Crown Hill was not Indianapolis's first major cemetery. Alexander Ralston included a cemetery site in his 1821 plan of Indianapolis at the south end of Kentucky Avenue, where it intersects South and West Streets. Prior to the establishment of Crown Hill Cemetery in 1863, the city's main cemetery was expanded in the 1830s to create the 25-acre (10 ha) Greenlawn Cemetery on the city's southwest side. During the Civil War, Greenlawn was quickly filling with burials of Union soldiers and Confederate prisoners of war and faced encroachment from west side industrial development. By the end of the 1870s it was closed to further interments due to lack of space.
The normal demands of a growing city, along with the capacity issues at Greenlawn, prompted a group of Indianapolis's civic-minded men to establish a new and larger cemetery within five miles of the city. On September 12, 1863, the men met with John Chislett Sr, a Pittsburgh landscape architect and cemetery superintendent, to discuss ideas for a cemetery that would be based on the park-like settings becoming popular in Europe, most notably the Pere Lachaise Cemetery in Paris. On September 25, 1863, the group formed the Association of Crown Hill. Its selection committee bought a 166-acre (67 ha) farm and tree nursery owned by Martin Williams for $51,500. The site for the new cemetery at Strawberry Hill, a high point overlooking Indianapolis, was 2.8 miles (4.5 km) northwest of the city. The committee also acquired adjacent acreage of naturally rolling terrain from other sources. On October 22, 1863, a 30-member Board of Corporators (trustees) formally established Crown Hill as a privately owned cemetery.
Once the initial land was secured, the board hired Chislett's son, Frederick, as Crown Hill's first superintendent. He arrived in Indianapolis with his wife and children on December 31, 1863. Frederick supervised the construction of the cemetery's first roads and developed the property's grounds based on the landscape designs of his father and Prussian horticulturalist Adolph Strauch. The design retained many of the cemetery's natural features and laid out winding roads to create a landscape in the Victorian Romantic style. The cemetery's first main entrance was off old Michigan Road (later known as Northwestern Avenue and currently as Dr. Martin Luther King Jr Boulevard).
Crown Hill Cemetery was dedicated on June 1, 1864. The first burial at Crown Hill was the body of Lucy Ann Seaton, aged 33, a young mother who had died of consumption. Later that year, James Pattison built a stone gateway for $2,300 at the cemetery's west entrance off of Michigan Road. The cemetery's east entrance at 34th Street opened in 1864. Omnibus transportation reached the cemetery in 1864. Visitors could also travel by steam-powered boat up the Central Canal to reach Crown Hill. Automobiles were allowed on the grounds beginning in 1912.
In 1866, the federal government purchased 1.4 acres (0.57 ha) of land within the grounds of Crown Hill for a national military cemetery. The bodies of more than 700 Union soldiers who had died in Indianapolis during the Civil War were moved from Greenlawn Cemetery to new graves at the National Cemetery. On May 30, 1868, Crown Hill, along with Arlington National Cemetery and 182 others in 27 states, took part in the country's first Memorial Day celebrations. An estimated crowd of 10,000 attended the Crown Hill ceremony, beginning an annual tradition at the site.
By the mid-1800s, Crown Hill was a burial ground as well as a popular location for recreational activities such as picnics, strolls, and carriage rides. It is well known for its views of downtown Indianapolis from "The Crown". In addition to developing the cemetery grounds, Crown Hill's Corporators built new structures on the site. A Gothic chapel and vault was erected in 1875. The main entrance was moved to 34th Street on the cemetery's east side, where the cemetery's Waiting Station building and a three-arched gateway were erected in 1885. A new gate and gatehouse were built at the west entrance in 1900 to replace earlier structures that were demolished. Over several decades Crown Hill's grounds expanded to include substantial parcels of land north of 38th Street (known then as Maple Road). In 1911, the acquisition of 40 acres (16 ha) at the northwest corner of Crown Hill made the 550-acre (220 ha) grounds the third largest nongovernmental cemetery in the United States.
Crown Hill's Pioneer Cemetery was established on the north grounds in 1912. The bodies of 1,160 early settlers from Greenlawn Cemetery were moved to this new section at Crown Hill. The remains of 33 people from Rhoads Cemetery, established on the city's west side in 1844, were interred in the Pioneer Cemetery in 1999. Bodies from the Wright-Whitesell-Gentry Cemetery located near Castleton on the city's northeast side were moved to the Pioneer Cemetery in 2008–09.
The cemetery's grounds continued to change. In 1914, landscape architect George Kessler designed a brick and wrought-iron fence nearly three miles (4.8 km) long. It was completed in the early 1920s and surrounded three quarters of the cemetery's south grounds and the southern end of the north grounds along 38th Street. A bridge/underpass that became known as the Subway passed beneath 38th Street to connect the north and south grounds. Although Crown Hill faced competition from other cemeteries in the area, it continued to expand. More than 100,000 people were buried there by the late 1930s and more than 155,000 by the late 1970s. The cemetery's Community Mausoleum was formally dedicated in 1951. Building five of the Garden Mausoleums, a series of outdoor mausoleums, was completed in 1962. A new administrative building by Bohlen and Burns was dedicated in 1969. By the early 1980s, Crown Hill was valued at nearly $3 million. Its annual sales were estimated at $250,000, with an operating budget of $895,000. The cemetery employed 15 salaried employees, 21 full-time maintenance workers, and 25 seasonal workers.
Preservation of the cemetery's monuments and structures remained an ongoing concern to Crown Hill's board. The Crown Hill Heritage Foundation, a nonprofit corporation, was established in 1984 to raise funds for restoration of the cemetery's historic buildings and its grounds. By 1997 the foundation had raised $1.8 million, with an additional $3.2 million raised later, to restore the Gothic Chapel and make other improvements to the cemetery. In the 1990s Crown Hill added a mortuary and a new crematorium.
On February 28, 1973, Crown Hill Cemetery, including the National Cemetery, was listed on the National Register of Historic Places. The National Cemetery portion, which is listed separately, was added to the National Register on April 29, 1999.
The first female and African American, Cynthia Strayhorn Whisler, joined the Crown Hill Board of Corporators in 1997. Milton O. Thompson, a lawyer, former deputy Marion County prosecutor, and founder of a sports and entertainment management company became the board's first African American member. Hilary Stour Salatich, a Conseco executive and civic leader, became the first female corporator.


In 1866 the U.S. government authorized a U.S. National Cemetery for Indianapolis as a burial site for Union soldiers who died in military camps and hospitals near the city during the Civil War. The National Cemetery is located on 1.4 acres (0.57 ha) within the grounds of Crown Hill in Section 10 The federal government purchased the site from Crown Hill's board for $5,000. On October 19, 1866, the remains of the first Union soldier were removed from Greenlawn Cemetery and interred at the National Cemetery at Crown Hill. By November 1866, the bodies of 707 soldiers had been moved from Greenlawn to the National Cemetery. As of December 31, 1998, the National Cemetery is filled. It encompasses 795 burial sites.


Crown Hill is also a burial site for Confederate soldiers who died at Camp Morton, a prison camp located north of Indianapolis. In 1931, when industrial development around Greenlawn Cemetery required the bodies of the Confederate prisoners to be moved, their remains were interred in a mass grave known as the Confederate Mound in Section 32 at Crown Hill. In 1993 a memorial with ten bronze plaques listing the names of the 1,616 Confederate soldiers and sailors who died at Camp Morton was dedicated at the site.


Wars in Afghanistan and Iraq prompted expansion of Crown Hill's military sections to include the Field of Valor on 4 acres (1.6 ha) of the north grounds. It was dedicated on Veterans Day, November 11, 2004. The Eternal Flame and Eagle Plaza installed in front of the memorial were dedicated on Veterans Day in 2005.


Wildlife abounds in Crown Hill Cemetery, which serves as a large refuge for birds, white-tailed deer, and small animals. More than 100 species of trees have been identified on the grounds.


