The fortress is located above a village bearing the same name, 11 kilometres (6.8 mi) from the Adriatic Sea, on a pass that separates the mountains Mosor and Kozjak, at the altitude of 360 metres (1,180 ft), northeast of Split in Croatia. Owing to its strategic position, the fortress is regarded as one of the region's most important fortifications.
Perched on an isolated rocky eminence, inaccessible on three sides, the fortress overlooks Split, the ancient Roman settlement of Salona, Solin, Kaštela and Trogir, and most of the central Dalmatian islands. Historically, the fortress has controlled access to and from Bosnia, Dalmatia and inland Croatia. The importance of such a position was felt by every army that invaded, or held possession of this part of Croatia. Klis Fortress was a point against which their attacks were always directed, and it has been remarkable for the many sieges it withstood. It has been of major strategic value in Croatia throughout history.


The museum opened in 1986. The Fotomuseum in Antwerp has a historical and contemporary collection of photography that is given a new presentation every year. Alongside the collection are frequently changing photography exhibitions. Between 1986 and 2018, 106 solo exhibitions have taken place at the museum. 86,7 percent of these exhibitions concerned male photographers. Amongst others, a retrospective of Anton Corbijn was presented.
1997 was the only year in which more women than men had a solo exhibition. Sally Mann, Annie van Gemert and Stephen Feldman were exhibited back then. The 2018 group exhibition Claude, Samuel, Zanele included work of the non-binary artist Zanele Muholi and of Claude Cahun.
The museum publishes the magazine .tiff in Dutch that presents articles on photography with a particular emphasis on fine art photography. The museum also produces Trigger, an English-language magazine first published in November 2019.
The current director is Elviera Velghe, who took over the role from Christoph Ruys.


The museum was founded in 1993 and is dedicated to photography as art form and document, and as a representation of reality. Fotomuseum Winterthur is an art gallery for photography by contemporary photographers and artists; a traditional museum for works by 19th and 20th century masters; and a cultural-historical, sociological museum of applied photography in the fields of industry, architecture, fashion, etc. (with exhibitions on police photography, industrial photography, dam-construction photography, medical photography etc.). These three orientations form the basis of the museum's exhibition program and accompanying publications and events.
Together with Fotostiftung Schweiz, Fotomuseum Winterthur has been running a Center of Photography since autumn of 2003, with a bistro, a library, seminar rooms, a lounge, and a shop. On the new expanded premises, and in addition to the changing exhibitions, Fotomuseum Winterthur presents changing shows of works from its collection of contemporary photography.
Fotomuseum Winterthur is located at Grüzenstrasse 44 and 45, in two buildings on opposite sides of the road. The exhibition area is 1000m2 and the total area (including the area shared with Fotostiftung Schweiz) is 3000m2.
Contemporary photographers and artists that have exhibited at Fotomuseum Winterthur include Lewis Baltz, William Eggleston, Nan Goldin, Andreas Gursky, Roni Horn, and Boris Mikhailov. 19th and 20th century masters that have exhibited at Karl Blossfeldt, Bill Brandt, Dorothea Lange, Lisette Model, Albert Renger-Patzsch, August Sander, Charles Sheeler, Edward Weston, and Weegee.


The Foundling Museum in Brunswick Square, London tells the story of the Foundling Hospital, Britain's first home for children at risk of abandonment. The museum houses the nationally important Foundling Hospital Collection as well as the Gerald Coke Handel Collection, an internationally important collection of material relating to Handel and his contemporaries. After a major building refurbishment the museum was reopened to the public in June 2004.
The museum explores the history of the Foundling Hospital, which continues today as the children's charity Coram. Artists such as William Hogarth and the composer George Frideric Handel are central to the Hospital story and today the museum celebrates the ways in which creative people have helped improve children's lives for over 275 years. It is a member of The London Museums of Health & Medicine group.


The Museum is responsible for the care and maintenance of two collections – the Foundling Hospital Collection and the Foundling Museum Collection, which includes the Gerald Coke Handel Collection. These Collections span the eighteenth to the twentieth century, enabling visitors to make connections between the past and the present. The Foundling Hospital Collection includes works of art by some of Britain's most prominent eighteenth-century artists: William Hogarth, Thomas Gainsborough, Joshua Reynolds, Louis-Francois Roubiliac and many others. These paintings and sculptures, donated by the artists themselves, were given in order to support the Foundling Hospital and effectively made the institution the UK's first public art gallery.
The Museum's Collections also encompass everyday objects used in the Foundling Hospital and archival materials; books, documents and records, musical scores and librettos, photographs and oral history recordings, as well as clocks, furniture and interiors, many of which were created especially for the hospital and donated by their makers. Some of the most moving objects are the Foundling Hospital tokens – including coins, buttons, jewellery and poems – left by mothers with their babies on admission, enabling the Foundling Hospital to match a mother with her child should she ever return to claim it. The overwhelming majority of the children never saw their mothers again and the tokens are in the care of the museum.
The Committee Room, a reconstruction of one of the original Hospital interiors, is one of the rooms where mothers intending to leave their babies would be interviewed for suitability. It now displays paintings, sculpture and furniture, including Hogarth's satirical and political The March of the Guards to Finchley and a series of paintings by the nineteenth-century artist Emma Brownlow, depicting scenes from the lives of the children in the Foundling Hospital.
The Picture Gallery is a reconstruction of the original Picture Gallery in the West Wing of the hospital. On the walls are paintings of governors and Hospital officials through the ages. These portraits include William Hogarth's magnificent painting of Thomas Coram, Allan Ramsay’s portrait of Dr Richard Mead, Reynolds' portrait of the Earl of Dartmouth, and Thomas Hudson’s portrait of the hospital's architect, Theodore Jacobsen.
The Court Room is where the Foundling Hospital's Governors conducted their committee business and entertained important guests. This room is one of the best surviving Rococo interiors in London, with a magnificent plasterwork ceiling given as a gift to the hospital by plasterer William Wilton. Paintings include Hogarth's Moses before Pharaoh’s Daughter and Gainsborough's picture of London's Charterhouse.
The uppermost floor of the Foundling Museum houses the Gerald Coke Handel Collection. Visitors can learn about Handel's connection to the Foundling Hospital and see his Will he left behind, alongside manuscripts and printed scores, books, works of art, programmes and ephemera. A fair copy of Handel's Messiah, left to the hospital at his death, is also displayed. Four armchairs with built-in speakers play nine hours of Handel's music.


Benjamin Ferguson's 1905 $1 million charitable trust gift to "memorialize events in American History" funded The Fountain, and many other public works in Chicago.  As the city attempted to determine a policy for the fund's use, Taft argued for fountains, allegorical statuary, discreetly placed portrait busts, and the adornment of bridges and park entrances in order to create long-lasting beauty in addition to supporting the style of art he pursued.  By September 1905 his name was linked in the press to the fund as a possible deserving recipient of its first commission.  During the 1905–1906 year he began to place greater emphasis on sculpture in the classes he taught at the School of the Art Institute of Chicago, while simultaneously refining earlier allegorical.
The fountain is Taft's response to Daniel Burnham's complaint at the Columbian Exposition in 1893 that the sculptors charged with ornamenting the fairgrounds failed to produce anything that represented the great natural resources of the west, especially the Great Lakes.  In Spring 1902, Taft had assigned his students a work entitled Spirit of the Great Lakes.  Five women had molded individual figures in response to an assignment and joined them in a tiered group with an imagined waterflow from the containers that they held.  By mid-January 1906, Taft cast a plaster version, which he exhibited to Ferguson Fund Trestee Charles L. Hitchinson on January 17 at Taft's Midway Studios.  By the end of January, The Art Institute of Chicago displayed the work during its annual local works exhibition.  It gained support during its four-week display and won the Chicago Municipal Art League top sculpture award, and along with two other bust works he won the Society of Chicago Artists' Medal for general excellence.  The Municipal art League exhibition chairperson, Mrs. William F. Grower, decided to form a subcommittee to help satisfy public support for the work to be the first Ferguson fund commission. However, even after the probate court released the bequest to the trustees on May 23, 1906, no commission was made because the trustees were undecided between a statuary and a portrait commission.
Additionally, Grant Park has been protected since 1836 by "forever open, clear and free" legislation that has been affirmed by several Illinois Supreme Court rulings. Aaron Montgomery Ward twice sued the city of Chicago to force it to remove buildings and structures from Grant Park and to keep it from building new ones. The second suit was still pending in 1906 and the legal cloud regarding deliberations of architectural limitations in Grant Park caused inaction.  While the trustees remained silent, Taft sought wider public support by publishing a picture of Spirit of the Great Lakes in Century Magazine, which drew interest from Buffalo, New York as a host of the final work.  By February 1907, Buffalo Illustrated Times published a cover with an image of the work and a caption describing the anticipation of the Beautifying Buffalo Society for obtaining the work for the city.  However, by the end of 1907 Taft and his connections with the Trust Fund resolved his commission.
On October 31, 1907, the Ferguson Trust Board voted Taft a commission, and on December 16, he signed a $38,000 contract to commence work.  The commission was the first commission from the Ferguson fund. Despite the financial agreement it would be some time before a determination of a site for the work.  Ward's suit continued to loom over the deliberations.  One proposal was to locate it in Grant Park south of the Art Institute and another was to locate it at the 35th Street and Grand Boulevard (Now Martin Luther King, Jr. Drive) intersection that now hosts the Chicago Landmark and National Register of Historic Places-listed Victory Monument. The 1909 Art Institute annual report mentioned a proposal for a sunken garden with a focal fountain south of the institute.  Legal issues regarding land use intensified in 1910, and the Art Institute began to make modest plans for the fountain almost attached to the south wall of its own building.  For the next few years there was little mention of the fountain as Taft focused on other work. Then in May 1913, the fountain model at Taft's Midway Studios was disassembled and taken to Jules Berchem's foundry for bronze casting.  Shepley, Rutan and Coolidge designed the base for the sculpture.  It was subsequently assembled by mid-August in preparation for a September 9, 1913 dedication date.
In 1963 with the construction of the new Morton wing of the Art Institute of Chicago Building, the fountain was moved from its south facing position adjacent to the original building that was visible from the Historic Michigan Boulevard District to the west wall of the new wing in a position facing westward.  The sculpture was positioned so that the plaque on the back, which reads that the "fund must be used for erecting and maintaining enduring statuary and monuments", is no longer legible.
Although Taft is now better remembered for his books such as The History of American Sculpture, which is regarded as the first comprehensive work on the subject in the title, he was in his day well known for portraits and allegorical public sculpture, especially public fountains.  The fountain was produced in the period following his assignment to design sculptures for William Le Baron Jenney's Horticultural Building when he designed several large-scale public works, including Fountain of Time.
At the time of the dedication, Taft described the Ferguson Fund commission to sculpt the fountain as a turning point in his career that led to increased publicity, more commissions, and growing recognition in the community, which combined to give him the encouragement for further commitment to the arts.  He hoped that the Fountain of the Great Lakes would mark a new era of civic beautification and that it would also mark the beginning of the Chicago school of sculpture.  The dream that Chicago would be the epicenter of the sculpting universe had been bred during the World's Columbian Exposition twenty years earlier and rekindled with the Ferguson bequest.  Fountain of the Great Lakes was a major career accomplishment for Taft, which propelled him beyond the level of a portraitist.


