama Buddha through symbols such as padukas and other material remains rather than using human representation.
Thotlakonda had declined by the end of the 3rd century.


The Thousand Pillar Temple or Rudreswara Swamy Temple is a historic Hindu temple located in the town of Hanamakonda, Telangana State, India. It is dedicated to Lord Shiva, Vishnu and Surya. Thousand Pillar Temple, along with Warangal Fort, Kakatiya Kala Thoranam and Ramappa Temple are added to the tentative list of World Heritage sites recognised by UNESCO.


The Douglas family had been strong supporters of Robert the Bruce through the Wars of Scottish Independence. In 1308 Edward Bruce and "Good Sir James" Douglas led a campaign in Galloway against the local lords, led by Dugald Macdowall, and their English supporters. Following the Battle of Neville's Cross in 1346 further risings in Galloway, in support of Edward Balliol, were put down by Sir William Douglas. The Douglases were rewarded for these services to the crown: William was made Earl of Douglas in 1358, while his cousin Archibald Douglas, son of Sir James, was created Lord of Galloway in 1369.
Known as "Archibald the Grim", he had been appointed Warden of the West March in 1361, and spent the following years attacking the English on both sides of the border. In 1372 he further gained the lands of the Earl of Wigtown, bringing all of Galloway under his control. In order to secure his new holdings, Archibald required a strong castle, and it is assumed that Threave Castle was built at this time. The main keep dates from this time, and was one of the first tower houses built in Scotland, standing alone without any outer defensive features. A harbour was formed to the west to provide access across the river. The excavations in the 1970s revealed remains of additional stone buildings, constructed in the late 14th century, which may represent a hall and a chapel.
In 1384 Archibald attacked and took Lochmaben Castle, the last English stronghold in south-west Scotland, and in 1388 he inherited the title of 3rd Earl of Douglas. He thus became the most powerful magnate in the country, controlling lands across southern Scotland and castles including Douglas Castle and Bothwell Castle in Lanarkshire. He funded a rebuilding of Sweetheart Abbey near Dumfries, and contracted marriages for his children with the offspring of King Robert III. Although he probably spent relatively little time at Threave, he died there in 1400, the first historical reference to the castle. He was succeeded by his son Archibald, who in 1390 had married Princess Margaret, daughter of Robert III. In 1424 he led a Scottish force to fight the English in France where he was killed at the Battle of Verneuil. His wife Margaret took on the Lordship of Galloway on Archibald's death, and ruled from Threave as Countess of Douglas and Duchess of Touraine for the next 23 years, outliving her son and grandsons. In 1449 she was forced to cede Galloway to the 8th Earl of Douglas, and died at Threave soon after. Her monument stands in Lincluden Collegiate Church. A lead seal matrix made for Margaret was recovered during archaeological excavations at Threave. The seal shows her coat of arms, combining the arms of her husband with the Royal Arms of her father Robert III. Although a rare survival, the workmanship is poor suggesting it may have been a trial piece or even a forgery.


A driving force for the three bridges all being constructed at once was that the predecessor bridges were all out of compliance with War Department standards for minimum width and clearance over channels  for bridges crossing navigable waters such as the Ohio, the Allegheny, and the Monongahela.
The previous bridges were all owned by private companies established to build bridges and pay them off through toll collection. The bridges were quite profitable,  with several of the companies in the area paying 15% dividends yearly to stock holders, even with tolls at 1 cent per man and free for women.
Some controversy ensued over whether public entities could take bridges or bridge rights of way away from private companies if the companies had already retired their construction loans.
At some point, the public supported a "free bridges" movement that supported government buying out the bridge companies and abolishing tolls. Between that and the War department ruling that government-owned bridges would not need to be corrected as quickly, the bridge companies were willing to sell and did so before 1910. The County (rather than City or State) bought the companies out at fair market value.
Thus the county had to deal with the problem of non compliance when the war department raised it again at the end of the 1910s. Through the teens and early 20s bond issues were floated before the voters to finance replacement but repeatedly failed, in part because voters of the time saw public works as a source of corruption, especially at the county level.
In 1924, voters finally approved a $29.2 million bond issue at the county level to improve bridges and municipal structures. Several proposals were made for lift bridges of various sorts, including a scheme to raise an existing bridge on mechanical jacks, but the War Department did not approve, insisting on a failure proof means of clearance. The Seventh Street Bridge was razed in 1924, and the War Department forced the razing of the 9th as well, despite the inconvenience to the city.
After much design work, two truss bridges at 6th and 9th and a cantilever bridge at 7th were approved, and submitted to the Metropolitan Art Commission, a forgotten body that had approval rights for any bridge over $25,000 in the City of Pittsburgh. Expecting a rubber stamp, contracts were let, but to everyone's shock the commission vetoed the designs as unaesthetic, preferring suspension bridges. But shoreline clearances were tight and two of the older suspension bridges had experienced problems with insecure anchorages. It is not clear who suggested a self-anchoring suspension bridge design, as the only precedent known at that time was a 1915 bridge over the Rhine at Cologne the Deutzer Hängebrücke.
However, by 1922 one of the better known advisors on cantilever and suspension bridge structures noted the peculiar strengths represented in the Cologne bridge’s design. David B. Steinman’s running dispute with J. A. L. Waddell about the relative costs of suspension and cantilever bridges continued a debate with roots in the Quebec Bridge collapse. The 1907 construction disaster, accompanied by the 1916 accident during a second attempt, heightened a growing preference for suspension bridges. In light of the popular and engineering support for suspension structures, Steinman’s first edition of A Practical Treatise on Suspension Bridges fed a growing demand for technical information about components such as eye-bars and stiffening systems. Steinman’s reputation and the fact that his book was reviewed in the engineering press make it likely that Allegheny County’s engineers could have examined the first edition of this book.