There are many works of art on the property, some of which are freestanding, but most of which are associated with a gravesite. Notable examples include:
James Whitcomb Riley's Tomb: Following Riley's death on July 22, 1916, Crown Hill's board offered his family the prestigious site at "The Crown", the summit of Crown Hill that overlooks Indianapolis, as his final resting place. His was buried there on October 6, 1917. Riley's gravesite is marked with a large, open-canopied monument.
Forrest Memorial: This is the gravesite of Albertina Allen Forrest, wife of Butler University professor and Citizens Gas general manager Jacob Dorrsey Forrest. She died on April 27, 1904. To mark the grave, her husband commissioned Viennese sculptor Rudolf Schwarz, whose work adorns numerous monuments and memorials including the Soldiers' and Sailors' Monument in Indianapolis, to create "Statue in Repose", a kneeling woman in mourning beneath a couplet from Alfred Lord Tennyson's "In Memoriam". Albertina's husband, who died in 1930, is buried in an unmarked grave beside the memorial.
Three limestone statues depicting the Greek goddesses Themis, Demeter, and Persephone from the old Marion County Courthouse. The courthouse was demolished in 1962.
Equatorial Sundial:David L. Rodgers was commissioned to create the functional sundial in 1985. It was fabricated of Indiana limestone in Bloomington, Indiana, and installed in front of the Community Mausoleum in 1987.
The Hoosier Artists Contemporary Sculpture Walk: Established to mark Crown Hill's 140th anniversary, the walk includes works by ten artists, including Michael B. Wilson's "Social Attachments" and Eric Nordgulen's "Antenna Man".
Holcomb Mausoleum Door: Part of a memorial for James Irving Holcomb, an Indianapolis industrialist and a Vice President of the Butler University board of trustees


Medical Science Donor Memorial, installed in 1991. In 1978 the Anatomical Education Board of the Indiana University School of Medicine purchased Section 41-A to inter the cremated remains of bodies that had been studied. As of 2011 more than one thousand medical donors have been recognized at the memorial.
Indiana AIDS Memorial, dedicated on October 29, 2000, is the first permanent AIDS memorial located in a cemetery.
The Heroes of Public Safety monument, dedicated on September 11, 2002, is inscribed with the names of police, firefighters, and other public safety personnel who died in the line of duty.
The Hearts Remembered Memorial, dedicated on June 4, 2006, remembers the city's orphaned and abandoned children, many of whom were buried in unmarked graves.


Gothic chapel – Indianapolis architect Diedrich A. Bohlen designed the High Victorian Gothic-style chapel and vault, which were built east of the National Cemetery in 1875 at an initial cost of $38,922. They replaced an earlier vault that was used as temporary storage for bodies awaiting burial. In 1917 D.A. Bolen and Son designed an addition to the structure designed by D. A. Bohlen, the architectural firm's founder. The chapel and vaults were restored in the early 1970s at a cost of $120,000. CSO Architects began a major renovation and expansion in 2001. The project cost $3.2 million and received an excellence in Architecture Award from the American Institute of Architects, Indiana chapter, in 2007.
East gate, Waiting Station, and Porter's Lodge – Adolf Scherrer, an Indianapolis architect of Swiss origins, designed the High Victorian Gothic gateway and Waiting Station for the cemetery's main entrance at 34th Street and Boulevard Place. Construction began in May 1885. The three-arched gateway was completed in November 1885, in time for the funeral of vice-president and former Indiana governor Thomas A. Hendricks. The gate was built of Bedford limestone. The Waiting Station exterior is brick and limestone. A gatehouse house that became known as Porter's Lodge at the gate's south side was designed by the Indianapolis architectural firm of Vonnegut and Bohn and built in 1904. The Crown Hill board leased the Waiting Station to Historic Landmarks Foundation of Indiana in 1970 for one dollar per year, provided the preservation organization agreed to restore the historic structure. The restoration was completed by February 1971. HLFI moved to offices on Michigan Street in 1990 and the Waiting Station was leased until the mid-1990s, when Crown Hill began using it for office space. Crown Hill spent an additional $500,000 to restore the Waiting Station in the late 1990s. It was restored again in 2001 and serves as a meeting place for cemetery tours and programs.
Subway bridge/underpass – The underpass beneath 38th Street that connects the north and south grounds is also known as the Subway. Construction began in 1925 and was completed in 1927 at cost of $170,000. It was restored in the 1980s.
West gate and gatehouse – In 1901 the original west entrance to the cemetery was demolished and an arched Romanesque gate and a gatehouse designed by Indianapolis architect Herbert Foltz was erected at its southwest corner. The west gate was closed in 1965 and demolished the following year.
Masonry fence – In 1914 George Kessler designed a brick and wrought-iron fence to replace the cemetery's wood and wire fencing. The masonry fence surrounded three quarters of the south grounds and the southern end of the north grounds along 38th Street. It cost nearly $138,000. The fence has a 4-foot (1.2 m) thick concrete base, brick supports 8.5 feet (2.6 m) in height, and sections of wrought iron measuring 25 feet (7.6 m) in length that rest on brick support walls. Brick pillars at the entrances are more than 12 feet (3.7 m) tall. Construction of the fence, which is approximately 3 miles (4.8 km) long, was completed in 1920. A multi-year restoration costing $600,000 began in 1985.
Mausoleums – Crown Hill contains several family and communal mausoleums: Community Mausoleum, designed by D. A. Bohlen and Company, was completed in the early 1950s. Its exterior is made of Indiana Bedford limestone; the interior is marble. Abbey Mausoleum, which was planned in 1993, is designed by Patrick L. Fly and cost $1.3 million. It is built of Indiana limestone and Carnelian granite.
Superintendent's residence – A home for the superintendent remained on cemetery grounds until 1950. D. A. Bohlen designed a three-story Victorian house to replace a log cabin structure in the late 1860s. Fire destroyed the Victorian residence in 1913, but a new three-story brick home was already under construction as its replacement. The brick residence was removed from Crown Hill in 1950.
Administrative offices – A building erected at 38th and Clarenden Streets in 1969 serves as Crown Hill's business offices.
Mortuary and crematorium – Groundbreaking for a $1.5 million mortuary took place in May 1992. Architect J. Stuart Todd drew up the plans. The funeral home opened on March 1, 1993. Gibralter Remembrance Services, LLC, who purchased the mortuary in 2006, built a 9,500 square foot expansion. A new crematorium was added in 1990.


Vice Presidents of the United States Charles W. Fairbanks, Thomas A. Hendricks, and Thomas R. Marshall.
Vice Presidential nominees George Washington Julian, William Hayden English, and John W. Kern.
Indiana Governors Noah Noble, David Wallace, James Whitcomb, Abram A. Hammond, Oliver P. Morton, Thomas A. Hendricks, Albert G. Porter, Ira Joy Chase, Winfield T. Durbin, Thomas R. Marshall, and Robert D. Orr.
United States Senators Oliver H. Smith, Thomas A. Hendricks, Benjamin Harrison, Charles W. Fairbanks, Albert J. Beveridge, John W. Kern, Joseph E. McDonald, Thomas Taggart, David Turpie, Homer E. Capehart, Robert Hanna, and Harry S. New.
U.S. Representatives George W. Julian, General Ebenezer Dumont, Albert Porter, John H. Farquhar, Ralph Hill, Franklin Landers, Samuel M. Moores, William E. Niblack, and Julia Carson.
Mayors of Indianapolis including Caleb Scudder, James McCready, Henry F. West, Samuel D. Maxwell, John Caven, Daniel W. Grubbs, Caleb S. Denny, Thomas L. Sullivan, Thomas Taggart, Charles A. Bookwalter, John W. Holtzman, Samuel L. Shank, Joseph E. Bell, Charles W. Jewett, John L. Duvall, Claude E. Negley, Reginald H. Sullivan, Walter C. Boetcher, Robert Tyndall, George L. Denny, and Christian J. Emhardt.
Allen M. Fletcher, Governor of Vermont
Addison C. Harris, U.S. Envoy Extraordinary and Minister Plenipotentiary (ambassador) to Austria-Hungary.
Benjamin Harrison, 23rd president of the United States, along with his first wife, Caroline Harrison; his second wife, Mary Dimmick Harrison; his son Russell Benjamin Harrison; and his daughter Mary Harrison McKee.
William Henry Harrison Miller, U.S. Attorney General.
William D. McCoy, United States Ambassador to Liberia
Meredith Nicholson, author and U.S. Minister to Paraguay, Venezuela, and Nicaragua
May Wright Sewall, women's rights advocate.
William S. Taylor, Governor of Kentucky
William F. Turner, first Chief Justice of the Arizona Supreme Court.
Henry Lane Wilson, Ambassador to Mexico and U.S. Minister to Chile and to Belgium.
Zerelda G. Wallace, temperance advocate and suffragette, second wife of governor and congressman David Wallace, Lew Wallace's stepmother, and sister-in-law of James Gatling.
Christopher T. Gonzalez, LGBT and AIDs activist, along with his life partner Jeff Werner.