The Fountain of the Virtues (Portuguese: Chafariz das Virtudes) is a fountain in the civil parish of Cedofeita, Santo Ildefonso, Sé, Miragaia, São Nicolau e Vitória, in the municipality of Porto.


The Four Corners Monument marks the quadripoint in the Southwestern United States where the states of Arizona, Colorado, New Mexico, and Utah meet.  It is the only point in the United States shared by four states, leading to the area being named the Four Corners region. The monument also marks the boundary between two semi-autonomous Native American governments, the Navajo Nation, which maintains the monument as a tourist attraction, and the Ute Mountain Ute Tribe Reservation.
The origins of the state boundaries marked by the monument occurred just prior to, and during, the American Civil War, when the United States Congress acted to form governments in the area to combat the spread of slavery to the region. When the early territories were formed, their boundaries were designated along meridian and parallel lines. Beginning in the 1860s, these lines were surveyed and marked. These early surveys included some errors, but even so, the markers placed became the legal boundaries, superseding the written descriptions of geographical meridians and parallels. This includes the Four Corners Monument, which has been legally established as the corner of the four states.


The Four Shire Stone is a boundary marker that marks the place where the four historic English counties of Warwickshire, Oxfordshire, Gloucestershire, and Worcestershire once met. Since 1931, with a change to the boundaries of Worcestershire, only three of the counties meet at the stone.


Originally designed as the Yaarab Shrine Temple, the headquarters for a 5,000-member Shriners organization, the $2.75 million project exceeded the Shriners' budget, so they leased the auditorium to movie mogul William Fox, who was building theaters around the country at the time. The theater opened on December 25, 1929, just two months after the stock market crash.  A week later, on New Year's Day, the Shriners inaugurated their new "mosque" in their part of the building, which contained executive offices, a large lounge, a ballroom/banquet hall, kitchen, practice hall, and locker-shower room. Under the terms of the lease, they remained as paying tenants until 1949.
According to the National Park Service, "the Fox Theatre closed only 125 weeks after it opened. Members of the Yaarab Temple could not meet their [mortgage payments], and by 1932, William Fox was bankrupt."  After the mortgage was foreclosed in December 1932, the entire complex was purchased jointly by Paramount Pictures and Lucas & Jenkins, a Georgia company that owned a hundred theatres.
In 1939, the movie most associated with Atlanta and the South, Gone with the Wind, premiered at the now-demolished Loew's Grand Theatre rather than the Fox. Although GWTW was produced by Selznick International, it was distributed by Loew's Incorporated as part of a deal with rival studio Metro-Goldwyn-Mayer. The parade down Peachtree Street for the movie's premier coincidentally started just outside the Fox because the movie's cast was staying across the street at the Georgian Terrace Hotel.
During the 1940s, the Fox acquired strong management and became one of the finest movie theaters in Atlanta.  It was also at this time that the Egyptian Ballroom became Atlanta's most popular public dance hall and hosted all the important big bands and country and western swing bands of the era.  It was notable at that time for being the only theater in Atlanta allowing both white and black patrons. However, there was a separate black box office, entrance, and seating; the segregation wall in the middle of the second dress seating still remains, and the "colored" box office window stands unused at the back entrance. These are left in place for educational and historical purposes. The theater was integrated in 1962.
During the 1970s, several elements collided to bring about the Fox's decline – white flight, the rise of suburban multiplex theaters, and changes in how films were distributed.  In 1974, Southern Bell, the regional arm of AT&T, approached the owners of the theater with an offer to buy and with the intent of tearing it down and building the parking deck for a new headquarters on the site.  A group was formed to save the theater and it was placed on the National Register of Historic Places in May 1974.  The ensuing public outcry and massive campaign, including such entertainers as Liberace and Lynyrd Skynyrd (recording their first live album there and debuting guitarist Ed King's replacement, Steve Gaines, to the world), among other celebrities, resulted in the city refusing to issue a demolition permit. Ultimately, a complicated deal was brokered that prevented the Fox's demolition. The Southern Bell Building (now AT&T Midtown Center) was built on land adjacent to the theater on the building's west side in conjunction with the construction of the North Avenue MARTA station, with its parking deck built on the north end of the property at the corner of West Peachtree and 3rd streets.  The U.S. Department of the Interior subsequently named the Fox a National Historic Landmark on May 26, 1976, citing its architectural uniqueness.

After the Fox was saved from demolition, a lengthy and expensive restoration process began. Much of the original décor had survived and new pieces were created with the help of old photographs.  Today, the Fox appears much as it did when it opened, with some additions that were in the original plans but had to be scrapped in the 1920s due to financial constraints. Other changes have been made to bring the building up to current safety codes.
The Fox is now the only remaining movie palace in Atlanta. The Loew's Grand, Martin Cinerama, Georgia Cinerama, Paramount Theater, and the Roxy Theater, all once-famous Atlanta movie palaces, are gone, and others that opened in the 1960s have since been converted to multiplexes.  The Fox Theatre, now run under the non-profit Atlanta Landmarks, Inc., hosts a multitude of cultural and artistic events, including the Atlanta Ballet's annual Nutcracker performances, a summer film series, and performances for various national touring companies of Broadway shows.  Because of its origins as a movie house, the Fox has a shallow stage by theatrical standards and is unable—without extensive but temporary alterations—to accommodate some of the set pieces required by modern large scale shows such as The Lion King and Miss Saigon.
In June 2006, the theater installed a $130,000 digital cinema video projection system, which debuted with a showing of The Chronicles of Narnia: The Lion, the Witch and the Wardrobe on June 26, part of the Summer Film Festival.  The sing-alongs that precede each feature are still shown by the Brenograph Movie projector which was installed in 1929.
The Egyptian Ballroom and the Grand Salon are rented regularly for corporate and private functions, including banquets, fundraisers, weddings, trade shows and conventions.  They are also both popular spots for proms for many area high schools. Notably, Oxford College of Emory University hosts its annual Fall Formal in the Egyptian Ballroom.
Every year since Atlanta Landmarks assumed management in 1975, the Fox has generated an operating surplus.  An estimated 750,000 people visit the Fox every year.
The venue was the site of Prince's final performance, held one week before his death on April 21, 2016. In May 2017, Aquarium Rescue Unit frontman Col. Bruce Hampton died after collapsing onstage at the Fox during a concert celebrating his 70th birthday.
On February 2, 2019,  the theater hosted the 8th annual NFL Honors on CBS.
Elvis Presley played at the Fox Theatre in 1956, Bruce Springsteen played it in 1976, 1978 and 1996, Bob Marley and the Wailers performed there on December 12, 1979, in support of his Survival Tour and Pearl Jam played there in 1994.  Georgia musicians the Allman Brothers played at the Fox Theatre in 1980, Ray Charles in 1983, James Brown in 1985, R.E.M. in 1989, the B-52's in 1989, the Black Crowes in 1992, Alan Jackson in 1992, Widespread Panic in 1993, Collective Soul in 1996, Outkast in 2001, the Zac Brown Band in 2009 (released on the live album Pass the Jar), Mastodon in 2017, Manchester Orchestra in 2018, and Monica in 2019.


The Detroit Fox is one of five spectacular Fox Theatres built in the late 1920s by film pioneer William Fox. The others were the Fox Theatres in Brooklyn, Atlanta, St. Louis, and San Francisco. Architect C. Howard Crane designed the Fox with a lavish interior featuring a blend of Burmese, Chinese, Indian and Persian motifs. There are three levels of seating, the Main Floor above the orchestra pit, the Mezzanine, and the Gallery (balcony).
The exterior of the attached 10-story office building features a façade with Asian motifs which, when illuminated at night, can be seen for several blocks. The Fox Theatre in St. Louis, Missouri is (on the interior) its near architectural twin with about 500 fewer seats. The 10-story Detroit Fox Theatre building also contains the headquarters of Olympia Entertainment, while the St. Louis Fox is a stand-alone theatre. The architectural plaster molds of the Detroit Fox (1928) were re-used on the St. Louis Fox (1929).
The Fox opened in 1928 and remained Detroit's premier movie destination for decades. Unlike many neighboring theatres, it operated continually until it was closed in the 1980s for restoration. However, by the 1960s, the venue was showing its age and maintenance of many key areas was deferred. By the 1970s mezzanine and balcony seating areas were closed to the public.
In 1984 Chuck Forbes, owner of the State and Gem theaters, proposed a renovation project. These plans were never fully realized, but in 1988 the theater was acquired by new owners, Mike and Marian Ilitch, who fully restored the Fox at a cost of $12 million. Their company, Ilitch Holdings, Inc., is headquartered in the Fox Theater Office Building. The downtown area near Grand Circus Park which encompasses Fox Theatre is sometimes referred to as Foxtown after the theater. In 2000, Comerica Park opened and helped to revitalize the neighborhood along with the construction of Ford Field in 2002, and Little Caesars Arena in 2017.


Frölunda Torg was inaugurated on 8 September 1966 by Olof Palme as, at the time, Europe's largest shopping centre. The construction had cost SEK 80 million and took eight years to complete.
An expansion of the mall was finished in 1980, which resulted in an additional 13,300 m² and 14 new stores, as well as a restaurant. The mall was further expanded the following years, with new sections opened in 1984 and 1995.
In 2007, the owner Diligenta, was granted building permit for a large renovation and expanding process. The renovation started on 26 October 2007 and the first stage was completed in 2010. The second stage was started in the spring of 2010 and was finished in 2011, after which centre hosts a total of 200 stores in 75,000 m².