The Throgs Neck Bridge opened with a short ceremony on January 11, 1961; its total construction cost had been $92 million. The bridge opened along with a segment of the Clearview Expressway southward to 73rd Avenue in Fresh Meadows, as well as the Cross Bronx and Throgs Neck Expressways in the Bronx. The bridge's opening was attended by Robert Moses, as well as mayor Robert F. Wagner Jr., lieutenant governor Malcolm Wilson, City Council president Abe Stark, and Queens borough president John T. Clancy. The opening of the Throgs Neck Bridge had been accelerated in advance of the start of the 1964 New York World's Fair at nearby Flushing Meadows–Corona Park. Immediately after the bridge's opening ceremony, the delegation attended the opening of a World's Fair attraction at Flushing Meadows–Corona Park. The bridge's opening drew protests from homeowners in Queens who had been forced to relocate due to the construction of the Clearview Expressway. Several dozen women walked across the bridge, holding signs and attempting to block the first vehicles driving on the bridge.
It was expected that the Throgs Neck Bridge's opening would initially cause 15 million vehicles annually to be diverted to the span from other bridges, and by 1981, the bridge would carry 37.5 million vehicles annually. Within the first twelve hours of the bridge's opening, 20,000 vehicles had used the bridge. The Throgs Neck Bridge had carried 16.4 million vehicles by the end of the year, and the Bronx–Whitestone Bridge recorded a corresponding 40% decline in traffic in 1961.
The Throgs Neck Bridge was originally designated as part of I-78, which extended south to Hillside Avenue (NY 25), the southern terminus of the Clearview Expressway. I-78 was to continue south and west across Queens, Brooklyn, and Manhattan to the Holland Tunnel. Ultimately, nearly all sections of I-78 between the Holland Tunnel and Hillside Avenue were canceled by Governor Nelson Rockefeller in 1971. This resulted in the renumbering of all of I-78 north of Hillside Avenue, including the Throgs Neck Bridge, to I-295 on January 1, 1970.


The Throgs Neck Bridge's deck was renovated in 1983. That July, the MTA initially signed a contract to use steel imported from Japan and South Korea, around the same time that Governor Mario Cuomo signed a "Buy American" law giving preference to American steel. The contract was controversial because, although importing Asian steel would have been $3.5 million cheaper than buying American steel, it would have also disadvantaged American workers. Subsequently, Cuomo tried to get the MTA to reverse its decision. In September 1983, Cuomo signed an executive order mandating the use of American steel, and the MTA narrowly voted to reverse its prior decision.
The construction of the Throgs Neck Bridge's Queens approaches bisected Clearview Park (renamed Little Bay Park in 1973), which had been established by the New York City Department of Parks and Recreation in 1950. The park's athletic fields received a $666,000 refurbishment in 1998, and a bicycle path and roller hockey rink were installed in 1999 at a cost of $1.2 million.
After a June 2005 inspection of the Throgs Neck Bridge, damage was found on the approach viaducts. The damage was found to be more severe away from the median barrier. As a result, heavy trucks carrying over 40 tons were permitted to use the bridge only between 11:00 p.m. and 5:00 a.m., when traffic was lightest. The program was canceled in 2007, and overweight vehicles were only allowed to use the bridge with a special permit. As of 2018, heavy trucks carrying less than 40 short tons (36 long tons; 36 metric tons), as well as selected heavy trucks carrying more than 40 tons with permits, may use the Throgs Neck Bridge; all other trucks are restricted. In 2019, the MTA started to replace the concrete deck with a steel deck as part of a $336 million project that would be completed in 2022.


The Thuận Phước Bridge (Vietnamese: Cầu Thuận Phước) is a suspension bridge that crosses the lower Han River at Da Nang, Vietnam.
The four-lane, three-span, bridge is 1,850 meters long and 18 meters wide, and has a main span of 405 meters. Its two major pillars are 80m in height. It is the longest suspension bridge in Vietnam, with total investment of nearly 1 trillion dong. The bridge was built with an estimated cost of VND 650 billion (about 42 million US dollars). Consulting firms from China, Cuba and Canada provided assistance.
The construction of the bridge, which began in 2003, was completed on 19 July 2009 when the Prime Minister of Vietnam Nguyen Tan Dung and many high-ranking government officials attended the inauguration ceremony.