American Civil War generals for the Union army: Thomas Armstrong Morris, Edward Richard Sprigg Canby, Jefferson C. Davis, Abel Streight, George Francis McGinnis, John Parker Hawkins, Robert Sanford Foster, John Coburn, Frederick Knefler, and George Henry Chapman.
The remains of 1,616 Confederate soldiers who died during their confinement at Camp Morton, a Union prison camp in Indianapolis. Their remains were transferred to Crown Hill in 1931.
Two British Commonwealth service personnel are buried in this cemetery, one from each World War: Captain Joseph Hammond of the Royal Air Force, killed in 1918, and Warrant Officer Thomas Taggart Young, Royal Canadian Air Force, who died in 1942.
Charles W. Brouse, Congressional Medal of Honor recipient
James H. Kasler, Korean and Vietnam War fighter pilot and POW; only recipient of three Air Force Crosses
John Swanson Congressional Medal of Honor recipient
Roscoe Turner, aviator, winner of a Distinguished Flying Cross, and transcontinental speed recordholder.


James A. Allison, Frank Wheeler, Arthur Newby, and Carl Fisher, founders of the Indianapolis Motor Speedway.
Indianapolis 500 winners Floyd Davis, Louis Schneider, Howdy Wilcox, and Jim Hurtubise
Erwin "Cannon Ball" Baker, record setting motorcycle racer.
William L. "Bill" Garrett, the first African American to play in the Big Ten Conference.
Robert Irsay, former owner of the Indianapolis Colts.
Frank McKinney, Olympic gold medalist in swimming, later president of Bank One of Indiana and civic booster.
Toad Ramsey, Major League Baseball player from 1885 through 1890.
Stacey Toran, Football defensive back for the Los Angeles Raiders.
John Woodruff, Olympic gold medalist in track, 1936 Summer Olympics in Berlin.


Lyman S. Ayres, founder of L. S. Ayres department stores.
Charles H. Black
Ovid Butler, founder of Butler University.
August Duesenberg and Frederick S. Duesenberg, automotive industrialists
Frank P. Fox, Indianapolis 500 driver and owner of the Pope Motor Car Company
Howard Garns, inventor of Sudoku
Richard Jordan Gatling, American inventor, best known for his invention of the Gatling gun.
John F. Geisse, founder of Target Stores, Venture Stores, and The Wholesale Club.
Colonel Eli Lilly, founder of Eli Lilly and Company, and several of his descendants, including Josiah K. Lilly Sr., Josiah K. Lilly Jr., Eli Lilly, and Ruth Lilly.
Daniel Marmon, Early Indianapolis-based automotive manufacturers and a principal of Nordyke Marmon and Company
Thomas A. Morris, Indiana railroad executive and civil engineer
David M. Parry, founder of the Parry Auto Company
Hiram P. Wasson, founder of H. P. Wasson and Company department stores


James Baskett, the first African American man to win an Academy Award and best known for his role as Uncle Remus in Disney's Song of the South (1946).
Sarah T. Bolton, poet.
Jacob Cox, portrait and landscape painter.
Cecil Duane Crabb, ragtime composer.
William Forsyth, Hoosier Group artist
Richard Gruelle, Hoosier Group artist
John Wesley Hardrick, artist
Frank McKinney "Kin" Hubbard, cartoonist and humorist.
Etheridge Knight, poet.
James Whitcomb Riley, poet, best known for his poem "Little Orphant Annie"
Otto Stark, Hoosier Group artist
Booth Tarkington, author and winner of two Pulitzer Prizes


Francis Costigan, pioneer Indiana architect
John Dillinger, notorious bank robber in the 1930s.
G. T. Haywood, First Presiding Bishop of the Pentecostal Assemblies of the World.
Alexander Ralston, surveyor who designed the original plan of Indianapolis in 1821.


In the book The Fault in Our Stars, as well as the movie adaptation of the same name, the love interest Augustus Waters is buried at Crown Hill in a gravesite facing 38th Street.


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Croydon Minster is the parish and civic church of the London Borough of Croydon. There are currently more than 35 churches in the borough, with Croydon Minster being the most prominent. It is Grade I listed.
Six Archbishops of Canterbury are buried in the church: Edmund Grindal (d.1583), John Whitgift (d.1604), Gilbert Sheldon (d.1677), William Wake (d.1737), John Potter (d.1747), and Thomas Herring (d.1757).


The church was established in the middle Saxon period, and is believed to have been a minster church: one which served as a base for a group of clergy living a communal life, who may have taken some pastoral responsibility for the population of the surrounding district. A charter issued by King Coenwulf of Mercia refers to a council which had taken place close to what is called the monasterium (meaning minster) of Croydon. An Anglo-Saxon will made in about 960 is witnessed by Elfsies, priest of Croydon; and the church is also mentioned in Domesday Book (1086).
The earliest clear record of the church's dedication to St John the Baptist is found in the will of John de Croydon, fishmonger, dated 6 December 1347, which includes a bequest to "the church of S. John de Croydon".
In its final medieval form, the church was mainly a Perpendicular-style structure of late 14th and early 15th-century date. It still bears the arms of archbishops Courtenay and Chichele, believed to have been its benefactors.


The medieval building underwent some restoration in 1851 and 1857–9, under the direction of George Gilbert Scott. However, on the night of 5 January 1867, a fire broke out – possibly caused by overheating of the poorly positioned flues of recently installed Gurney stoves – which eventually gutted the entire building. It was rebuilt to Scott's designs between 1867 and 1869, incorporating some of the medieval remains (notably the west tower and south porch), and essentially following the medieval plan, while enlarging the building by extending its footprint further east. During the period of rebuilding, services were held in a temporary "iron church", with seating for 700, erected in April 1868 in Scarbrook Road.
The church's reconsecration by Archbishop Archibald Tait took place on 5 January 1870. The church still contains several important monuments and fittings saved from the old building.


The church was elevated to the status of Croydon Minster (the modern honorific title) on 29 May 2011, the first such change in the diocese of Southwark.
Croydon has strong religious links, Croydon Palace having been a residence of the Archbishop of Canterbury from at least the beginning of the 13th century to the beginning of the 19th. The Bishop of Croydon is a position as an area bishop in the Anglican Diocese of Southwark. The current area bishop is Jonathan Clark, who was consecrated on 21 March 2012. Until recently (mid 2016) the vicar was Colin J. Luke Boswell, Vicar of Croydon and Chaplain to the Whitgift Foundation.
Croydon Minster today de facto serves as Whitgift School's chapel. It is also linked to The Minster Schools.
The Minster stands in the inclusive liberal catholic tradition of the Church of England.


The church has a large four-manual pipe organ, much of which is by William Hill & Sons and dates from 1869. There is also a small organ in the St Nicholas Chapel which was obtained from St Mary the Virgin, Preston Candover in 1997.


The tower houses a ring of 12 bells cast by the Croydon firm of Gillett & Johnston in 1936, replacing an earlier ring of eight. The eight original bells were recast and hung with new fittings in a new frame with four additional trebles. The new ring of 12 was dedicated by the Bishop of Croydon on 12 December 1936 and the first peal on the new 12 was rung for the coronation of King George VI and Queen Elizabeth in 1937.
The tower and ringers are affiliated to the Surrey Association of Church Bell Ringers.