The Fram Museum (Norwegian: Frammuseet) is a museum telling the story of Norwegian polar exploration.  It is located on the peninsula of Bygdøy in Oslo, Norway.
Fram Museum is in an area with several other museums including the Kon-Tiki Museum, the Norwegian Museum of Cultural History, the Viking Ship Museum and the Norwegian Maritime Museum. Bygdøy Royal Estate, the official summer residence of the King of Norway, and historic Oscarshall are also located nearby.
The Fram Museum was inaugurated on 20 May 1936. It honours Norwegian polar exploration in general and three great Norwegian polar explorers in particular – Fridtjof Nansen, Otto Sverdrup and Roald Amundsen. The museum also exhibits images of the fauna of the polar regions, such as polar bears and penguins.
The  Fram Museum is centred principally on the original exploration vessel Fram. The original interior of Fram is intact and visitors can go inside the ship to view it.  Fram was commissioned, designed,  and built by Scots-Norwegian shipbuilder Colin Archer to specifications provided by Norwegian Arctic explorer Fridtjof Nansen, who financed the building of the ship with a combination of grant monies provided by the Norwegian government and private funding in 1891.
In May 2009 the Norwegian Maritime Museum and the Fram Museum signed an agreement for the Fram Museum to take over the exhibition of the Gjøa, the first vessel to transit the Northwest Passage.  Roald Amundsen and a crew of six accomplished that feat in a three-year journey which was finished in 1906.  Gjøa is situated inside her own dedicated building at the museum. In 2017 the ship was made fully accessible to visitors.


France Miniature is a 5-hectare (12-acre) outdoor park in the shape of France that contains about 160 outdoor 1/30-scale models of major French monuments and landmarks. Monuments are placed in the park to correlate approximately with their real-world locations in France.  Many of the models are animated, and all of the country's best known landmarks are represented (the Eiffel Tower, Versailles, Lourdes, etc.).  A system of model trains runs through the park, and animated boats ply the "Atlantic Ocean" and the "Mediterranean Sea" (lagoons positioned appropriately around the perimeter of the park).  Visitors walk along paved paths to visit the various models.
An indoor exhibition features extremely detailed models of several indoor scenes.
The park is closed during the winter.
France Miniature is owned by the same group (Grévin & Cie., now part of Compagnie des Alpes) that operates the Parc Astérix amusement park north of Paris.


The exhibit was first displayed in Barcelona in 1999 in a three-part exhibition exploring famous authors' relationships to their cities. The Kafka exhibit was called "The City of K.: Franz Kafka in Prague" and the two other exhibits explored James Joyce and Dublin and Fernando Pessoa and Lisbon. The Franz Kafka exhibition moved to New York City's Jewish Museum in 2002 before its permanent installment, which opened in the summer of 2005 in the Herget Brickworks building in the Malá Strana district of Prague.


WikiWeb_Frauenstein Castle (Ore Mountains)_1

The castle, which was first recorded by name in 1272, was built as a border fortification between the March of Meissen and Bohemia. It protected the trade routes and the silver mining industry. The original inner ward measured just 30 × 15 m and incorporated a tower house.
In the period that followed a second tower house was erected. This was linked to the existing tower. In the final years of the 13th century the great hall and castle chapel were built. The construction of the great curtain wall was carried out in the first half of the 14th century. The margrave enfeoffed the castle in 1329 together with its dominion to the burgraves of Meissen.
The parish of Frauenstein was granted town rights in 1411. In 1438 the Wettins largely destroyed the castle during a siege. The Margrave of Meissen then disputed the succession rights of the burgraves. The dispute had started when the Meinheringer line died out in 1426 and was taken over by the Vögte from the House of Plauen. The nobility of that house, the von Schönbergs, were given the castle in 1473. They had a palace (Schloss) built in the years 1585-1588 designed by the architect to the Elector, Hans Irmisch. On the completion of the palace, the castle remained unoccupied. Nevertheless, the chapel was renovated in 1615.
The last Schönberg at Frauenstein sold his estate in 1647 to the prince-elector, John George I. The palaces was converted, first to a judicial office (Gerichtsamt) and later into a forestry office (Forstrentamt) and district court (Amtsgericht).
In 1728 a fire destroyed a large part of the town of Frauenstein and affected both the castle and the palace very badly. Because the castle, unlike the palace, was not being used, it was not rebuilt.
Today the 13th century tower house, known as Dicker Merten and the 1½ m thick curtain wall remain standing. The remaining rooms include the cellar, kitchen, castle chapel, prison, two parlours and several vaults. Restoration work was carried out on the ruins in 1968, 1990 and 1992.
In 2007 an interest group was founded with the aim of keeping the castle accessible to the public and preventing it falling into private hands. From this group, the Society for the Preservation of Frauenstein Castle (Förderverein Burg Frauenstein e.V.) was founded in 2009.


In January 1785, New York City became the seat of the Confederation Congress, the nation's central government under the "Articles of Confederation and Perpetual Union." The departments of Foreign Affairs, Finance and War had their offices at Fraunces Tavern.
With the ratification of the United States Constitution in March 1789, the Confederation Congress's departments became federal departments, and New York City became the first official national capital. The inauguration of George Washington as first President of the United States took place in April 1789. Under the July 1789 Residence Act, Congress moved the national capital to Philadelphia, Pennsylvania for a 10-year period, while the permanent national capital was under construction in what is now Washington, D.C. The federal departments vacated their offices in the building and moved to Philadelphia in 1790.


In line with Flemish and Dutch Renaissance tradition, the quadrangular castle covering the entire area of the northern islet is built of red brick with stepped gables, towering spires and light sandstone decorations. The symmetry of the main structure is broken by the large bell tower on the Chapel Wing. All three wings are fundamentally independent buildings which have been joined together to form a complex. The usual concern with symmetry was overridden by the need to glorify Christian IV with sculptural decorations evoking astrology and mythology as can be seen in the gate house, the Terrace Wing and the Neptune Fountain. The window gables also display statues of historic emperors including Alexander the Great and Julius Caesar.
The King's Wing, the main wing of the Renaissance building, was completed in 1604, the Chapel Wing followed in 1606 and the Princess's Wing on the eastern side in 1608. All three were three storeys high but the Terrace Wing, completed in 1609, had only one storey. The side of the Terrace Wing next to the moat was decorated with mythological figures while open arcades overlooked the courtyard. The central portal bears the arms of King Christian and Queen Anne Catherine and its completion date, 1609.
The castle is noted for its towers and turrets. All the outer corners are decorated with towers. Two octagonal towers with lofty spires overlook the lake (Mønttårnet to the west and Jægerbakkettårnet to the east) and two round one-storey towers face the central islet. Stair turrets with copper-clad domes decorate the courtyard side of the King's Wing. The highest and most impressive tower stands above the Chapel. The chamfered corners of its multistorey spire are decorated with four obelisks.
The Audience House (Audienshuset) was completed in 1616. With its swinging gables and protruding bay windows in the Renaissance style, the elegant five-wing building on the middle islet over the moat from the Mønttårn tower on the main building. Its south-facing portal, Møntporten, decorated with figures including Venus and Mars surrounded by musicians, is considered to be one of Denmark's finest. In 1621, Christian IV decorated the King's Wing with the Great Gallery overlooking the courtyard. The statues of the gods, decorating the two storeys, were crafted by Hans van Steenwinckel the Younger in Amsterdam and brought to Denmark by ship.
The middle islet was further developed during the reign of Christian IV. The lord lieutenant's manor (Slotsherrens Hus) to the west was completed in 1611. The Chancellery to the east was erected in 1615 as a true copy of Berritsgård on the island of Lolland, one of the finest Renaissance buildings in Denmark. Both buildings were decorated with an octagonal turret and sweeping gables.
While most of the castle was destroyed by fire in 1859, the Chapel and its furnishings suffered only minor damage. The Chapel has also been used as the ceremonial chapel for the Order of the Elephant and the Order of the Dannebrog since 1693. It houses the Danish royal family's art collection, notably works on the life of Jesus by the Danish painter Carl Heinrich Bloch. The Chapel was also the site of the signing of the Treaty of Frederiksborg. Since the times of Christian IV, it has been used as a parish church. Today it is served by four priests and two organists.
The coats-of-arms of recipients of the Order of the Elephant and of the Dannebrog are displayed on the Chapel walls. They include those of international figures such as Nelson Mandela and outstanding Danes including Niels Bohr and Mærsk McKinney Møller.


The Free Trade Hall was a venue for public meetings and political speeches and a concert hall. Charles Dickens performed here in the summer of 1857 in Wilkie Collins's play The Frozen Deep. In 1872 Benjamin Disraeli gave his One Nation speech. In 1904, Winston Churchill delivered a speech at the hall defending Britain's policy of free trade. The Times called it "one of the most powerful and brilliant he has made."
In 1905 the Women's Social and Political Union (WSPU) activists, Christabel Pankhurst and Annie Kenney were ejected from a meeting addressed by the Liberal politician Sir Edward Grey, who repeatedly refused to answer their question on Votes for Women. Christabel Pankhurst immediately began an impromptu meeting outside, and when the police moved them on, contrived to be arrested and brought to court. So began the militant WSPU campaign for the vote.
After Sir Charles Hallé founded the Hallé Orchestra in 1858, its home was the Free Trade Hall until the hall was damaged in the Manchester Blitz. The Hallé performed at the reopening in 1951 with the Orchestra's musical director and conductor, Sir John Barbirolli, who remained until 1970. The final concert there was in 1996. Kathleen Ferrier sang at the re-opening of the Free Trade Hall in 1951, ending with a performance of Elgar's "Land of Hope and Glory", the only performance of that piece in her career.
Bob Dylan played here in 1965, and again in 1966, the occasion of the "Judas!" shout. Duo Simon & Garfunkel played here in 1967, debuting their newly written song 'Punky's Dilemma' with the original opening line of "I wish I was a Kellog's cornflake, floatin' in my bowl takin' movies", and a new song for upcoming film The Graduate, "Mrs Robinson". In the late 1960s Frank Zappa and the Mothers of Invention, The Moody Blues, T. Rex and The Dubliners played there amongst others. Pink Floyd played on five occasions. Genesis played twice, on 30 January 1971 (together with Lindisfarne and Van der Graaf Generator) and in February 1973. On 4 June 1976, the Lesser Free Trade Hall was the venue for a concert by the Sex Pistols at the start of the punk rock movement. This concert would prove influential as it led to the formation of bands such as Joy Division, The Smiths and The Fall.