Thyagaraja Temple (also called as Vadivudai Amman Temple) is a Hindu temple dedicated to Hindu god Shiva. It is located in Tiruvottiyur in the northern part of Chennai, Tamil Nadu, India. The temple is revered by the Tevaram hymns of Saiva nayanars, the 7th century Tamil saint poets and classified as Paadal Petra Sthalam. All the Three of Thevaram Moovar (Appar, Samandar and Sundarar) has rendered Thevaram songs in this temple. The temple is closely associated with the saint poet Sundarar and Pattinathar. The temple has been in vogue from the Pallava times of the 7th century and widely expanded by Chola kings during the 11th century. The temple has a seven tiered gateway tower, a tank, with the overall temple area covering 1 acre. The temple is administered by the Hindu Religious and Endowment Board of the Government of Tamil Nadu. The temple draws parallel with the Thygaraja temple in Tiruvarur as both the temples were expanded by Rajendra Chola I and both have the same dance poses of Shiva. The temple is one of the 51 Sakthi Peetams in the country.
The temple is also one of the Sakthi triad in the region of Tondaimandalam, the other two being the Kodiyidai Amman Temple at Thirumullaivoyal and the Thiruvudai Amman Temple at Minjur.


The temple was the centre of learning, with the halls inside the temple acting as venue for religious discourses in subjects like vyakarna (translation), Somasiddantha (philosophy) and Panini's grammar. There was a hermitage attached to the temple during the 9th century, presided over by Caturananas Pandithar. The temple also had philosophical discourses and expositions on grammar. There are references to recital of Prabhakara, Rudra, Yamala, Purana, Sivadharma, Panchanga and Bharata.  Lands were granted to learned scholars and their generation like Vedavritti, Bhattavriti, Vaidyavritti and Archanavritti.
There are a number of inscriptions inside the temple dating back to Pallava period. Sankaracharya, the 8th century scholar in the advaita school of Hinduism is believed to have visited the temple to put down the power of evil. The temple was originally built by Pallavas and later rebuilt by Rajendra Chola I.  The inscription dating 954 CE, the fifth year of the Chola king Gandaraditya indicates 90 sheep for burning lamps and ilavilaku, a lamp made in Sri Lanka). The inscriptions dating from 1046 CE reveal that 64 bronze nayanmar statues were installed in the temple. There were equal number of dancing girls called Devadasi in the temple, who were divided into two groups - the valankai dasis danced for Thyagaraja, while the idangai dasis danced for Vadivudaiamman. During the reign of the Malik Kafur, much of the temple was destroyed and the bronze idols present now in the temple were installed during the Vijayanagara period of the 15th century. A 13th-century inscription indicates the practise of animal sacrifice to the goddess, which continued along with offering intoxicating drink till the early 2000s. Famous saints like Pattinathar, Topeswamigal and Ramalinga Swamigal lived in this town and prayed Thyagaraja in this temple. This place is also home to Thiruvottiyur Thyagayyar who is a carnatic composer and poet. The temple had been a centre of learning as seen from the inscriptions in the temple. The inscriptions indicate specific subjects like Purvamimansa styled as Pravahakarma. There were also provisions made for feeding and maintaining for teachers and students.


The Thyra begins its course in the old quarter of Stolberg in the Harz Mountains at the confluence of three mountain streams - the Große Wilde, Kleine Wilde and Lude - and then flows through Stolberg, where several streams join it, before heading south through a steep valley to Rottleberode. Here the Thyra valley becomes very wide, but near Uftrungen it narrows again. South of Uftrungen the Thyra leaves the Harz and enters the Goldene Aue, crossing Bösenrode and Berga, before this little river enters the Helme.


In 1961, Switzerland was one of the first countries in the West that allowed Tibetan refugees to settle in large numbers. Henri and Jacques Kuhn (owner of Metallwarenfabrik AG Heinrich Kuhn, now Kuhn Rikon AG) offered work and accommodations to a group of refugees. They helped found a monastic Tibet Institute for spiritual and cultural care of Tibetan people in Switzerland, which would also preserve and maintain the Tibetan culture for future generations. Jacques Kuhn supported the monastic community until his death in January 2017.
The Tibet-Institut Rikon is the only monastery outside Asia that was founded on behalf of the Dalai Lama. It was inaugurated on 9 November 1968 under the name „Kloster zum Rad der Lehre„ (literally: Monastery for the Wheel of Teaching) - but as a “Monastic Tibet Institute,” as the founding of a monastery was not permitted under the then Swiss federal constitution. The Dalai Lama was also not present at the inauguration: the Federal Council banned him from entering the country. He visited the monastery for the first time in 1973. The monastic community in Rikon claims to be the only Tibetan monastery in the West. The monastic Tibet Institute in Rikon was established according to the advice and under the patronage of the 14th Dalai Lama, who emphasized the importance of monasteries for Tibetan people in exile. The Dalai Lama sent an abbot and four monks to Rikon from India. The institute's buildings were designed by architect Ueli Flück (Baden AG), and the foundation stone was laid on 29 July 1967. On 9 November 1968 the monastic Tibet Institute was consecrated by the Dalai Lama's two principal teachers, Trijang Rinpoche and Ling Rinpoche, under the name "Kloster zum Rad der Lehre" (literally: Monastery for the Wheel of Teaching). On 8 April 2010 the 14th Dalai Lama visited the monastery community in Rikon for the 14th time, and was warmly received by Tibetan people, on the occasion of the 50th anniversary of the establishment of Tibetan refugees in Switzerland. The 14th Dalai Lama visited the monastic community again in 2013, 2015 and 2016.