To the south of the Minster is St. Johns Memorial Garden, an area of 2 acres (0.81 ha). Up until 1957 it was a traditional cemetery which was no longer used and had become neglected. Earlier gravestones and tombs were relocated or used for walling or paving and a War Memorial was also repositioned.


The Crystal Palace Dinosaurs are a series of sculptures of dinosaurs and other extinct animals, incorrect by modern standards, in the London borough of Bromley's Crystal Palace Park. Commissioned in 1852 to accompany the Crystal Palace after its move from the Great Exhibition in Hyde Park, they were unveiled in 1854 as the first dinosaur sculptures in the world. The models were designed and sculpted by Benjamin Waterhouse Hawkins under the scientific direction of Sir Richard Owen, representing the latest scientific knowledge at the time. The models, also known as Dinosaur Court, were classed as Grade II listed buildings from 1973, extensively restored in 2002, and upgraded to Grade I listed in 2007.
The models represent 15 genera of extinct animals, only three of which are true dinosaurs. They are from a wide range of geological ages, and include true dinosaurs, ichthyosaurs, and plesiosaurs mainly from the Mesozoic era, and some mammals from the more recent Cenozoic era. Today, the models are notable for representing the scientific inaccuracies of early paleontology, the result of improperly reconstructed fossils and the nascent nature of the science in the 19th century, with the Iguanodon and Megalosaurus models being particularly singled out.


Following the closure of the Great Exhibition in October 1851, Joseph Paxton's Crystal Palace was bought and moved to Penge Place atop Sydenham Hill, South London, by the newly formed Crystal Palace Company. The grounds that surrounded it were then extensively renovated and turned into a public park with ornamental gardens, replicas of statues and two new man-made lakes. As part of this renovation, Benjamin Waterhouse Hawkins was commissioned to build the first-ever life-sized models of extinct animals. He had originally planned to just re-create extinct mammals before deciding on building dinosaurs as well, which he did with advice from Sir Richard Owen, a celebrated anatomist and palaeontologist of the time. Hawkins set up a workshop on site at the park and built the models there. The dinosaurs were built full-size in clay, from which a mould was taken allowing cement sections to be cast. The larger sculptures are hollow with a brickwork interior.
The models were displayed on three islands acting as a rough timeline, the first island for the Paleozoic era, a second for the Mesozoic, and a third for the Cenozoic. The models were given more realism by making the water level in the lake rise and fall, revealing different amounts of the dinosaurs. To mark the launch of the models, Hawkins held a dinner on New Year's Eve 1853 inside the mould of one of the Iguanodon models.
Hawkins benefited greatly from the public's reaction to the dinosaurs, which was so strong it allowed for the sale of sets of small versions of the dinosaur models, priced at £30 for educational use. But the building of the models was costly (having cost around £13,729) and in 1855, the Crystal Palace Company cut Hawkins's funding. Several planned models were never made, while those half finished were scrapped, despite protest from sources including the Sunday newspaper, The Observer.
Hawkins later worked on a "Paleozoic Museum" in New York's Central Park, an American equivalent to the Crystal Palace Dinosaurs. In May 1871 many of the exhibits in Hawkins' workshop were destroyed by vandals and their fragments buried, possibly including elements of the original Elasmosaurus skeleton, which the American palaeontologist Edward Drinker Cope had loaned to Hawkins for preparation at the time.
With progress in palaeontology, the reputation of the Crystal Palace models declined. In 1895, the American fossil hunter Othniel Charles Marsh scorned the dinosaurs' friends as doing them a great injustice, and spoke angrily of the models. The models and the park fell into disrepair as the years went by, a process aided by the fire that destroyed the Crystal Palace itself in 1936, and the models became obscured by overgrown foliage. A full restoration of the animals was carried out in 1952 by Victor H.C. Martin, at which time the mammals on the third island were moved to less well-protected locations in the park, where they were exposed to wear and tear. The limestone cliff was blown up in the 1960s.
In 2001, the display was totally renovated. The destroyed limestone cliff was completely replaced using 130 large blocks of Derbyshire limestone, many weighing over 1 tonne (0.98 long tons; 1.1 short tons), rebuilt according to a small model made from the same number of polystyrene blocks. Fibreglass replacements were created for the missing sculptures, and badly damaged parts of the surviving models were recast. For example, some of the animals' legs had been modelled in lead, fixed to the bodies with iron rods; the iron had rusted, splitting the lead open.
The models and other elements of Crystal Palace Park were classed as Grade II listed buildings from 1973. The models were extensively restored in 2001, and upgraded to Grade I listed in 2007.
In 2018, the Friends of Crystal Palace Dinosaurs ran a crowd funding campaign, endorsed by the guitarist Slash, to build a permanent bridge to Dinosaur Island. The bridge was designed by Tonkin Liu with engineering by Arup. The bridge swings on a pivot so it can be parked when not in use, to prevent unauthorised access. It was installed in January 2021.
In May 2021, the nose and mouth of the Megalosaurus sculpture was given an emergency renovation, after it had fallen off the previous year. Twenty-two new teeth and a 'prosethtic jaw' were installed on the sculpture. The renovation was funded by a grant from the Cultural Recovery Fund and fundraising from Friends of Crystal Palace Dinosaurs.


Fifteen genera  of extinct animals, not all dinosaurs, are represented in the park. At least three other genera (Dinornis, a mastodon, and Glyptodon) were planned, and Hawkins began to build at least the mastodon before the Crystal Palace Company cut his funding in 1855. An inaccurate map of the time shows planned locations of the Dinornis and mastodon.


The Palaeozoic era is represented in the park by the model rock exposure showing a succession of beds, namely the Carboniferous (including Coal Measures and limestone) and Permian.
Crystal Palace's two Dicynodon models are based on incomplete Permian fossils found in South Africa, along with Owen's guess that they were similar to turtles, no evidence has been found to suggest Dicynodon had protective shells.


The Mesozoic era is represented in the park by the model rock exposure showing a succession of beds, namely the Jurassic and Cretaceous, by models of dinosaurs and other animals known from mesozoic fossils, and by suitable vegetation – both living plants and models.
Curiously, it is Hylaeosaurus, from the Cretaceous of England, not Iguanodon, that most resembles the giant iguana stereotype of early ideas of dinosaurs. The Hylaeosaurus in reality is much like Ankylosaurus - smallish quadrupedal herbivore with a knobbled armoured back, and spines along its sides. Hawkins's depiction is of a large Iguana-like beast with long sharp spines along its back, which Owen noted were "accurately given in the restoration [by Hawkins, to Owen's instructions, but] necessarily at present conjectural". The head of the Hylaeosaurus model is a fibreglass replica; the original head is on the ground, on a hill above the ichthyosaur end of the lake.
The Ichthyosaurus models are based on Triassic or Jurassic fossils from Europe. Though the three ichthyosaurs are partly in water, they are implausibly shown basking on land like seals. Owen supposed they resembled crocodiles or plesiosaurs. Better fossil evidence shows that they have more in common with sharks and dolphins, having a dorsal fin and fish-like tail, whereas in Hawkins's models the tail is a flat protuberance from a straight backbone. A further discrepancy is that the models' eyes have exposed bony sclerotic plates, Owen conjecturing that with such large eyes they had "great powers of vision, especially in the dusk". They became one of the three mascots of Crystal Palace Park, along with the Iguanodon and Megalosaurus (although ichthyosaurs are not dinosaurs). Coincidentally, the models more closely resemble more basic ichthyosaurs such as Cymbospondylus.
The Iguanodon models represent fossils from the Jurassic and Cretaceous of Europe. Gideon Mantell sketched the original fossil, found in Sussex in 1822 by his wife, Mary Ann Mantell, as like a long slender lizard climbing a branch (on four legs), balancing with a whiplike tail; lacking a skull, he conjectured that the thumb bone was a nose horn. The nose horn in particular is used repeatedly in popular textbooks and documentaries about dinosaurs to make fun of Victorian inaccuracies; actually, even in 1854, Owen commented "the horn [is] more than doubtful".
Three Labyrinthodon models were made for Crystal Palace, based on Owen's guess that, being amphibian in lifestyle, the Triassic animals might have resembled frogs; he named them Batrachia, from the Greek 'Batrachios', frog. One is smooth skinned and is based on the species "Labyrinthodon salamandroides" (Mastodonsaurus jaegeri); the other two were based on "Labyrinthodon pachygnathus" (Cyclotosaurus pachygnathus). Casts of Chirotherium footprints that Owen thought were made by the animals were included in the ground around the models.
Gigantic and visually impressive, the Megalosaurus became one of the park's three 'mascot dinosaurs' along with the Iguanodon and (less so) the Ichthyosaurs. Working from fragmentary evidence from Jurassic fossils found in England, consisting mainly of a hip and femur (thigh bone), with a rib and a few vertebrae, Owen conjectured the animal was quadrupedal; palaeontologists now believe it to have been bipedal (standing like Tyrannosaurus rex). The first suggestion that some dinosaurs might have been bipedal came in 1858, just too late to influence the model.
When the models were built, only skulls of the Cretaceous fossil Mosasaurus had been discovered in the Netherlands, so Hawkins only built the head and back of the animal. He submerged the model deep in the lake, leaving the body unseen and undefined. The Mosasaurus at Crystal Palace is positioned in an odd place near the secondary island that was originally a waterfall, and much of it is not visible from the lakeside path.
The three Plesiosaurus models represents three species of marine reptile, P. macrocephalus, P. dolichoderius and P. hawkinsii, from the Jurassic of England. Two of them have implausibly-flexible necks.
Owen noted that the Pterodactylus fossils from the Jurassic of Germany had scales, not feathers, and while "somewhat bird-like" they had conical teeth, suggesting they were predatory. The two surviving models are perched on a rock outcrop; there were originally two more 'pterodactyls of the Oolite'.
Owen correctly identified Teleosaurus as similar to gharials, being slender Jurassic Crocodilians with very long thin jaws and small eyes, inferring from the sediment in which they were found that they were "more strictly marine than the crocodile of the Ganges [the gharial]."