On 29 April 1941, Freedom Square was named to Victory Square after the beginning Soviet occupation of Estonia. In the autumn of 1941, after the arrival of the German Wehrmacht, the name of Freedom Square was restored. On 22 September 1944, the Red Army entered Tallinn and by 1948, it was reverted to Victory Square. During the Soviet period, Freedom Square was known as the Victory Square (Võidu väljak). In the USSR, the square hosted parades in honor of holidays like Victory Day, the October Revolution, and before 1969, International Workers' Day.


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


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


The building of the castle was begun in 1363 in order to bolster the town's fortifications, Duke Rudolph IV the Founder issuing the orders for its construction. Until it was completed, all the manner of estates within the jurisdiction (Landgericht) of Freistadt were taxed: homes, land, fiefs and farmsteads. After Rudolph's death in 1365, his brothers, Leopold and Albert, continued with the work, and in 1397/98 the new castle and its bergfried were finished. Several improvements continued until 1440 and, in the late 15th century, the height of the bergfried was raised.
The schloss replaced the old castle in Salzgasse street, the Altenhof (today: the Salzhof). From then on the new castle was used by the territorial princes as an administrative centre for the Barony and District of Freistadt (including inter alia Leopoldschlag, Neumarkt, Schenkenfelden and Rainbach) and as the residence of the lord's Pfleger. The other district office for the Barony of Freistadt was Schloss Haus (from the 18th century). With the simultaneous expansion of the remaining fortifications, the castle strengthened the defensive capability of the town. Nevertheless, the castle was the weakest point in its lines of defence.
Entry to the castle was achieved then as now in two ways. On one side, access was gained through a gateway to the main courtyard and, on the other, through another gateway at the end of the Schlossgasse leading from the Böhmergasse into the outer courtyard. The castle itself was further separated from the town by a moat and drawbridge. Even the adjoining townhouses were not allowed to have a door into the outer courtyard. The castle was also protected from the town and possible attacks from that direction.
During the Hussite Wars and the numerous border feuds of the 15th century the castle acted as a strong bulwark at the edge of the town. In the 16th century it was significantly remodelled, the plans for the rebuilding of the south wing in 1588 being drawn up by architects Antonio Cerisora, Ambrosio Solari and Mert Pogner. Around 1594 the castle acted as a refuge for the surrounding population during the Turkish Wars. Only once was the castle plundered by besieging troops, in 1626, when rioting peasants captured the town and the castle. The castle's governor and three Capuchin monks were locked in the castle chapel and mistreated. Liturgical objects were stolen and all the boxes and chests broken open and looted.
In the course of time there was also opposition between the town and the castle. One sticking point was a "back door" (Hintertürl) that led from the castle into the zwinger and over the town moat out of the town; something that had been planned even at the design stage. This enabled residents of the castle to leave the town incognito, but the gate also posed a security risk, which is why it had been bricked up in the 15th century. In 1584, Hans Christoph von Gera pressed for the opening of the gate by drawing attention to the lack of escape during the two great fires of 1507 and 1516. Finally the territorial prince ruled in favour of the town and that the gate should be left walled up.


Fremantle Arts Centre offers a varied program of exhibitions and events, often attracting audiences of 3000 or more to outdoor concerts in summer. Artists and bands who have performed at the Arts Centre include: Elvis Costello, John Butler, The Waifs, Morcheeba, The Black Keys, Paul Kelly, Cat Empire, Angus & Julia Stone, Paul Weller, Tegan and Sarah, Josh Pyke, Fat Freddy's Drop, Stereophonics, The Polyphonic Spree, Eskimo Joe, Death Cab for Cutie, Pete Murray, Swell Season, The Herd, Stray Cats, Sarah Blasko, The Indigo Girls, Xavier Rudd, Weddings Parties Anything, Damien Rice, Lucky Oceans and Groove Armada.
Funding is received from the City of Fremantle, and the WA State Government's Department of Culture and the Arts.


Fremantle Town Hall is a town hall located in the portside city of Fremantle, Western Australia, and situated on the corner of High, William and Adelaide Streets. The official opening, on 22 June 1887, coincided with the celebration of Queen Victoria's Jubilee and it was formally named by the mayor, Daniel Keen Congdon and the state governor, Frederick Broome, as the Town and Jubilee Hall.


Frere Hall was built in the Venetian-Gothic style that also blends elements of British and local architecture. The building features multiple pointed arches, ribbed vaults, quatrefoils, and flying buttresses. Carving on the walls and beautifully articulated mosaic designs are visible on multiple walls and pillars.
The building is built primarily out of local yellow-toned limestone, with stone details formed from white oolite stone quarried from the nearby town of Bholari. Red and grey sandstone is also used in the building, which was quarried from the Sindhi town of Jungshahi.
A tall octagonal tower is located in one of the building's corner that is crowned by an iron cage. The roof of the hall is coated with Muntz metal.
The hall is surrounded by two lawns originally known as "Queen's Lawn" and "King's Lawn" which after independence were renamed as Bagh-e-Jinnah, or "Jinnah Gardens".


The beach is popular with tourists and locals throughout the year, especially between March and October. Facilities at the beach include toilets, emergency telephone and car parking. From Easter onwards, an ice-cream or hot-dog van is usually in the main car park. There is the Castlemartin MOD firing range in the area which can be alarming and pose a hazard within a 12 miles (19 km) radius during peak firing. Freshwater has a thatched seaweed-drying hut, and there is an Iron Age burial chamber immediately to the north known as the "Devil's Quoit" which is situated in the field left of the main road out of Freshwater.
Freshwater West is one of the top surfing locations in Wales due to its consistent swell and strong waves. The beach regularly hosts surfing tournaments such as the Welsh National Surfing Championships with participants arriving from all over the world. Since 2010 it has had a lifeguard station which is active during the summer months.


Originally the house was the family home of Frida Kahlo, but since 1958, it has served as museum dedicated to her life and work. With about 25,000 visitors monthly, it is one of Mexico City's most-visited museums, and the most-visited site in Coyoacán. The museum is supported solely by ticket sales and donations.
The museum demonstrates the lifestyle of wealthy Mexican bohemian artists and intellectuals during the first half of the 20th century. The entrance ticket to the Casa Azul allows for free entrance into the nearby Anahuacalli Museum, which was also established by Diego Rivera.  According to records and testimony, the house today looks much as it did in 1951, decorated with Mexican folk art,  Kahlo's personal art collection, a large collection of pre-Hispanic artifacts, traditional Mexican cookware, linens, personal mementos such as photographs, postcards and letters, and works by José María Velasco, Paul Klee, and Diego Rivera. Much of the collection is in display cases designed for their preservation. The museum also contains a café and a small gift shop.
The museum consists of ten rooms. On the ground floor is a room that contains some of Kahlo's mostly minor works such as Frida y la cesárea, 1907–1954, Retrato de familia, 1934, Ruina, 1947, Retrato de Guillermo Kahlo, 1952, El marxismo dará salud, 1954 (showing Frida throwing away her crutches), with a watercolor Diario de Frida in the center.   This room originally was the formal living room, where Frida and Diego entertained notable Mexican and international visitors and friends such as Sergei Eisenstein, Nelson Rockefeller, George Gershwin, caricaturist Miguel Covarrubias, and actresses Dolores del Río and María Félix.
The second and third rooms are dedicated to personal effects and mementos and to some of Rivera's works. The second room is filled with everyday items Frida used, letters, photographs, and notes. On the walls are pre-Hispanic necklaces and folk dresses, especially the Tehuana-style ones that were Frida's trademark. Paintings in the third room include Retrato de Carmen Portes Gil, 1921, Ofrenda del día de muertos, 1943, and Mujer con cuerpo de guitarra, 1916.
The fourth room contains contemporary paintings by artists such as Paul Klee, José María Velasco, Joaquín Clausel, Celia Calderón Orozco, and a sculpture by Mardonio Magaña. The fifth room contains two large Judas figures, “mujeres bonitos” figures from Tlatilco, State of Mexico and figures from the Teotihuacan culture. The large papier-mâché Judas figures and other papier-mâché monsters were traditionally filled with firecrackers and exploded on the Saturday before Easter.
The sixth and seventh rooms are the kitchen and dining room. Both are in classic Mexican style, with bright yellow tile floors, blue and yellow tile counters and a long yellow table, where Frida's stepdaughter Ruth stated that Frida spent much of her time. The two rooms are filled with large earthenware pots, plates, utensils, glassware, and more which came from Metepec, Oaxaca, Tlaquepaque, and Guanajuato, all known for their handcrafted items. Decorative features include papier-mâché Judas skeletons hanging from its ceiling,  and walls with tiny pots spelling the names of Frida and Diego next to a pair of doves tying a lovers’ knot.
Off the dining room was Rivera's bedroom, with his hat, jacket, and work clothes still hanging from a wall rack. Next to this is a stairwell that leads from the courtyard area to the upper floor. This area also contains a large number of folk art items and includes about 2,000 votive paintings from the colonial period to the 20th century, other colonial era work, and more Judas figures.
The two rooms of the upper floor which are open to the public contain Frida's final bedroom and studio area. This is located in the wing that Rivera had built. The original furniture is still there. In one corner, her ashes are on display in an urn, which is surrounded by a funeral mask, some personal items, and mirrors on the ceiling. On her bed is a painted plaster corset she was forced to wear to support her damaged spine, and under the canopy is a mirror facing down which she used to paint her many self-portraits. The head of the bed contains the painting of a dead child, and the foot contains a photo montage of Joseph Stalin, Vladimir Lenin, Karl Marx, Friedrich Engels, and Mao Zedong. The pillow is embroidered with the words "Do not forget me, my love." Her wheelchair is drawn up to an unfinished portrait of Stalin, on an easel which is said was given to her by Nelson Rockefeller. Stalin became a hero to Kahlo after the Red Army victory over Nazi Germany on the Eastern Front in World War II.
The tour of the museum ends at the large courtyard garden which is completely enclosed by the four sides or wings of the structure. The courtyard area is divided by a stepped pyramid, a fountain, and a reflection pool. These were built in the 1940s when Rivera first moved into the house and built the fourth wing enclosing the house. This wing's walls which face the courtyard are decorated with marine shells and mirrors. There are also sculptures by Mexican artist Mardonio Magaña. One side of the courtyard contains the inscription "Frida y Diego / vivieron en / esta casa / 1929-1954" (Frida and Diego lived in this house – 1929–1954).