The concept of the Tidal Basin originated in the 1870s to serve both as a visual centerpiece and as a means for flushing the Washington Channel, a harbor separated from the Potomac River by fill lands where East Potomac Park is situated. Colonel Peter Conover Hains of the United States Army Corps of Engineers oversaw the Basin's design and construction.
The Basin was initially named the Tidal Reservoir. It later received the name of Twining Lake to honor Major William Johnson Twining of the Corps of Engineers, who served on the Board of Commissioners of the District of Columbia as its Engineer Commissioner during 1879.
In the Commissioners' annual report to Congress for that year, Major Twining proposed to create the tidal reservoir and use its water to help "flush" the Washington Channel. A 1917 map of Washington that the U.S. Public Buildings Commission prepared shows the basin with the name "Twining Lake".
Sea level rise and land subsidence has caused portions of the paths next to the water to flood twice daily at high tide. A redesign of the Tidal Basin was therefore under consideration during 2020.


The rate of burials in the Old and New Lazarevskoe cemeteries was about equal during the early years of the latter's existence, though by the 1830s the New Lazarevskoe Cemetery became more popular. Burials initially took place in the eastern part of the cemetery, and in 1825 the holy fool monk Patermufy was buried there. In 1826 the writer Nikolay Karamzin was buried in the cemetery, followed in 1833 by Nikolay Gnedich, a contemporary of Pushkin's. Gnedich's funeral on 6 February 1833 was attended by many prominent literary figures, including Pushkin, Ivan Krylov, Pyotr Vyazemsky, Pyotr Pletnyov, Fyodor Tolstoy and Alexey Olenin. With the exception of Pushkin, all would eventually be buried in the Lavra's cemeteries; Krylov, Vyazemsky, Pletnyov and Olenin in the Tikhvin, and Tolstoy in the Lazarevskoe. In 1844 another contemporary poet of Pushkin's, Yevgeny Baratynsky, was buried in the cemetery.
The cemetery became a popular and prestigious burial ground for those of many areas of society. The wealthy merchant A.I. Kosikovsky was buried under a monumental sarcophagus on a high pedestal surmounted by a canopy on eight fluted columns. Opposite it stood a similarly grand monument to the statesman Pavel Demidov, which has since been lost. In 1857 the remains of the composer Mikhail Glinka were returned from Berlin and buried in the cemetery, with a grand monument erected two years later to the design of architect I. I. Gornostayev, with sculptures by Nikolay Laveretsky. On 1 February 1881 the author Fyodor Dostoevsky was buried in the cemetery, with a similarly large monument. During the 1880s composers Modest Mussorgsky and Alexander Borodin were buried in the northern part of the grounds, with Pyotr Ilyich Tchaikovsky following in 1893. Eventually all the members of the group of composers termed "The Five", or the "Mighty Handful"; Mussorgsky, Borodin, as well as Mily Balakirev, César Cui and Nikolai Rimsky-Korsakov, were buried in the cemetery.
By the beginning of the 20th century the Tikhvin cemetery contained 1,325 monuments of various designs and sizes, including monumental crosses on pedestals, sarcophagi and steles. There were several family plots with chapels and large crypts of granite and marble.


During the early Soviet period a number of monuments were stolen or destroyed. The cemetery was officially closed for burials in 1927, though they continued until 1932, and it was decided to turn it into a necropolis museum, displaying historically and artistically significant graves. Alongside this was concept of gathering together the graves of the friends and contemporaries of Alexander Pushkin for the 1937 centenary commemorations of the poet's death.  The architectural and planning department of Lensovet, the city administration, was tasked with creating a memorial park project. Plans were drawn up by architects E.N. Sandler and E.K. Reimers, with further input from the city's chief architect L.A. Ilyin. The Funeral Affair Trust was established to run the necropolis museum, including removing abandoned gravestones for sale as building materials.