Anoplotherium is an extinct mammal from the Eocene to Oligocene epochs, first found near Paris. Hawkins's models draws on Owen's speculation about its camel-like appearance. Three models were made, forming a small herd.
Megaloceros giganteus or Irish Elk is a species from the Pliocene to Pleistocene epochs in Eurasia. Hawkins built a family unit of male, female and fawn; the adult male bore antlers made from actual fossil antlers, long since replaced. Moved from the third island, they had fallen into disrepair as they were in a place easily accessible by vandals. With their original but fragile antlers, the Irish Elks were the most accurate of the cenozoic models; since they are of recent geological age (dying out 11,000 years ago), Hawkins was able to model them on living deer.
The giant ground sloth Megatherium is from the Pliocene to Pleistocene epochs in South America, where Charles Darwin had excavated some fossils in 1835. The model was built hugging a live tree which subsequently grew and broke the model's arm. The arm was replaced and later the tree died. The model depicts the sloth as having a short trunk like a tapir, something the real animal never had. This model used to be in the children's zoo which has now been demolished.
The models of Palaeotherium represent an extinct Eocene mammal thought by Georges Cuvier to be tapir-like. They have suffered the most wear and tear of all of the models, and the standing model no longer looked much like the original made by Hawkins. During the 1960s these models were lying discarded in the bushes about fifty yards from the original site and, prior to the 2002 restoration, they were in such bad shape that they were removed and put into store. Some sources state that these models were added at a later date, but an Illustrated London News illustration of Hawkins's workshop shows them in the background. Models of the "fearfully great bird" Dinornis of New Zealand (extinct by 1500 AD), and of the extinct elephant-like Mastodon (or Deinotherium of the Miocene and Pliocene of East Africa), were planned for the 'Tertiary Islands' but not completed.


Charles Dickens's 1853 novel, Bleak House, begins with a description of muddy streets, whose primordial character is emphasized by a dinosaur in the streets of London:
"Implacable November weather. As much mud in the streets as if the waters had but newly retired from the face of the earth, and it would not be wonderful to meet a Megalosaurus, forty feet long or so, waddling like an elephantine lizard up Holborn Hill."
In H. G. Wells's 1905 novel Kipps, Kipps and Ann visit Crystal Palace and sit "in the presence of the green and gold Labyrinthodon that looms so splendidly above the lake" to discuss their future. There is a brief description of the dinosaurs and their surroundings and the impact they have on the characters. Several of E. Nesbit's children's books feature the Crystal Palace dinosaur sculptures coming to life, including The Enchanted Castle (1907). The 1932 novel Have His Carcase, by Dorothy L. Sayers, has the character Lord Peter Wimsey mention the "antediluvian monsters" of the Crystal Palace. Ann Coates's 1970 children's book Dinosaurs Don't Die, illustrated by John Vernon Lord, tells the story of a young boy who lives near Crystal Palace Park and discovers that Hawkins' models come to life; he befriends one of the Iguanodon and names it 'Rock' and they visit the Natural History Museum.
The travel writer Paul Theroux mentions the dinosaurs in his 1989 novel My Secret History. The novel's narrator, Andre Parent, accidentally learns of his wife's infidelity when his young son, Jack, reveals that he has visited the dinosaurs in the company of his mother's 'friend' during Andre's prolonged absence gathering material for a travel book. The title story in Penelope Lively's 1991 novel Fanny and the Monsters is about a Victorian girl who visits the Crystal Palace dinosaurs and becomes fascinated by prehistoric creatures.
George Baxter, a pioneer of colour printing, made a well-known engraving which imagines Crystal Palace, set in its landscaped grounds with tall fountains and the dinosaurs in the foreground, before the 1854 opening.


An audio guide is available for visitors. The nearest entrance to the audio trail start is the Penge entrance, close to Penge West station.
The Megalosaurus was at that time thought to be quadrupedal, and was modelled that way by Hawkins.


McCarthy, Steve; Gilbert, Mick (1994). The Crystal Palace Dinosaurs: The Story of the World's First Prehistoric Sculptures. Crystal Palace Foundation. ISBN 978-1-897754-03-0.


The Culloden Viaduct is a railway viaduct on the Highland Main Line, to the east of the city of Inverness, in the Highland council area of Scotland.
It was designed by Murdoch Paterson and opened in 1898 as part of the Inverness and Aviemore Direct Railway, which was built by the Highland Railway. The 29 span viaduct crosses the wide valley of the River Nairn. At 1800 ft (549 m) in length, it is the longest masonry viaduct in Scotland.
Historic Scotland added the viaduct to its "Category A listed building" protected status on October 5, 1971. It is nearby two important sites: Culloden battlefield and the Clava cairn, a trio of Bronze Age burial cairns.
Culloden Moor railway station was situated at the northern end of the viaduct, but the station was closed in the 1960s. The viaduct remains in use as of 2022.


It is known also as the Nairn Viaduct, the Culloden Moor Viaduct or the Clava Viaduct.


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The Cultural Center of the Philippines Complex, also known as the CCP Complex, is an 88-hectare (220-acre) reclaimed property owned by the Cultural Center of the Philippines (CCP) located along Roxas Boulevard in Metro Manila, Philippines. It is a mixed-use cultural and tourism hub overlooking Manila Bay in south-central Manila, most of which fall under the jurisdiction of the city of Pasay.
Development of the complex was stalled until 2000, when the Philippine Supreme Court ruled with finality the CCP's ownership of some 35 hectares (86 acres) of prime real estate in the complex. The property is 62.4 hectares (154 acres) of land, with the rest occupied by the Government Service Insurance System, the Bangko Sentral ng Pilipinas, and the Privatization and Management Office. It is part of Bay City (formerly Boulevard 2000) that spans 1,500 hectares (3,700 acres) of reclaimed land along Manila Bay which is occupied by the SM Central Business Park, Philippine National Bank's Financial Center Area, Aseana City, and PAGCOR's Entertainment City, among others.