The castle built for Ernst I was constructed according to general principles favoured by Protestant rulers in the 17th century. It took the form of a so-called "sub-ordinated" palace, meaning that the four wings are not on an equal footing but that there is one dominating main wing. At Friedenstein that is the four-story north wing, facing the town. The two side wings have three floors (but end in the four-story towers or pavilions) and the final wing had just one floor. Initially, all the state apartments were housed in the four-storied sections of the palace.
The palace dominates the town by its sheer size: the main wing is 100 metres long, the two side wings are 140 metres long. Although the interior of the palace has been significantly altered since the time of Ernst I, the exterior has remained largely unchanged. The simple, unadorned exterior was originally selected to contrast with the palaces of Catholic princes, which at the time were still mostly influenced by the elaborate Renaissance style. The only major embellishment at Friedenstein were four larger-than-life statues located at the four corners of the palace, showing Moses, Elijah, John the Baptist and Martin Luther. Other external features were a few reliefs salvaged from the old Grimmenstein and some decoration above the main gate to the courtyard, located in the centre of the north wing. The austere facades are structured not by ornamental features but only by the symmetrical arrangement of the windows and a cornice running around the whole building between the first and second floors. On the side facing the courtyard, an arcade was constructed running around all four wings of the palace. The major later change to the external appearance of the palace has been the addition of the two buildings on the left and right of the main wing facing the town, known as Pagenhaus and Wachthaus, added in 1778/79. At that time the four statues were also removed.
None of the original state rooms constructed for Ernst I remain today. The palace sections that have maintained their original use include the chapel and the Geheimes Archiv on the ground floor of the north wing. Otherwise the ground floor of all the wings housed servants' and storage rooms as well as an armoury, a stable, a mint and a smithy. The fourth wing contained a riding hall. The first upper floor of all the wings is slightly lower than the others – it used to house the offices of the Ducal administration. The second floor contained the main representatives areas reached by two staircases located at the juncture between the north and the side wings.
The palace interior was completely rearranged as early as the reign of Friedrich I, Ernst's son. In 1677, the east pavilion was struck by lightning and burned down. Fire walls helped to contain the fire to that part of the palace. It was realized that the Great Hall in the north wing, stretching over two floors and reaching above the chapel, prevented the addition of fire walls to the main wing. The hall was thus demolished and replaced by a new fire wall along with new state apartments: a flight of five rooms each for Duke and Duchess. These rooms were finished by around 1685. After that a new main hall, the Tafelgemach or Hauptsaal was added. After 1687, a crypt for the burial of the Ducal family was created beneath the chapel and the chapel itself rebuilt. In 1681/82, the former ballroom in the west pavilion was replaced by a theatre (see below). In 1684-87, the east pavilion was rebuilt and crowned with a rounded roof, distinguishing it from the west pavilion which retains its original roof shape. Friedrich III had the rooms of the Duchess renovated in 1747/51 and some years later, rooms for Friedrich III were added to the east pavilion. Friedrich's son Ernst II moved out of the Baroque state apartments in the main wing and into new rooms in the east wing, between the Mirror Hall and the east pavilion. Ernst II also had various other changes made to the palace and its surroundings, including tearing down some of the original gate buildings and ramparts and replacing the riding hall to the south with the simple wall now closing off the arcades of the south wing.
Starting in 1797, the former guest quarters in the west wing were redesigned and new ones added. Rooms were planned for heir apparent Emil August and his bride. Since work was not finished in time for the wedding, the Princess moved into the rooms in the northwest corner and Emil August into the unfinished west wing. After his wife died in 1801, Emil August had her rooms changed for his own needs. The bastions around the palace were removed around the year 1800 without ever having been used in defence.
Emil August's brother and successor, Friedrich IV did not live in the palace but in the town. His main contribution to the palace was bringing together the gallery of paintings from Friedenstein and other castles in the vicinity. This was located on the second floor of the west pavilion. Friedrich also created the Kunst- und Naturalienkabinett on the third floor of the north wing – the nucleus of the Ducal museums.
After the change in dynasties, the new Duke Ernst I von Sachsen-Coburg und Gotha had the rooms in the northwest corner redesigned. His son Ernst II, however, did not live in the palace but at the Winterpalais in the town. With Friedenstein not used as a residential palace, the focus shifted to its function as administrative centre of the Duchy. Various changes occurred during the long reign of Ernst II: Space for the museum became too tight, so it was decided in 1863 to construct a specialised building. This new museum was built in 1864-79 south of the palace. After a new theatre had been built in town in 1837-40, the Ekhof-Theater lost its function as the main stage. In 1847, new stables ( Marstall ) were built, freeing up space in Friedenstein itself. Finally, in 1860/61 the main state apartments were fundamentally redecorated to bring them in line with the tastes of the times.
The use of the palace changed again under Alfred. Despite the work done in the 1860s, the palace was not suitable for running a household in accordance with the demands of a ruling prince, lacking sufficient guest quarters for example. As a consequence, most of the Duchy’s administration was moved out of the palace and into the town. Substantial redecoration work was done to the state apartments at that time. The final round of redesigns occurred under Charles Edward after 1905. Many of the changes wrought by the final two princes were undone by renovation work after 1965, however.


Froggatt Edge is a gritstone escarpment in the Dark Peak area of the Peak District National Park, in Derbyshire, England, close to the villages of Froggatt, Calver, Curbar, Baslow and Grindleford. The name Froggatt Edge applies only to the northernmost section of the escarpment; the middle and southernmost sections are called Curbar Edge and Baslow Edge respectively. The escarpment, like many in this area, is easily accessible from Sheffield.


Frozen Ever After is a musical reversing log flume  dark ride  in Epcot at the Walt Disney World Resort and soon-to-be at Hong Kong Disneyland, Tokyo DisneySea, and Walt Disney Studios Park. Part of the Norway Pavilion of the Epcot's World Showcase section and Fantasyland at Hong Kong Disneyland, the attraction features scenes inspired by Disney's animated film Frozen as well as the 2015 animated short Frozen Fever. It opened on June 21, 2016 and replaced the former Maelstrom attraction, utilizing the same ride vehicles and a similar track layout. The attraction will open at Hong Kong Disneyland in 2022.


Fru Alstad Church dates in its entirety from the 15th century, but the remains of an older church have been found during examinations of the presently visible church. This earlier church was probably Romanesque in style, as opposed to the pronounced Gothic style of the presently visible church. The church lies on a hill and dominates the landscape around it. It lies in a small hamlet, and to the west of the church lies a small spring, which during the Middle Ages was considered holy. It became a locally popular pilgrimage site especially during the late Middle Ages; it is however possible that the tradition of the sacred spring goes back to pre-Christian times. The name refers to Mary, as Our Lady in Swedish translates to Vår Fru.
The church also historically served a defensive purpose. In the churchyard, the remains of what is assumed to have been a defensive wall have been discovered, and as late as 1861 an earth rampart surrounded the church. Some of the doors of the church are still marked by bullet holes dating from the wars between Denmark and Sweden in the 17th century.
The choir is the oldest part of the now visible church, probably dating from the first half of the 15th century but possibly containing elements which are older. The nave dates from the second half of the same century. The ceiling is supported by star-shaped vaults which are in turn supported by an octagonal pillar in the middle of the room. The pillar carries several inscriptions and markings (house marks) by pilgrims from the Middle Ages. Partially embedded in the western wall is a slender bell tower. The church is internally partially decorated with murals dating from the 15th century, and has a baptismal font dating from the 12th century. In the choir stand two late medieval wooden sculptures, depicting John the Evangelist and Saint Peter. The church also has a triumphal cross dating from the 15th century, which was reinstalled in the church during a renovation in 1906–7. The pulpit dates from the 1730s and the altarpiece from 1689.
In 2005, the church underwent an internal renovation.