The Funeral Affair Trust was authorised to acquire and transfer important graves and monuments from other cemeteries and churches across the city. Meanwhile, those existing graves in the cemetery that were not considered particularly artistic or historic were to be demolished to create space for those brought from other locations. A list of graves in the cemetery was compiled and work began in 1935, planned for completion on 15 August the following year. A 3 July 1935 resolution from the Presidium of Lensovet set out the vision for the future of the necropolis museums.
the Tikhvin cemetery and the Literary Walk [in the Volkovo Cemetery] ... after the reconstruction will be turned into necropolis parks of a remarkable and revolutionary culture, with the appearance of parks. Freed from ordinary graves, they will not be of a graveyard nature at all, but will actually represent extensive, architecturally decorated green spaces, sometimes decorated with certain monuments standing on the graves above these wonderful people.
 The short timeframe allowed for completion of the work led to the hasty and unsystematic demolition of a number of monuments, with the bulk of the work only being completed by August 1937, with remedial work continuing for many years afterwards.
The reconstruction radically altered the nature and appearance of the Tikhvin cemetery. With the intention being to create an "artists' necropolis", graves of those from other sections of society were removed. Fewer than a hundred of the original monuments were preserved. Some were transferred to the neighbouring "Necropolis of the XVIII century", the former Lazarevskoe Cemetery, while others, including those of Aleksandr Gradovsky, Anatoly Koni and Viktor Pashutin, were transferred to the other museum necropolis being established in the Volkov Cemetery.  Meanwhile, the remains of prominent artists, sculptors, composers and musicians were reburied in the cemetery. Among them were personal friends of Pushkin, including Konstantin Danzas, Anton Delvig, and Fyodor Matyushkin. Some remains came from cemeteries earmarked for demolition, such as the Mitrofanievsky, Farforovskoe, and Vyborg Roman Catholic Cemetery; and others from those that were intended to be kept open, such as the Smolensky, Volkovo, Novodevichy, and Nikolskoe cemeteries. The necropolis was created during an ongoing anti-religious campaign, therefore monuments with religious symbols were often replaced by monuments made by the museum.
The cemetery reconstruction project concentrated the representatives of each type of art together, with even monuments that had been in the Tikhvin originally being moved to fit the new organisational scheme. Composers and musicians were reburied mainly on the "Composer's path", near the northern boundary of the cemetery. Painters and sculptors were placed in the western part, while those who in their lifetimes had been associated with Pushkin were placed close to the eastern section, near the cemetery entrance. Some of the older monuments from the removed graves were retained to serve as decorative ornaments, such as columns placed at the intersection of avenues. The decoration of the park-necropolis was to be enhanced by the construction of one large and four small fountains, and the installation of granite benches. The Tikhvin Church was slated for demolition to improve the access direct from Alexander Nevsky Square. The organisers were faced with the problem that despite designating the cemetery to be the artists' necropolis, historically the Tikhvin had primarily been the burial ground of statesmen, military leaders, scientists, and composers. There were relatively few graves of writers, who had tended to prefer the Smolensky Cemetery; or artists, who had traditionally chosen the Nikolskoe or Novodevichy Cemetery.  This necessitated the transfer of a large number of burials and monuments, which took place in two main periods, from 1936 to 1941 and from 1948 to 1952.
During the Second World War and the siege of Leningrad, the museum worked to provide protection and shelter for monuments. Only a single gravestone was damaged, that of the actress Varvara Asenkova. The monument, designed by Ivan Sosnytsky, consisted of a granite canopy over a pedestal with a verse epitaph and bronze bust of the actress by Ivan Vitali and had been transferred along with the actress's remains from the Smolensky Cemetery in 1936. It was destroyed by a direct hit from a bomb in 1943. In 1955 the museum installed a marble replica of the bust made by D.A. Sprishinym. Other monuments were stored in the Lavra's Annunciation Church.
Restoration work began immediately after the end of the war, with the necropolis-museum opening in August 1947. The programme of moving and installing monuments resumed after the war and continued until the mid-1950s. There were also several burials of prominent Soviet citizens, as the cemetery gained the status of an urban pantheon. Those buried here included the scientist Sergey Lebedev in 1934, artist Mikhail Avilov in 1954, and actor Nikolay Cherkasov in 1966. In 1972 the remains of the composer Alexander Glazunov were transferred from Paris. In 1968 Fyodor Dostoevsky's wife Anna Dostoevskaya was reburied next to her husband, while theatre director Georgy Tovstonogov was interred in the cemetery in 1989. So far Tovstonogov's has been the last burial to take place in the cemetery.


A light art aesthetic lighting system, designed by installation artists Anna Valentina Murch and Doug Hollis, alters the bridge’s lighting effects based on the Willamette's speed, depth, and water temperature.  It uses 178 LED modules to illuminate the cables, towers, and underside of the deck. The USGS environmental data is translated by specialized software to a processor that issues cues programmed for each of the changing conditions.  The base color is determined by the water's temperature. The timing and intensity of the base color's changes, moving the light across the bridge, are determined by the river's speed. A secondary color pattern is determined by the river's depth, that changes on the two towers and the suspension cables.


The carved altarpiece from 1642 is the work of Jørgen Ringnis. It bears the arms of Joachim von Barnewitz, Øllegaard Pentz and Hartwig Passow. The Renaissance pulpit from 1608 presents the arms of Knud Rud and Ellen Marsvin. The church also contains a sandstone epitaph for Joachim von Barnewitz (died 1626) and Øllegaard Hartvigsdatter Pentz (1684–1654). There is a Romanesque font.