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The complex is bounded by the Manila Bay to the north and west, the Philippine Navy headquarters to the northeast, Roxas Boulevard to the east, and Jose Diokno Boulevard to the south. It is divided into two zones: the Art Zone, and the Commercial and Entertainment Zone. It features several brutalist structures designed in the 1960s and 1970s by Leandro Locsin, such as the Tanghalang Pambansa, the Philippine International Convention Center, and the Sofitel Philippine Plaza Manila. Other landmarks in the complex include the Coconut Palace, the Manila Film Center and Star City amusement park.


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The Tanghalang Pambansa (English: National Theater) is the flagship venue and principal offices of the Cultural Center of the Philippines. Formally called the Theater of Performing Arts, it houses three major performing arts venues; one theater for film screenings; galleries; a museum; and the center's library and archives.
Tanghalang Nicanor Abelardo (Main Theater)
Tanghalang Aurelio Tolentino (Little Theater)
Tanghalang Huseng Batute (Studio Theater)
Designed by National Artist for Architecture Leandro Locsin, its design was based and expanded upon the unconstructed Philippine-American Friendship Center. The Tangahalan is a primary example of the architect's signature style known as the floating volume, a trait which can be seen in structures indigenous to the Philippines such as the nipa hut. Being a work of a National Artist, the brutalist structure is qualified to be an important cultural landmark as stipulated in Republic Act No. 10066.


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The Cultural Center of the Philippines was conceived in 1966 when Ferdinand Marcos issued Executive Order No. 60, establishing its board and arranging for his wife Imelda to become chair of its board of directors.
The Philippine-American Culture Foundation provided a 90,000 peso grant for its construction, and additional funds were taken from the Cultural Development Fund and the Special Fund for Education. It soon became the premier symbol of what would be called Imelda's "edifice complex".


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A comprehensive master plan for the development of the complex was unveiled in 2003. The plan would divide the CCP Complex into six clusters, each of which will be anchored by a major building. First, the Promenade, which will tentatively be named after Lucresia Reyes-Urtula, will include retail and other mixed-use facilities, as well as dock facilities. The second cluster will be the Arts Sanctuary, which will serve as the complex's cultural core. To be anchored by the Tanghalang Pambansa, it will contain a new performing arts theater, the artists' center, a bandstand, the CCP's Production Design Center, and other open areas.
The third cluster, the Green Zone will contain a mix of museums and parks with commercial and office spaces. Fourth, the Creative Hub cluster, will contain spaces for creative industries. Fifth, the Arts Living Room, is envisioned to be a high-density, high-rise area that will house condominiums and similar residential projects. The final cluster, the Breezeway, will be located by low-rise, low-density commercial structures with seafront entertainment facilities. Covered walkways, plazas, and bicycle lanes are planned to connect the various buildings and clusters to ensure a pedestrian-centered design.
The master plan is envisioned to be completed in four phases, from 2004 to 2014; ₱5 billion will be needed for the plan's first five years, and another ₱8 billion for the plan's latter half.
A design contest was held in 2005 to design the first two clusters. Three firms won for their concepts; Syndicated Architects, Manalang-Tayag-Ilano Architects, and JPA Buensalido Design. The concepts of each winner will then be presented to prospective investors and stakeholders for approval.
In 2011, Leandro V. Locsin Partners, Architects won the design contest for the Artists' Center and Performing Arts Theater, the two buildings that will anchor the Promenade and Arts Sanctuary Clusters respectively. The proposed Artists' Center will house offices and rehearsal spaces for the CCP's resident companies, a black box theater and rooms for educational programs. The winning design is akin to a traditional Badjao village or a mangrove forest, with rooms and pavilions supported by slim pilotis. The proposed Performing Arts Theater will contain a 1,000 seat conventional proscenium theater and a black box that will seat 300-500 people. In contrast with the Tanghalang Pambansa's massive travertine block, the façade of the new theater will be dominated by its main seating bowl clad in reflective material, evoking a wave rising out of the sea.
On January 19, 2016, construction of a new black box theater started. The facility is being built as a stand-alone structure which will be integrated into the proposed Performing Arts Theater. Estimated to cost ₱50 million, the new theater will be three to four times bigger than the Tanghalang Huseng Batute, the current black box facility of the CCP. It will seat 300 people, with Nagata Acoustics performing the acoustical design.


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The Cultural Center of the Philippines Complex lies between Pasay and the City of Manila. The boundary between the cities is Vicente Sotto Street. Landmarks in CCP Complex that lies within the City of Manila include the Tanghalang Pambansa (National Theater), the Tanghalang Francisco Balagtas (Folks Art Theater), and the Coconut Palace which is owned by the Government Service Insurance System.


The ceiling above the main lobby was hand-painted to look like wood (steel wool was used to fashion a wood grain effect in the plaster before painting). The main lobby has a marble floor but has long since been covered by carpeting. There are "plugs" built into the lobby floor in which to insert stanchions from which theater ropes were hung to section off the lobby. The loge section was modified prior to Hello, Dolly!'s first booking at the theater. Originally, the loge section was similar to the boxes, with movable chairs in sectioned areas. The box-like loges are still evident by what remains of the metal railings in front of the loge section as well as the decorative plaster when viewed from below. The change was made because it increased the seating capacity by about ten seats in this highly desirable area. The interior main floor lobby no longer exists. Originally, it was changed to a minor degree to accommodate the installation of a sound booth without decreasing the orchestra seating capacity. Eventually, the lobby space was used to install a larger bar area as well as accessible restrooms.
The theater has two front curtains: the decorative green fire curtain in front of a gold curtain. When musicals traditionally utilized each theater's front curtains, the first curtain would be raised five minutes prior to the start of the show. There were two coat check rooms: one off to the south of the main floor interior lobby and the other on the balcony (adjacent to the ladies' restroom). There were also two telephone "booths" on the mezzanine lobby—one on each side of the windows. These booths were actually very small rooms with formal doors. The coat check rooms and telephone booths are now used for storage. The theater also had a central vacuum system. This system is still evident by the connection points on the walls, near the floor. The chandelier was built in San Francisco by Phoenix Day. A plaque honoring Arthur Mayer is mounted at the entrance to boxes L-M-N. Mayer watched the theater being built, was hired by Curran as part of the theater's opening-night staff, and continued working at the theater until he was nearly 100 years old.


The Custom House Tower is a skyscraper in McKinley Square, in the Financial District neighborhood of Boston, Massachusetts. The original building was constructed in 1837–47 and was designed by Ammi Burnham Young in the Greek Revival style.  The tower was designed by Peabody and Stearns and was added in 1913–15. The building is part of the Custom House District, which was added to the National Register of Historic Places in 1973.
Standing at 496 ft (151 m) tall, the building is currently tied with The Hub on Causeway Residential Tower as Boston's 19th-tallest buildings.  It is part of the Custom House District, which was added to the National Register of Historic Places in 1973.
As of 2016, it houses the Marriott Custom House Hotel.