It was first mentioned in a Latin document of Diocese of Wrocław called Liber fundationis episcopatus Vratislaviensis from around 1305 as item Frienstad in Ray.  It meant that the a new town was being founded on the ground of the older village Ráj (Ray). The creation of the town was a part of a larger settlement campaign taking place in the late 13th century on the territory of what will be later known as Upper Silesia. Politically it belonged initially to the Duchy of Cieszyn, formed in 1290 in the process of feudal fragmentation of Poland and was ruled by a local branch of Piast dynasty. In the document from 1327 when Duke Casimir I became a vassal of the King of Bohemia it is listed as one of three civitates in the Duchy (the other two being Cieszyn and Bielsko), so it was then a town under German town law.
In the process of location a parish church was also built. It mentioned in the register of Peter's Pence payment from 1447 among 50 parishes of Teschen deanery as Freyenstat.
After the 1540s Protestant Reformation prevailed in the Duchy of Teschen (Cieszyn) and a local Catholic church was taken over by Lutherans. It was taken from them (as one from around fifty buildings in the region) by a special commission and given back to the Roman Catholic Church on 14 April 1654.
From its beginning it was one of the most important centers of Cieszyn Silesia. Development of the town was set back by a major fire in 1511 when all of the wooden houses burnt down. Fish farming became an important industry for the town with the creation of several ponds in the 16th century. The 17th century had a mostly negative impact on the town's development with fires, epidemics and the Thirty Years' War. In 1623 about 1,400 citizens died of bubonic plague. The town was occupied for nearly thirty years by Danish forces and then by Swedish forces. The dilapidated town was then bought by owners of nearby Karwin, the Larisch-Mönnich family. They built a château there and raised the town from poverty, but a fire in 1823, Prussian occupation in 1866 and epidemics again made the development of the town difficult. Coal was discovered in 1776, but it was not until 1794 that it began to be exploited on a large scale. As a result of the coal industry, rapid development of the town and surrounding villages occurred. Its impact was both positive and negative. Old settlements were destroyed and landscape was devastated. Industrial and coal mining expansion as well as the construction of railroads led to rapid growth of the area's importance. It became the most industrialized area in Austria and later Czechoslovakia.
After Revolutions of 1848 in the Austrian Empire a modern municipal division was introduced in the re-established Austrian Silesia. The town became seat of a legal district in political district of Teschen, in 1868 it was elevated to become a seat of a separate Freistadt political district. According to the censuses conducted in 1880, 1890, 1900 and 1910 the population of the town grew from 2,960 in 1880 to 5,058 in 1910 with a majority being Polish-speakers (at least 53.8% in 1880, at most 76.8% in 1890, then dropping to 59.5% in 1910), accompanied by German-speaking (at least 21.6% in 1890 then growing to 1,704 or 35.3% in 1910) and Czech-speaking minority (at most 546 or 18.8% in 1880, then dropping to 46 or 1.5% in 1890 and growing to 253 or 5.2% in 1910). In terms of religion in 1910 the majority were Roman Catholics (4,437 or 87.8%), followed by Jews (341 or 6.7%), Protestants (267 or 5.3%) and others (13 or 0.2%). In the meantime it nearby Karwin with many coal mines and industrial facilities became more populous.
Until 1918, the town was part of the Austria-Hungary (Austrian portion after the compromise of 1867), in the district of the same name, one of the eight Bezirkshauptmannschaften in Austrian Silesia. In official dealings, only the German name of the town was used before 1867.
After World War I, fall of Austria-Hungary, Polish–Czechoslovak War and the division of Cieszyn Silesia in 1920, the village became a part of Czechoslovakia as the main mining center of the country. Following the Munich Agreement, in October 1938 together with the Zaolzie region it was annexed by Poland, administratively organised in Frysztat County of Silesian Voivodeship. The village was then annexed by Nazi Germany at the beginning of World War II. The Germans established and operated two Polenlager forced labour camps for Poles, and a forced labour camp for Jewish women in the town. After the war it was restored to Czechoslovakia. In 1948 it was merged with Karviná and became a part of that city. In the 1960 reform of administrative divisions, the Fryštát District was superseded by the Karviná District. Fryštát forms the historical center of Karviná, which is otherwise an industrial city.


Frydendal Church (Norwegian: Frydendal kirke) is a parish church of the Church of Norway in Risør Municipality in Agder county, Norway. It is located in the town of Risør. It is one of the two churches for the Risør parish which is part of the Aust-Nedenes prosti (deanery) in the Diocese of Agder og Telemark. The white, wooden church was built in a long church design in 1879 using plans drawn up by the architect Henrik Nissen. The church seats about 300 people.


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The fountain was inaugurated on September 5, 1980, by Mexican President José López Portillo, Madrid mayor, Enrique Tierno Galván and Mexico City mayor Carlos Hank González.
Féretro
The fountain is located in a plaza which used to be the Plaza of Miraville "created in the 19th Century at the intersection of the antique carriageway of access to the lands that belonged to the family of the third Countess of Miravalle". Today they are Durango and Oaxaca streets. Underneath this plaza there was a well that served as the main source of drinking water for the Colonia Roma. This copy of the Spanish fountain was donated by Spanish immigrants to Mexico.
In 2011, the then mayor of Mexico City, Marcelo Ebrard, announced that the fountain was one of the 67 monuments to receive maintenance and refurbishment. The renovation included the "reintegration of missing pieces, restoration of bronze sculptures, rehabilitation of the water system, improvement of green areas and illumination with the objective of reducing electrical  energy spending [by] 30%”. The re-inauguration of the fountain was on January 21, 2011, by the same mayor, the Spanish ambassador to Mexico Manuel Alabart, and Secretary of Works and Services of the Government of the Federal District, Fernando Aboitiz.


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The sculptural group measures approximately 12.5 meters long, 4.7 meters in width and 5.5 meters tall with a weight of 12 tons. It is located two blocks away from Metro Insurgentes and two blocks away from the Durango Metrobus station at the crossing of four streets: Oaxaca, Durango, Medellin and El Oro.
The fountain is located in the middle of a traffic circle surrounded by stores and restaurants that make up the Plaza Cibeles. Once a week, a flea market is set up, commonly known as "el tianguis de la Cibeles" or "el bazar de Oro".


The rent was and still is one Rhenish gulden per year (equivalent to 0.88 euros), as well as to make three daily prayers for the current owners of the Fuggerei – the Lord's Prayer, Hail Mary, and the Nicene Creed – and to work a part-time job in the community. The conditions to live there remain the same as they were 500 years ago: one must have lived at least two years in Augsburg, be of the Catholic faith and have become indigent without debt. The five gates are still locked every day at 10 PM.
Housing units in the area consist of 45 to 65 square metre (500–700 square foot) apartments, but because each unit has its own street entrance it simulates living in a house. There is no shared accommodation; each family has its own apartment, which includes a kitchen, a parlour, a bedroom and a tiny spare room, altogether totalling about 60 square metres. Ground-floor apartments all have a small garden and garden shed, while upper-floor apartments have an attic. All apartments have modern conveniences such as television and running water. One ground-floor apartment is uninhabited, serving as a museum open to the public. The doorbells have elaborate shapes, each being unique, dating back to before the installation of streetlights when residents could identify their door by feeling the handle in the dark.


The museum holds approximately 500 paintings, with a few dating from the late 18th century and the Danish Golden Age during the first half of the 19th century, while the main focus of the collection is on paintings from around 1900. Represented are important Danish artists like the Skagen Painters, the Fynboerne, Theodor Philipsen, L. A. Ring, Oluf Hartmann and Vilhelm Hammershøi.


The inner castle of Fukuoka Castle is the area surrounded by a continuous moat, which measures about 1000 metres (3281 ft) from east to west and 700 metres (2297 ft) from north to south.  Even without the moat, the inner castle of Fukuoka Castle, in its grandiose scale, is as large as some of the castles built by the Tokugawa Shogunate, such as Nagoya Castle and Osaka Castle of the Tokugawa Period.  However, thanks to the wide roads which ran throughout the san-no-maru, especially from the Kami-no-hashi Gateway through the Shimo-no-hashi Gateway, soldiers could move quickly to the point of attack in case of fire concentrated at some point of the castle.
The san-no-maru, which is also called the san-no-kuruwa, covers a large proportion of this inner castle and is divided into an eastern section and a western section by the Matsunoki-zaka Approach, Takayashiki, and the stone walls between them.  The foundation level of the western section is 5–6 metres (16–20 ft.) above sea level, while the eastern section is 2–3 metres higher than the western section within the mound lines along the moats, which were 8–17 metres above sea level.  The height of Takayashiki is approximately 13 metres (43 ft).
In the eastern section, soon after the castle's completion, Kuroda Zusho, Kuroda Yoshin, Mori/Bori Tajima, and Kuriyama Bingo (principal retainers) initially occupied the residences that were aligned along the edge of the northern moat of the inner castle, from the eastern edge of the inner castle to the Shimo-no-hashi Gateway. On the east of the Ni-no-maru, there was another residence which was initially occupied by Inoue Suo.  These residences were continuously occupied by principal retainers from the time of the castle's completion through the last days of the Tokugawa Shogunate.  The principal retainers who resided in these residences were often required by their lord's command to relocate there, as were the residents in the castle town.  These retainers' residences, which were all approximately the same size, enabled an effective defensive disposition.  A castle's garrison of soldiers is said to have been one to two soldiers per tsubo (4 sq.m.), and accordingly, each residence could contain 1000–2000 soldiers.
After the completion of the castle, in the western section of the inner castle were the Daikan-cho residential quarters.  The structural divisions depicted on the map of "The Intelligence Report on the Provinces of Chikuzen, Chikugo, Hizen and Higo", which was written by a shōgun's shinobi and compiled in Kan'ei-4 (1627), probably reflect the early days of this castle.  The "Illustrated Map of All Fukuoka and Hakata", made in Shōhō-3 (1646), shows different structural divisions in the western section.  According to this map, there were five residences for principal retainers in the western section, and the lord's residence was on the west of the stone wall between the Matsunoki-zaka Approach and the Kirinoki-zaka Approach.  The only other facility depicted in the map besides the residences was an independent section of the finance department to the south of Takayashiki.  A facsimile of a map which was supposedly made in Kanbun-11 (1671) shows that the lord's residence had moved to the west of Takayashiki.  This is the residence which was newly built in the same year, and it went by the name of O-shita-no-yashiki.  From this time, the lord's residence did not move until the end of Tokugawa Shogunate.  In Hōreki-13 (1763), a considerable part of the O-shita-no-yashiki Residence was destroyed by fire and reconstructed the following year.  The residence then underwent renovation in Meiwa-7 (1770).  The residence contained an audience chamber where the lord met with his retainers, the lord's living quarters, a large and a small study, a lesson room, secretaries' office, a recording room, a finance department office, anterooms for principal retainers and five commissioners, an apartment complex for court ladies, a kitchen, a granary which stored the five primary food staples, a charcoal storehouse, an archive, a treasury storehouse, a noh stage, and no less than 15 wells.
On the north of the O-shita-no-yashiki Residence, there were two sections of structures previously used as the principal retainer's residences.  This site was then used for the Kita-no-maru (an annex to the O-shita-no-yashiki Residence where the mistresses of the lord lived), the firewood storehouse, the treasurer's residence, treasure houses, a wood workshop, and a flower garden.
On the south of the O-shita-no-yashiki Residence there were two sections of structures previously used as principal retainers' residences. These were replaced by a Goyo-yashiki, which may have been a government officials' apartment complex, and then a horse riding ground in Meiwa 8 (1771).  In Bunka-8 (1811), the hawkers' office was moved from the south of the castle to an area adjacent to the riding ground.
Facing the Oimawashi Gateway lies the Uemono-kuruwa where the wall stones bear many types of seals carved into them.  These seals indicate the groups belonging to different principle retainers at the quarries which provided stones for the castle's construction.  This practice enabled administrators to accurately credit retainers with their contribution.