Each workman on Timberline Lodge gained proficiency in manual arts. He was a better workman, a better citizen, progressing by infinitely-slow steps to the degree above him.
— The Builders of Timberline Lodge, Federal Writers' Project
Timberline Lodge, a mountain lodge and resort hotel, is a four-story structure of about 40,000 square feet. The ground-level exterior walls are heavy rubble masonry, using boulders from the immediate area, and heavy timber is used from the first floor up. The central head house section is hexagonal and sixty feet in diameter, with a six-sided stone chimney stack ninety feet high and fourteen feet in diameter. Each of the six fireplace openings—three on the ground floor, three on the first floor—is five feet wide and seven feet high. Two wings, running west and southeast, flank the head house. Oregon woods used throughout the building include cedar, Douglas fir, hemlock, western juniper and ponderosa pine.
The architect of Timberline Lodge is Gilbert Stanley Underwood, noted for the Ahwahnee Hotel and other lodges in the U.S. national park system. He produced the designs. Then, his central head house was modified from an octagon to a hexagon by U.S. Forest Service architect W. I. (Tim) Turner and the team of Linn A. Forrest, Howard L. Gifford and Dean R. E. Wright. A recent graduate of the University of Washington, forest service engineer Ward Gano was structural designer.
Timberline Lodge was constructed between 1936 and 1938 as a Works Progress Administration project during The Great Depression. Eighty percent of the WPA's $695,730 total expenditure on building costs went toward labor. Skilled building trade workers received ninety cents an hour; unskilled laborers received fifty-five cents an hour. Some of the skilled stonemasons on the project were Italian immigrants brought in after working on The Historic Columbia River Highway and other roads in Oregon. About a hundred construction workers were on site at a given time, and lived at a nearby tent city. Jobs were rotated to provide work.
Materials costs were minimized by the skillful use of recycled materials. Women wove draperies, upholstery, and bedspreads. Hooked rugs were made from strips of old Civilian Conservation Corps camp blankets. Discarded cedar utility poles became newel-posts with their crowns hand-carved into birds, bears, and seals. Fireplace screens were fashioned from tire chains. Andirons and other iron work were forged from railroad tracks. WPA workers used large timbers and local stone from the site.
"All classes, from the most elementary hand labor, through the various degrees of skill to the technically-trained, were employed," reported the WPA's Federal Writers' Project. "Pick and shovel wielders, stonecutters, plumbers, carpenters, steam-fitters, painters, wood-carvers, cabinet-makers, metal workers, leather-toolers, seamstresses, weavers, architects, authors, artists, actors, musicians, and landscape planners, each contributed to the project, and each, in his way, was conscious of the ideal toward which all bent their energies."


Times Square is considered the first of its kind, the first "vertical mall" in Hong Kong. Due to the high land price in Hong Kong, and the higher yield on retail property, Times Square departs from the common western model of the flat shopping mall. The space allocated to retail is configured over 9 storeys. The mall and lifts to the office tower are accessible by long escalators linking the ground floor podium and the first level of the mall.
The anchors of the shopping centre are Lane Crawford and city'super.
Emperor Cinemas will be renovating the UA Cine Times Cinema at Times Square in Causeway Bay and expect to open for business before end of 2021.


Mirroring its namesake in New York City, the plaza in front of the building is one of two main gathering points, along with the harbour, for Western New Year celebrations in Hong Kong. In the hours leading up to 00:00 on Christmas Eve and New Year's Eve, the area is packed with revelers waiting for the midnight countdown, which is done by the "lowering" of lights on a wall. However, the celebration have been cancelled since 2014.


Birdwatching, hiking, ecotourism and cultural tourism are the main activities in the area.


Tinside Lido is a 1935 Art Deco lido in the city of Plymouth in south-west England.
It is sited beside Plymouth Sound and is overlooked by Plymouth Hoe and Smeaton's Tower. The lido is open in the summer months between May and September.


Tintagel Castle /tɪnˈtædʒəl/ (Cornish: Dintagel) is a medieval fortification located on the peninsula of Tintagel Island adjacent to the village of Tintagel (Trevena), North Cornwall in the United Kingdom. The site was possibly occupied in the Romano-British period, as an array of artefacts dating from this period have been found on the peninsula, but as yet no Roman-era structure has been proven to have existed there. It was settled during the early medieval period, when it was probably one of the seasonal residences of the regional king of Dumnonia. A castle was built on the site by Richard, 1st Earl of Cornwall in the 13th century, during the High Middle Ages. It later fell into disrepair and ruin.
Archaeological investigation into the site began in the 19th century as it became a tourist attraction, with visitors coming to see the ruins of Richard's castle. In the 1930s, excavations revealed significant traces of a much earlier high status settlement, which had trading links with the Mediterranean world during the Late Roman period. Two digs in 2016 and 2017 at Tintagel Castle uncovered the outlines of a palace from the 5th or early 6th century (the early medieval period), with evidence of writing and of articles brought in from Spain and from the eastern end of the Mediterranean Sea. The Cornwall Archaeological Unit has a five-year project at this site, with a final report expected in 2021. The items found in the digs have spurred interest before this final report, with two television programmes initially aired in 2018 or 2019, one in the UK by the BBC and another in the US by PBS.
The castle has a long association with legends related to King Arthur. This was first recorded in the 12th century when Geoffrey of Monmouth described Tintagel as the place of Arthur's conception in his mythological account of British history, Historia Regum Britanniae. Geoffrey told the story that Arthur's father, King Uther Pendragon, was disguised by Merlin's sorcery to look like Gorlois, Duke of Cornwall, the husband of Igraine, Arthur's mother.
Tintagel Castle has been a tourist destination since the mid-19th century. Owned by Charles, Prince of Wales as part of the landholdings of the Duchy of Cornwall, the site is managed by English Heritage.