The site was purchased on September 13, 1837. Construction of a custom house was authorized by U.S. President Andrew Jackson. When it was completed in 1849, it cost about $1.076 million, in contemporary U.S. currency, including the site, foundations, etc.
Ammi Burnham Young entered an 1837 competition to design the Boston Custom House, and won with his neoclassical design. This building was a cruciform (cross-shaped) Greek Revival structure, combining a Greek Doric portico with a Roman dome, resembled a four-faced Greek temple topped with a dome. It had 36 fluted Doric columns, each carved from a single piece of granite from Quincy, Massachusetts; each weighed 42 tons (37 metric tons) and cost about $5,200. Only half these actually support the structure; the others are free-standing. They are 5 feet (1.5 m) and 4 in (10 cm) in diameter and 32 ft (9.8 m) high. Inside, the rotunda was capped with a skylight dome.
The entire structure sits on filled land and is supported by 3,000 wooden piles driven through fill to bedrock. Before land reclamation was done in the middle of the 19th century, Boston's waterfront extended right to this building. Ships moored at Long Wharf almost touched the eastern face of the building. The Custom House was built at the end of the City docks, to facilitate inspection and registration of cargo. The federal government used the building to collect maritime duties in the age of Boston sailing ships.
This description of the original Custom House appears in the 1850 Boston Almanac:
Situated at the head of the dock between Long and Central Wharves, fronts east on the dock, west on India Street, and is in the form of a Greek Cross, [with] the opposite sides and ends being alike. It is 140 feet (43 m) long north and south, 75 feet (23 m) wide at the ends, and 95 feet (29 m) through the centre. It is built on about 3,000 piles, fully secured against decay; the construction throughout is fireproof and of the very best kind.
The exterior of the building is purely Grecian Doric, not a copy, but adapted to the exigencies and peculiarities of the structure, and consists of a portico [overhang] of 6 columns on each side, on a high flight of steps, and an order of engaged columns around the walls, 20 in number, on a high stylobate or basement; the order of engaged columns terminating with 4 andae [pilasters] at their intersection with the porticos. The columns are 5 feet 4 inches (1.63 m) in diameter and 32 feet (9.8 m) high, the shaft being in one place, each weighing about 42 st (270 kg).
The cellar, which is 10 feet 6 inches (3.20 m) high to the crown of the arches, is principally used for the storage of goods, which are conveyed to it through the basement story. The steam apparatus for warming the whole building (which it does effectively) is situated in the cellar, having easy access to the coal vaults under the sidewalk outside of the building.
The principal entrances to the basement story are at each end. They are for the receipt of goods for storage. Near the northwest corner, on the west side, is the entrance to the Night Inspectors' apartments, also to the private staircase leading to the Collector's room and the attic. South of the west portico is the entrance to the heating apparatus room, and on the south end is the entrance to the Custom House Truckmen's room. This story consists of rooms for the Night Inspectors, Custom House Truckmen, and Engineer of the Heating Apparatus, also three sets of Water Closets: the remainder is used for storage of goods, weigher's tabs, etc.
The principal ingress to the entrance story is through the porticos, but it can be entered from the Collector's private staircase, and from two other private staircases in the basement. This story contains apartments and offices for the Assistant Treasurer, the Weighers and Gaugers, the Measurers, Inspectors, Markers, Superintendent of Building, etc. In the centre is a large vestibule, from which two broad flights of steps lead to the principal story, landing in two smaller vestibules therein, lighted by skylights in the roof, and these vestibules communicate with all the apartments in this story. The several rooms are for the Collector, Assistant Collector, Naval Officer, Surveyor, Public Store Keeper, their Deputies and Clerks; and for the facilities of doing business this arrangement is not surpassed. The grand-cross shaped Rotunda, for the general business of the Collector's department, in the centre of this story, is finished in the Grecian Corinthian order; it is 63 feet (19 m) in its greatest length, 59 feet wide, and 62 feet (19 m) in the skylight.

In one of the panels of the Rotunda is inserted a tablet of marble (Dedication Tablet 1847), containing the following inscription: Boston Custom House Building. Authorized by the 23d Congress, A.D. 1835. Andrew Jackson, President U.S.A.; Levi Woodbury, Sec'y of the Treasury.—Opened August 1st, A.D. 1847, James K. Polk, President U.S.A.; Robert J. Walker Sec'y of the Treasury; Marcus Morton, Collector of the Port; Samuel S. Lewis, Robert G. Shaw, Commissioners; Ammi Burnham Young, Architect.


By 1905, increased shipping required the building's expansion. In 1913–1915, the architecture firm Peabody and Stearns added the tower to the base. Although Boston at that time had a 125 ft (38 m) height restriction, the Custom House was federally owned and exempt from it. The new tower's 496 ft (151 m) made it the city's tallest. In 1947, the Old John Hancock Building, just one foot shorter, joined it in the skies over Boston. In 1964, it was exceeded by the Prudential Tower.
The tower was completed in January 1915 after four and a half years of work. It cost about $1.8 million to build. The tower contains a rotunda made of Vermont white marble covered by a dome. Outside of the top floor is a balcony, which, at the time of the tower's opening, was said to have views of Mount Wachusett, the Peterboro Hills, and the shores of Cape Ann. The dedication ceremony was attended by Assistant Secretary of the Treasury Andrew James Peters, Collector Edmund Billings, Governor David I. Walsh, Mayor James Michael Curley, Cardinal William Henry O'Connell, Bishop William Lawrence, and the building's architect, Robert Swain Peabody. The tower was opened on January 23, 1915. The clock on the upper tower of the building is 22 ft (6.7 m) in diameter. It was started at noon on April 6, 1916. The clock cost $2,500. Its hands are made of gold leaf painted California redwood and weigh 101 and 141 pounds respectively. Because of an undersized motor, the clock failed to work properly through much of the 20th century. In 1960, the Great Seal of the United States was painted in the lobby's dome.


When custom officials moved into the Thomas P. O'Neill building in 1986, the Custom House was declared "surplus property". On April 16, 1987, the city of Boston purchased the building from the General Services Administration, and the building remained unoccupied and inaccessible for 14 years.
The Boston Redevelopment Authority, the Landmarks Commission, the Massachusetts Historical Society, the Beal Companies, and Jung Brannen Associates, Inc. all proposed concepts for the use of the building that ranged from museums to offices to residential developments. In 1995, the Beal Companies and Marriott Ownership Resorts International announced plans to develop the building into a timeshare resort, and retained Jung Brannen Associates as architects.  In 1997, work began to convert the building into an 87-room Marriott Vacation Club.
One of the obstacles in converting the structure was the small amount of usable space on each floor of the tower, a problem that several earlier redevelopment plans faced and failed to overcome. The Jung Brannen team created ways to construct four to five suites per floor, using custom-designed built-in cabinetry and furnishings, to maximize the size and number of suites that could fit in the building.  The end result was 87 one-bedroom suites with 22 different floor plans. Amenities included a private lounge, exercise area and game room and a refurbished observation deck on the tower's 26th floor.  A rotunda-level maritime museum and exhibit room are among the public spaces that occupy the newly refurbished ground floor.
Landscape designers Pressley Associates, Inc. redesigned the front plaza in 1999, and remarked:
It provides a new urban linkage space that provides a sense of cohesion between Custom House Tower and Faneuil Hall and Marketplace Center. As part of the current rehabilitation of the Tower to hotel use, the mandate of the landscape architectural design was to unify and revitalize the urban environment while respecting the buildings' historical importance. A 1-acre (4,000 m²) plaza has been designed to encourage pedestrian access and use, and to relate contextually to the adjacent Faneuil Hall Markets and Marketplace Center through the extensive use of large caliper shade trees, brick and granite pavements, and high quality site furnishings. The scope of work provided includes site design, construction documents, approvals process, presentations, resident engineering and construction support services.

The top of the tower is now accessible to the public during limited hours for a small fee. A fenced-in area surrounds the top floor and allows visitors to view the city on all sides of the tower.


Cylburn Arboretum  [pronounced sil·brn aar·br·ee·tm]  is a city park with arboretum and gardens, located at 4915 Greenspring Avenue, Baltimore, Maryland. It is open daily – excluding Mondays – without charge.
The arboretum began as the private estate of businessman Jesse Tyson, who started construction of Cylburn Mansion in 1863. The house, designed by Baltimore City Hall architect George Aloysius Frederick, was eventually completed in 1888 and remains intact, a stone structure built of gneiss from Tyson's quarries at Bare Hills, with mansard roof, tower, and an Italianate cupola. It became the Cylburn Wildflower Preserve and Garden Center in 1954 and, in 1982, was renamed the Cylburn Arboretum Association.
The Cylburn Mansion houses a display of watercolor paintings of Maryland wildflowers that is open to the public.
Today the arboretum contains an extensive collection of trees and woody shrubs based loosely on the Tysons' original plantings. Collections include azaleas, bamboo, beeches, boxwoods, chestnuts, conifers, hollies, Japanese maples, magnolias, maples, Maryland oaks, and viburnum.
The arboretum also includes a number of flower and vegetable gardens, as well as greenhouses designed and built in the 1960s by Lord & Burnham. The greenhouses grow plants for the city's parks, and are not open to the general public.
The arboretum is included in the Baltimore National Heritage Area.
It was used as a filming location for "Final Grades", a 2006 episode of The Wire, in which Bodie Broadus and Jimmy McNulty have a conversation in the park.