Fundy National Park is a national park of Canada located on the Bay of Fundy, near the village of Alma, New Brunswick. It was officially opened on 29 July 1950. The Park showcases a rugged coastline which rises up to the Canadian Highlands, the highest tides in the world and more than 25 waterfalls. The Park covers an area of 207 km² (80 sq mi) along Goose Bay, the northwestern branch of the Bay of Fundy. When one looks across the Bay, one can see the northern Nova Scotia coast.
At low tide, park visitors can explore the ocean floor where a variety of sea creatures (e.g., dog whelk, periwinkles, various seaweeds) cling to life. At high tide, the ocean floor disappears under 15 m (50 ft)of salt water.
There are 25 hiking trails throughout the park. The Caribou Plains trail and boardwalk provides access to upland forest and bog habitats. Dickson Falls is the most popular trail in the park.
Park amenities include a golf course, a heated saltwater swimming pool, three campgrounds, and a network of over 100 km of hiking and biking trails. During the winter, Fundy National Park is available for day use, at one's own risk.  Visitors use the park to go cross-country skiing, snowshoeing, tobogganing, and winter walking. The cross-country ski trails are groomed by the local Chignecto Ski Club.
A variety of scientific projects are ongoing in the Park, with the primary focus on monitoring the park's ecology. Recent projects have focused on re-establishing aquatic connectivity in the park (Bennett Lake Dam, new Culverts, Dickson Brook restoration.  Species such as the endangered Inner Bay of Fundy Salmon, Martens and Fishers (members of the weasel family), brook trout, eel, and moose are monitored regularly.
The Dobson Trail and Fundy Footpath extend out of the park to Riverview and to St. Martins respectively. A unique red-painted covered bridge is located at Point Wolfe.
Other rivers that flow through the park include the:
Broad River
Point Wolfe River
Upper Salmon River


According to the Commission for Environmental Cooperation, the park is located in the Level III- Eastern Temperate Forests (Maine-New Brunswick Plains and Hills) ecoregion. According to the Ecological Framework of Canada, the park is situated in two distinct ecoregions. The southern section of the park falls in the Fundy Coast ecoregion. This region experiences cool, wet summers and mild, rainy winters. Its coniferous forest consists of red spruce, balsam fir, and red maple with some white spruce, and white and yellow birch.  Some sugar maple and beech trees are also found here at higher elevations.  The northern section of the park falls in the Southern New Brunswick Uplands ecoregion. This ecoregion experiences summers that are warm and rainy, and winters that are mild and snowy. Its mixed-wood forest contains mainly sugar and red maple, white and red spruce and balsam fir trees.  Finally, according to the World Wide Fund for Nature, the park is located in the New England-Acadian forest ecoregion.


The Funicular Rigiblick (German: Seilbahn Rigiblick) is a funicular railway in the north-east of the city of Zürich, Switzerland. It links a lower station served by Zürich tram routes 9 and 10 and Zürich trolleybus route 33, with an upper station at Rigiblick on the Zürichberg hill.
The Rigiblick funicular is one of two funiculars within the city of Zürich, the other being the Polybahn funicular in the city centre. Additionally, the city's Dolderbahn rack railway was originally a funicular, until its conversion to rack working in the 1970s.


The pass was part of the Gothic Line, meant to stop the Allied advance. It was the site of bitter combat between 9 and 21 April 1945, but most of the interred fell in late August 1944 between Carrara on the Ligurian Sea and the area surrounding Rimini.
In the wake of the 22 December 1955 Accord on War Graves between the BRD & Italy signed in Bonn and ratified by the Italian legislature 12 August 1957 as Law 801, in 1959 the German War Graves Commission entrusted oversight of the project to the architect Dieter Oesterlen. In the planning and execution he was assisted by the landscape architects Walter Rossow and Ernst Cramer and the sculptor  Helmut Lander. The metalwork was by  Fritz Kühn.
The reburied soldiers were collected from neighboring battlefields and churchyards in the provinces of Bologna, Metropolitan Florence, Forlì-Cesena, Lucca, Modena, Pesaro and Urbino, Pisa, Pistoia, Ravenna and Reggio Emilia; and a number of remains were also identified. With 30,683 graves it is the largest German cemetery in Italy.


The nature reserve is set in parkland which was originally the pleasure grounds of a large house belonging to 19th-century scientist and pioneer in electricity, Andrew Crosse,  whose family had owned the house from its construction.
Having lost his parents, his father in 1800 and his mother in 1805, Crosse took over the management of the family estates at the age of 21. Among his experiments Crosse erected "an extensive apparatus for examining the electricity of the atmosphere," incorporating at one point an insulated wire some 1.25 miles (2.01 km) long, later shortened to 1,800 feet (550 m), suspended from poles and trees. Using this wire he was able to determine the polarity of the atmosphere under various weather conditions. His results were published by his friend George Singer in 1814, as part of Singer's Elements of Electricity and Electro-Chemistry.
Along with Sir Humphry Davy (who visited Fyne Court in 1827), Crosse was one of the first to develop large voltaic piles. Although it was not the largest he built, Henry Minchin Noad's Manual of Electricity describes a battery consisting of 50 jars containing 73 square feet (6.8 m²) of coated surface. Using his wires Crosse was able to charge and discharge it some 20 times a minute, "accompanied by reports almost as loud as those of a cannon". He became known locally as "the thunder and lightning man". In 1836 Sir Richard Phillips described seeing a wide variety of voltaic piles at Fyne Court, totalling 2,500, of which 1,500 were in use when he visited.
The house was the childhood home of The Right Hon. Susan Harris, Countess of Malmesbury, who was the daughter of John Hamilton of Fyne Court and the second wife of James Harris, 3rd Earl of Malmesbury, Foreign Secretary and Tory politician. She published a number of books and articles in her lifetime including 'Village Life in England' in which she recorded some reminiscences of life in Broomfield. She later married Major General Sir John Charles Ardagh who is buried in Church of St Mary & All Saints, Broomfield churchyard and wrote an account of his life.
The house burnt down in 1894. However the detached music room in which Crosse conducted his experiments survived, along with some of the books and oil paintings by Anthony van Dyck and Peter Paul Rubens. The laboratory table on which Crosse carried out experiments stands in the aisle of the Church of St. Mary and All Saints in Broomfield and an obelisk in his memory is in the churchyard.
In 1918 several hundred acres of the woodland within the park was sold at an auction in Taunton. Fyne Court was left to the National Trust by John Adams in 1967, and passed in to the Trust's ownership in 1972 once legal issues were resolved. It was also used as the headquarters of the Somerset Wildlife Trust.  The Quantock Hills AONB Service have their headquarters in the grounds.


After several decades of decay, the castle was rebuilt during the 1650s and the 1660s. The castle now became the residence of the governor, and office of the provincial government.


The Gélise passes through the following départements and cities:
Gers: Dému, Eauze
Lot-et-Garonne: Sos, Poudenas, Mézin, Barbaste


The Compagnie Nationale du Rhône (CNR) was founded in 1933 to undertake construction and operation of the dam.
In 1934 the state granted the concession to harness the river.
The architects were Léon Bazin, Pierre Bourdeix and Albert Laprade.
Pierre Danel was the engineer of the spillways and Paul Galabru was the overseeing engineer.
Preliminary work began in February 1937, and official authorization to undertake the project was granted on 21 June 1938.
The Léon Chagnaud et fils company was given the contract to divert the Rhone from the site.
They built a temporary dam from steel rods and rock to divert the water into two underground channels, both 12 metres (39 ft) wide, 8 metres (26 ft) high and 500 metres (1,600 ft) long. The diversion was opened successfully in April 1939, handling 500 cubic metres (18,000 cu ft) per second of water.
World War II (1939-1940) caused delays.
On 21 March 1940 the Entreprise de Construction du Barrage de Génissiat (ECBG) was created, a consortium of public works companies.
In June 1940 the site was flooded. After the armistice between France and Germany of 22 June 1940, work resumed slowly.
Many of the workers joined the underground resistance, and there were several incidents, including a deadly one on 12 February 1944.


The project restarted in 1945 after the war ended.
Three housing estates were built for the workers, with health services and sports and cultural facilities.
Most of the concrete was poured between 1946 and 1947, using aggregate delivered by two cable cars from a gravel pit in Pyrimont, 6 kilometres (3.7 mi) downstream.
Two spillways were built: an underground channel carrying 1,300 cubic metres (46,000 cu ft) per second and an open channel carrying 2,700 cubic metres (95,000 cu ft) per second,
which joins the river over an impressive "ski jump".
The dam handles water volumes that vary from over 735 cubic metres (26,000 cu ft) per second down to under 358 cubic metres (12,600 cu ft) per second
depending on snow run-off volumes and rainfall.
The hydroelectric station, 143 metres (469 ft) wide by 50 metres (160 ft) high, was designed for six main groups of turbines,
each supplied with water by a vertical conduit. The dam was completed in late 1947, and after being impounded was filled on 19–20 January 1948 in under 36 hours. The power plant was connected to Lyon and Paris via high-voltage lines. The first turbine was started in March 1948, and the others between May 1948 and 1957. The crest of the dam supports a road, and can be crossed on foot or by car.
By the end of 1949, Génissiat was the largest hydroelectric power plant in Europe.
Between 1954 and 1961 the artery from Génissiat to Paris was upgraded in stages from 225 kv to 380 kv.
A monument to the people who died during the dam's construction was consecrated in October 1995.
It stands at the entrance to the Génissiat cemetery.
The names show that workers came from Italy, Algeria and Poland to help in the construction.


The archaeological site was first noted in a survey conducted by Istanbul University and the University of Chicago in 1963. American archaeologist Peter Benedict identified the stone tools collected from the surface of site as characteristic of the Aceramic Neolithic, but apparently mistook the upper parts of the T-shaped pillars for grave markers. The hill had long been under agricultural cultivation, and generations of local inhabitants had frequently moved rocks and placed them in clearance piles, which may have disturbed the upper layers of the site. At some point, attempts had been made to break up some of the pillars, presumably by farmers who mistook them for ordinary large rocks.
In October 1994, German archaeologist Klaus Schmidt, who had previously been working at Nevalı Çori, was looking for evidence of similar sites in the area and decided to re-examine the location described by the Chicago researchers in 1963. Asking in nearby villages about hills with flint, he was guided to Göbekli Tepe by Mahmut and İbrahim Yıldız, the farmers who owned the land the site was situated on. Mahmut Yıldız and his father had previously discovered finds while ploughing there, which they reported to the local museum. Having found similar structures at Nevalı Çori, Schmidt recognized the possibility that the stone slabs were not grave markers as supposed by Benedict, but the tops of prehistoric megaliths. He began excavations the following year and soon unearthed the first of the huge T-shaped pillars. Ultimately he found only three tombs on the eastmost hill-group, which were a pilgrimage destination. Yıldız went on to work on the excavations and serve as the site's guard.
Schmidt continued to direct excavations at the site on behalf of the Şanlıurfa Museum and the German Archaeological Institute (DAI) until his death in 2014. Since then, the DAI's research at the site has been coordinated by Lee Clare. As of 2021, work on the site is conducted jointly by Istanbul University, the Şanlıurfa Museum, and the DAI, under the overall direction of Necmi Karul. Recent excavations have been more limited than Schmidt's, focusing on detailed documentation and conservation of the areas already exposed.