Roman control collapsed in southern Britain following the fall of the Western Roman Empire in the early 5th century and it split into various different kingdoms, each with its own respective chief or king. The former Roman district of civitas Dumnoniorum apparently became the Kingdom of Dumnonia, which would have been ruled over by its own monarchy during this early medieval period between the 5th and 8th centuries. It was in this regional background that settlement continued at Tintagel Castle, with the creation of what is known by archaeologists as Period II of the site. However, there has been some dispute amongst archaeologists as to what the site of Tintagel Island was used for in this period. In the mid-20th century, it was typically thought that there was a Celtic Christian monastery on the site, but "since about 1980... [this] thesis... has... had to be abandoned", with archaeologists now believing that it was instead an elite settlement inhabited by a powerful local warlord or even Dumnonian royalty.
The Devon archaeologist Ralegh Radford excavated at the site from 1933 through to 1938, and he pioneered the hypothesis that Tintagel Castle had been a monastery during Period II. He came to this conclusion based upon some similarities in the structures of the early medieval elements of Tintagel Castle and the 7th-century monastery at the site of Whitby Abbey in Yorkshire.
Archaeologists no longer accept this viewpoint, however. Instead, they now believe that this was an elite settlement in the early medieval period that was inhabited by Dumnonian royalty and their entourage. Archaeologist and historian Charles Thomas believed that they did not stay at Tintagel year-round but that they moved around: "A typical king with his family, relatives, dependants, resident hostages, officials and court-followers, and a private militia or war-band—in all, probably between a hundred and three hundred souls at least—moved around with his cumbersome entourage; at least, when not busy with inter-tribal campaigning or in repelling invaders and raiders." The site was also made more defensible during this period with a large ditch at the entrance to the peninsula, leaving only a narrow trackway that had to be traversed by anyone approaching the peninsula.
Various luxury items dating from this period have been found at the site, namely African and Phocaean red slip, which had been traded all the way from the Mediterranean. Examining this pottery, Charles Thomas remarked that "the quantity of imported pottery from Tintagel [was]... dramatically greater than that from any other single site dated to about 450–600 in either Britain or Ireland". Carrying on from this, he noted that the quantity of imported pottery from Tintagel was "larger than the combined total of all such pottery from all known sites [of this period in Britain and Ireland]; and, given that only about 5 per cent of the Island's accessible surface has been excavated or examined, the original total of imports may well have been on a scale of one or more complete shiploads, with individual ships perhaps carrying a cargo of six or seven hundred amphorae." This evidence led him to believe that Tintagel was a site where ships docked to deposit their cargo from southern Europe in the early medieval period.
Archaeological digs by the Cornwall Archaeological Unit funded by English Heritage in 2016 and 2017 at Tintagel Castle uncovered the outlines of a palace from the 5th or 6th century, more amphora shards, and slate with writing on it, dispelling notions that no one knew how to read and write in this era following the collapse of the Roman Empire. The five-year project expects to finish and publish a report in 2021. One find is described briefly in an article; it has been put on display at the site by English Heritage. The findings have stirred much interest for their implications about the Dark Ages in Cornwall after the Roman Empire collapsed. The dig site is described in a television programme with new theories about Early medieval Britain that first aired in the US in 2019. A list of the programme's episodes from 2019 is found in Secrets of the Dead#Season 17 (2017-19). BBC Two aired a documentary in 2018 about the findings at this dig site.


In the 1930s, it was decided to begin a major archaeological excavation at the site, and so HM Office of Works employed Devon archaeologist Courtenay Arthur Ralegh Radford (1900–1999) to work as site director. He had been employed as the Inspector of Ancient Monuments in Wales and Monmouthshire from 1929 and 1934, and from 1936 was Director of the British School at Rome. Excavation began in 1933, and in 1935 Ralegh Radford wrote an interim report and a guidebook entitled Tintagel Castle, published by HM Stationery Office. The excavators employed former quarry workers (the last Tintagel cliff quarry was closed in 1937) who worked under a trained foreman. They were instructed to clear the land on the island, following and exposing any walling that they came across and keeping any finds. Excavation ceased in 1939 due to the outbreak of the Second World War. Radford was required to take part in the war effort abroad, and many of the original site reports were destroyed when his house in Exeter was bombed by the Luftwaffe during the conflict.
In the mid-1980s, a fire on Tintagel Island led to considerable erosion of the topsoil, and many more building foundations could be seen than those recorded by Ralegh Radford. In 1998, the "Artognou stone", a slate stone bearing an incised inscription in Latin, was discovered on there, demonstrating that Latin literacy survived in this region after the collapse of Roman Britain.
Excavations during the summers of 2016 and 2017 found the remains of various structures from the Dark Ages, including well-constructed buildings of relatively large size dated to the 5th and 6th centuries, with pottery and glass finds indicating that the people who lived at Tintagel were of an upper class status, drinking wine imported from the eastern Mediterranean and using food vessels from North Africa and Gaul. In 2017, archaeologists discovered at the castle a 7th century slate window ledge inscribed with a mixture of Latin, Greek, and Celtic words, names, and symbols.


The weather station 4,245 m (13,927 ft) above sea level lies in the Tundra climate/Alpine climate (ET) zone according to Köppen Climate Classification. On this specific altitude (4,245 m or 13,927 ft asl) we find moderately cold winters and cool summers generally above freezing. Annual mean temperature is −5.25 °C (22.55 °F), which puts the station well inside the range of continuous permafrost. The average temperature in the coldest month of January is −17.5 °C (0.5 °F) and the two hottest months of July and August have mean temperatures of 6.5 °C (43.7 °F). Average low temperatures range from −23 °C (−9 °F) in January to 0 °C (32 °F) in July and August.