In 1802, George III of the United Kingdom, who was also the prince-elector of Hanover, allocated 22,680 thalers for a new observatory. The plans were developed, like many of the university's buildings, by Georg Heinrich Borheck. Construction was delayed by the French Revolutionary Wars and extended from 1803 until 1816. At the time, the building was on the outskirts of Göttingen, to ensure an unobstructed view of the night sky.
Carl Friedrich Gauss became the first director of the Observatory, and lived there between 1815 and 1855. Gauss arranged for the installation of two meridian circles (produced by Johann Georg Repsold and Georg Friedrich von Reichenbach in 1818 and 1819.
Gauss was succeeded by Wilhelm Weber and Peter Gustav Lejeune Dirichlet, who served as provisional directors (though neither was an astronomer), and Dirichlet was replaced, upon his death, by Gauss's former assistant, Ernst Friedrich Wilhelm Klinkerfues. In 1868, the research institution was divided into theoretical and practical sections. Klinkerfues continued to run the observatory until his death in 1884, after which directorship passed on to Wilhelm Schur in 1886. Throughout 1887/1888 Schur led a complete redevelopment of the observatory. Major projects included the renewal of the main hall's roof and the replacement of the outdated dome. In contrast to his predecessor, Klinkerfues, Schur was very successful in modernizing the inadequate equipment of the observatory, acquiring a new, large Repsold heliometer in 1888. He also, with the help of an assistant, catalogued and organised over 11,000 books and brochures in the observatory's library over a period of a year and a half, finishing in 1899.
Following Schur's death, Karl Schwarzschild assumed the position in 1901 and was succeeded first by Johannes Franz Hartmann and then by Hans Kienle, Paul ten Bruggencate, Hans-Heinrich Voigt, Rudolf Kippenhahn, Klaus Fricke, Klaus Beuermann, and finally Stefan Dreizler.


Today the theatre continues with productions by local companies and touring productions of musicals, drama and opera. It now forms a part of the VillaGaiety complex together with the Villa Marina, a nearby 1,620 capacity auditorium.
The Gaiety Theatre featured on Isle of Man commemorative stamps in 1987, 1994 and 2000. In February 2008, The Gaiety hosted a Hollywood movie Me and Orson Welles, starring Zac Efron, Christian McKay and Claire Danes. The Gaiety replicates the Mercury Theatre in New York in 1937.


Galeras is considered the most active volcano in Colombia, followed by Nevado del Ruiz. Its earliest activity during the Holocene has been dated at 7050 BC ± 1000 years through radiocarbon dating. Other eruptions similar to this event include those in 3150 BC ± 200 years, 2580 BC ± 500 years, 1160 BC ± 300 years, 490 BC ± 100 years, and in 890 AD ± 200 years. Typically these eruptions consist of a central vent explosion, conducive to an explosive eruption causing pyroclastic flows and/or lahars. Eruptions in more recent times, which have been recorded consist of those in 1535, December 1580, July 1616, 1641, 1670, 1754, November 1796, June 1823, October 1828, 1834, October 1865, July 1889, 1891, December 1923, October 1924, October 1932, February 1936, July 1947, January 1950, 1974, February 1989, January 1990, January 1993, March 2000, June 2002, July 2004, November 2005, October 2007, January 2008, February 2009, March 2009, January 2010, and August 2010. Reported incidents with no official proof occurred in 1836, 1930, 1933, and 1973.


WikiWeb_Galerie nationale du Jeu de Paume_3

Between 1947 and 1986, it contained the Musée du Jeu de Paume, an offshoot of the Louvre that held many important impressionist works now housed in the Musée d'Orsay. Widely considered as the "most famous museum of impressionist painting in the world", the rooms bore names such as Salle Degas, Salle Cézanne or Salle Monet.
From 1989, as part of the Grands Projets of François Mitterrand, the building underwent a $10 million renovation by architect Antoine Stinco, resulting in about 1180 square metres (12,700 square feet) of exhibition space spread across three floors. The formerly walled-in reception hall was transformed into an atrium-like open area flooded with natural light from large bay windows, allowing views of the neighboring Tuileries Gardens, Place de la Concorde, and Eiffel Tower. The top floor features a series of galleries lit by skylights.


The Galle Face Green is currently a 5 hectare ribbon strip of land between Galle Road and the Indian Ocean which is now the largest open space in Colombo. This is a popular destination for children, vendors, teenagers, lovers, kite flyers, merrymakers and all those who want to indulge in their favorite pastimes next to the sea under the open sky. On Saturday and Sunday evenings, the land is busy with day trippers, picnickers and food vendors selling cooked crabs and prawns, slices of mango with pepper and salt. There are two large hotels that border the strip; the Ceylon Inter-Continental Hotel and at the other by the quaint Galle Face Hotel, one of Sri Lanka's oldest and most popular hotels, with a variety of old world charm including old furniture, hand carved doors, balconies and high ceilings. It is also used as the site for Sri Lanka's national day celebration held annually on 4 February.
Radio Ceylon and subsequently the Sri Lanka Broadcasting Corporation, the oldest radio station in South Asia, has recorded many programs here from their outside broadcast input in the 1950s and 1960s.
The Galle Face Green was administered and maintained by the Urban Development Authority of Sri Lanka until 2014 when the management was transferred to the Sri Lanka Ports Authority. Since 2016 the park is being maintained by Sri Lanka Port Management and Consultancy Services, a government-owned entity operated under the Ministry of Ports and Shipping.
On 25 December 2016 it hosted the world's tallest artificial Christmas tree.


The reconstruction of the ground had been reconsidered by the Sri Lanka Cricket and the Sri Lankan government mainly due to some restrictions imposed on constructions on the coastline and also some internal problems within the Sri Lanka cricket board. Suggestions had also been made to construct the stadium at a different location. However the final decision was to renovate the existing stadium. The cost of the reconstruction was approximately Rs. 500,000,000. International support was obtained for this, with considerable assistance provided by Surrey County Cricket Club in England. Additionally, former cricketers Shane Warne (Australia) and Ian Botham (England) also made notable financial contributions.
During the renovations, another problem emerged that threatened to stop the construction. One of the new buildings being constructed blocked the view of the adjacent fort, which is a UNESCO World Heritage Site. The Galle Heritage Foundation and some other organisations expressed concern over this, pointing out that this may result in the fort being removed from the UNESCO World Heritage List. This issue was later resolved and the construction re-continued after some time.


The Galleria Rinaldo Carnielo is a museum encompassing the small palace and studio of the artist Rinaldo Carnielo (1853-1910), located on Piazza Savonarola #3, Florence, region of Tuscany. Italy.
The eclectic collection consists of nearly 300 works or models, mainly sculptures, by Carnielo, as well as some paintings by Carniello, and some of his colleagues Silvestro Lega, Michele Gordigiani, and Arturo Calosci. Among the works of Carnielo are some macabre sculptures such as Tenax Vitae, Dying Mozart, and Angel of Death.
The small palace is built in the Italian counterpart of Art Nouveau, known as Stile Liberty, and was donated to the commune in 1957 by the sculptor's son. In October 2015, the museum was temporarily closed.
The design and construction of the palace dates to the 1880s and appears to have involved Rinaldo Carnielo and Enrico Lusini. The facade has various inscriptions including a bust of the artist with the inscription "Non ominis moriar". A scroll in the center facade states "Onorate l'arte che è vita della vita" (Honor art which is the life of life).


WikiWeb_Gallery of Modern Art, Glasgow_2

Since its opening in 1996, the gallery has hosted several million visitors. It has a dedicated Education and Access studio, facilitating workshops and artists talks and in the basement a Learning Library. The building also contains a café, free Internet access terminals, multimedia, art, and general book-lending facilities. Exhibits include works by David Hockney, Sebastião Salgado, and Andy Warhol as well as Scottish artists such as John Bellany and Ken Currie.
The mirrored pediment on the exterior of the building is by artist Niki de Saint Phalle, entitled Tympanum (1996). Saint Phalle also installed the mirrored vestibule to the gallery.
In front of the gallery, on the Queen Street pavement, stands an equestrian statue of the Duke of Wellington sculpted by Carlo Marochetti in 1844. The statue usually has a traffic cone on its head; for many years the authorities regularly removed cones, only for them to be replaced. The jauntily placed cone has come to represent, particularly in tourist guidebooks, the city's light-hearted attitude to authority. Two exceptions were on the occasion of Glasgow hosting the 2002 UEFA Champions League final, when the cone was replaced by a football-patterned hat bearing the logo of one of the tournament sponsors, Amstel, and in June 2010, on the run-up to the opening of hotel chain citizenM in Glasgow, when the cone was replaced with a 'feel free' branded glitter cone. Around the time of the Independence Referendum, a saltire was attached to the cone.
The cone was painted gold during the 2012 Olympics as a celebration of Scotland's contribution to the record haul of gold medals won by Team GB. A gold cone was again placed on the statue for the 2014 Commonwealth Games.
On 'Brexit Day' (31 December 2020) pro-european supporters placed a cone painted to represent the EU flag on the statue's head.


WikiWeb_Gallery of Paleontology and Comparative Anatomy_3

Since 1994, this Galerie de Zoologie (Gallery of Zoology) has been renamed as the grande Galerie de l'Évolution or Gallery of Evolution as it is called in English.


Racing takes place every Friday and Saturday evening. Distances are 350, 525, 550, and 575 yards. The feature competition at the track is the Champion Bitch Stake. Ollie Hester has been Racing Manager since 2003. Previous managers were Tom Moran, Luke Colleran, Tom Holland, Ned Shea and Martin Divilly. Eugene Kelly was the first Racing Manager in 1932.