Sambandar, an 8th-century Tamil Shaiva saint poet, venerated Uchinathar in ten verses in Tevaram, compiled as the First Tirumurai. As the temple is revered in Tevaram, it is classified as Paadal Petra Sthalam, one of the 276 temples that find mention in the Shaiva canon. The temple is counted as the fourth in the series of the temples on the northern bank of river Kaveri. The temple is also called Bhairava temple. It is believed to the place where sages Agastya and Valmiki are believed to have obtained grace. The image of goddess Sivakami Amman is sported with her friends Vijaya and Saraswati.
The temple priests perform the puja (rituals) during festivals and on a daily basis. The temple rituals are performed three times a day; Kalasanthi at 8:00 a.m., Uchikalam at 12:00 a.m. and Sayarakshai at 6:00 p.m. Each ritual comprises four steps: abhisheka (sacred bath), alangaram (decoration), naivethanam (food offering) and deepa aradanai (waving of lamps) for Uchinathar and Uchinayagi. There are weekly rituals like somavaram (Monday) and sukravaram (Friday), fortnightly rituals like pradosham, and monthly festivals like amavasai (new moon day), kiruthigai, pournami (full moon day) and sathurthi. Tamil New year during the Tamil month of Chittirai (April) is the most important festival. Vaikasi Visagam during May–June, Aani Thirumanjanam during June - July, Navratri during Purattasi, Annabishekam during Aipasi, Thiruvadirai during Margazhi and Karthikai somavaram are other festivals celebrated in the temple.


WikiWeb_Titanic Memorial (New York City)_2

Straus Park, 6 miles (9.7 km) away on the Upper West Side of Manhattan at Broadway and West 106th St., is a memorial to Ida and Isidor Straus, who died on Titanic.  Additional memorials exist in Canada, England, Northern Ireland, and Washington, D.C.


The west front of the church has a portico with three arches, and is flanked by the Romanesque bell tower, about 47 meters high. The interior was decorated by the Roman painter Angelo De Angelis in 1816: on the vault are paintings depicting The Glory of St. Lawrence, Faith and Religion, while in the apse are depicted four saints from Tivoli: Pope Simplicius and the martyrs Generosus, Symphorosa and Getulius. The altarpiece represents St Lawrence in front of the Judge, and was painted by Pietro Labruzzi.


The lake is frequented by between 40 and 50 species of water birds, including the Arctic tern, the Eider, the Gadwall, the Greylag goose and other species of goose, the Mallard, several species of seagulls, and the scaup. Whooper swan are viewable within close proximity. The Arctic tern’s arrival heralds the start of summer. Birders from all over the North Atlantic come to pursue their hobby in the lake area. The lake is also a favorite place to take young children to watch and feed birds. The popularity of bird feeding has led to the lake being poetically referred to as "the biggest bread soup in the world" (stærsta brauðsúpa í heimi). Lately, however, preying seagulls have caused the City Council to issue warnings to residents, asking them to refrain from feeding the ducks in Tjörnin to avoid putting ducklings at risk.


The Tjeldsund Bridge (Norwegian: Tjeldsundbrua) is a suspension road bridge that crosses the Tjeldsundet strait between the mainland and the island of Hinnøya in Troms og Finnmark county, Norway. The bridge is 1,007 metres (3,304 ft) long, the main span is 290 metres (950 ft), and the maximum clearance to the sea is 41 metres (135 ft). The bridge has 32 spans.
After 30 months and 375,000 work hours, 112,000 bags of cement, 1200 tons of steel and the cost of 45 million kr, Tjeldsund Bridge was opened by King Olav V on 22 August 1967.
The bridge carries the European route E10 highway, connecting the municipalities of Harstad and Tjeldsund. It is part of a network of bridges that connect the islands of Vesterålen and Lofoten to the mainland.


The land around Toccoa Falls was traded to White settlers in 1783, and written accounts of the falls began to appear in publications in the nineteenth century. White folk tales about Toccoa Falls are recounted in the writings of Elizabeth F. Ellet and Charles Montgomery Skinner. Both Ellet and Skinner's stories portray tension between the White settlers and the Native Americans of the area, describing the White settlers as victims of the Native Americans' violence. The stories, which Ellet and Skinner both independently suggest are apocryphal, involve a theme of White women tricking groups of men to walk off of Toccoa Falls, although the men are Native American in Skinner's story whereas in Ellet's, the White woman has been forced by Native Americans to trick her fellow White settlers.
In the 1890s, ethnographer James Mooney compiled myths of the Cherokee while living with them for several years. Mooney recounts a story about Toccoa Falls told to him by his half-Cherokee assistant in which, when the White newcomers saw Toccoa Falls for the first time, they saw a Cherokee woman walking underneath the water who then suddenly appeared on top of the falls after a moment. Mooney's assistant says that the woman in the story "must have been one of the Nûñnë'hï," a race of spirit people in Cherokee mythology.


The cathedral stands above two terraces at the top of a flight of steps.
The west front dates from the 13th century but has been modified several times, most recently in the 16th century.
The central rose window was begun in 1515 and completed under Bishop Biliotti between 1517 and 1523. The stained glass is not original, but is the result of 19th century restoration.
The central portal, in wood, with a pointed arch, has a double door of 1521 by Antonio Bencivenni consisting of four upper panels depicting the Annunciation, the Archangel Gabriel, Saint Peter and Saint Paul, and six lower panels added in 1639.
To the south of the frontage stands the campanile of the 13th century, coeval with the apse.