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In 1849 the private Cypress Hills Cemetery was established as a nonsectarian burial ground. On April 21, 1862, the cemetery's board of directors acted upon the request of undertaker A. J. Case to establish a place for burial of United States veterans who died in Brooklyn and the vicinity. With the American Civil War underway, a location was needed for casualties who died in New York hospitals. The board of directors authorized 2.7 acres (1.1 ha) for deceased veterans and was known colloquially as the Union Grounds. Private Alfred Mitchell, a young soldier of the 1st New York Engineers who died on April 13, 1862, was the first Civil War casualty to be interred in the new Union Grounds. Eight years later, an inspection report noted that 3,170 Union soldiers and 461 Confederate prisoners of war were already buried here. Others were brought from cemeteries on Long Island Sound and as far away as Rhode Island.
In 1870 the private Cypress Hills Cemetery Association deeded the Union Grounds property to the federal government for a consideration of $9,600. Three years later, Congress approved a change in legislation to extend burial rights to honorably discharged soldiers, sailors, and Marines who served in the war. This would necessitate a larger cemetery location for the Brooklyn location. To accommodate the large number of burial requests, the government sought to expand the cemetery. Congress balked at the price asked by the Cypress Hills Cemetery Association, so it went outside the cemetery's boundaries for a new tract. In 1884 the government purchased a 15.4-acre (6.2 ha) parcel from Isaac Snediker, located approximately one half-mile away from the Union Grounds.
These two parcels were joined by a third piece of the private Cypress Hills Cemetery. On September 17, 1941, a 0.06-acre (0.024 ha) parcel known as The Mount of Victory was donated to the United States by the State of New York. There are approximately one dozen graves in this plot, most from the War of 1812. These three parcels combined equal 18.2 acres (7.4 ha), and make up the Cypress Hills National Cemetery.
By the 1950s the area for burials was running out. The government decided that henceforth all New York City area veterans, and spouses, would be interred at the Long Island National Cemetery in Suffolk County, New York. Today the administration of the cemetery is the responsibility of the Farmingdale staff. Cypress Hills National Cemetery has been listed on the National Register of Historic Places since 1997.
Cypress Hills National Cemetery opened in 1862, the same year as Mill Springs National Cemetery in Kentucky, the oldest active national cemetery in the United States. Cypress Hills National Cemetery is two years older than Arlington National Cemetery.


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Located on the east slope of the Ridgewood Reservoir, the Union Grounds are in the southwest portion of Cypress Hills Cemetery, 833 Jamaica Avenue. There are more than 3,170 Union soldiers and sailors, and more than 461 captured or surrendered Confederates buried in the Union Grounds. Over the years the bowl-shaped space accepted veterans from other conflicts, up through World War I. Re-interments from other cemeteries added more graves. Most other interments, however, were largely local in nature, due to the cemetery's location in New York State (which contributed the largest numbers of fighting forces in the Civil War) and the adjacent proximity of the cemetery to New York City, the nation's most populous and hence the prime source of Federal enlistments for the war effort.


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Several hundred yards southeast of the Union Grounds, atop one of the higher elevations of Cypress Hill Cemetery, is another section of the national cemetery. In actual size, less than an acre and possessing at least 39 visible veteran headstones and one chaplain monument, The Mount of Victory is the smallest parcel of federal land. It is accentuated by the Eagle Monument (see below), and is visible from West Dolorosa Road. Many of those buried here are veterans of the War of 1812. The Mount of Victory is in Section 2 (plot marked 10) on grid 40.69151° N, 73.87549° W of the cemetery nearby West Dolorosa Road.


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The largest of the three sections of the national cemetery is located at 625 Jamaica Avenue. Visitors enter through decorative wrought iron gates constructed in 1886. The visitors lodge, built in 1887, is on the right. This Queen Anne style building has an office, meeting room and museum. There is a grave locator outside the lodge door. This section of the cemetery contains approximately 15,000 graves. Although the parcel is quite narrow, it is long, and leads to a hilltop. The cemetery is divided into 16 sections.
This cemetery also contains three British Commonwealth war graves from World War I – two sailors of the Royal Navy and one of the Merchant Navy.


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There are several notable monuments in Cypress Hills. These are listed in the order that they were erected:
The 1881 Garfield Memorial Oak Tree (Union Grounds, Section 1 F, on Cypress Way and Metropolitan Way). On November 3, 1881, the James A. Garfield Oak Society of Brooklyn planted an oak in honor of the slain 20th President of the United States. Following a storm in 1944 that damaged the oak, a new one was planted. At one time an iron fence encircled the memorial.
The Ringgold Monument (Union Grounds, Section 1B). This large obelisk was erected by veterans who served under Colonel Benjamin Ringgold's command in the Civil War.
British Navy Monument (Section 2, Grave No. 36). In 1908 workers at Fort Hancock, New Jersey, uncovered a buried earthen brick vault with the remains of a number of men. It was determined this was the crew of a British Navy vessel that perished in 1783 while sailing homeward following the Revolutionary War. On March 5, 1909, the remains were moved to Cypress Hills and interred in a single grave. The headstone—a large granite monument that bears the names of 14 men—was erected in 1939.
The French Cross to honor French Sailors (Section 3).  This 12-foot (3.7 m) granite cross was erected in memory of 25 sailors of the French Navy who died while on duty in American waters in the fall of 1918. The remains of three sailors were repatriated to France; 22 are interred in Cypress Hills.
Second Division AEF Monument (in front of rostrum).
The Eagle Monument (Cypress Hills Section 2, The Mount of Victory). This unique hand-crafted monument of fieldstones was created by cemetery laborers around 1934. An American eagle, carved in stone was placed atop the stone pyramid.


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There are 24 Medal of Honor recipients interred at Cypress Hills
Marine Sergeant John Mapes Adams, for action during the Boxer Rebellion
Coxswain John Cooper, aka John Laver Mather, two time recipient. The first for action on board USS Brooklyn during the Battle of Mobile Bay, and the second a year later while serving on Rear Admiral Henry K. Thatcher's staff in Mobile, Alabama
Army Sergeant Wilbur E. Colyer, for action at the Battle of Verdun during World War I
Marine Sergeant Major Daniel Joseph Daly, two time Medal of Honor recipient. The first for action in the Boxer Rebellion, and the second for action in Haiti in 1915
Marine Private James Dougherty, for action aboard USS Carondelet (second ship by that name) in Korea in 1871
Army Private Christopher Freemeyer, for action in Montana Territory during the Indian Wars
Army Sergeant Major Frederick W. Gerber, for 32 years of service to the US Army during the Indian Wars
Army Sergeant Patrick Golden, for action in the Arizona Territory during the Indian Wars
Army First Sergeant Edward P. Grimes, for action in Colorado Territory during the Indian Wars
Army Sergeant Bernhard Jetter, for action during the Indian Wars
Chief Watertender Johannes J. Johannessen, for peace time service aboard USS Iowa
Quartermaster Edward S. Martin, for action at the Battle of Mobile Bay during the Civil War
Lieutenant Mons Monssen, for peace time service aboard USS Missouri
Army Sergeant John Nihill, for action in Arizona Territory during the Indian Wars
Quartermaster Third Class Anton Olsen, for action aboard USS Marblehead during the Spanish–American War
Army Private Henry Rodenburg, for action in Montana Territory during the Indian Wars
Army Sergeant Valentine Rossbach, for action at the Battle of Spotsylvania Court House during the Civil War
Army Private John Schiller, for action at the Battle of Chaffin's Farm during the Civil War
Chief Watertender Eugene P. Smith, for peace time service aboard USS Decatur
Gunner's Mate First Class Wilhelm Smith, for peace time service aboard USS New York
Marine Gunnery Sergeant Peter Stewart, for action during the Boxer Rebellion
Army Private James W. Webb, for action at the Second Battle of Bull Run during the Civil War
Army First Sergeant Henry Wilkens, for action in Montana Territory during the Indian Wars
Seaman Louis Williams, a.k.a. Ludwig Andreas Olsen, two time recipient. Both medals were for peace time service aboard USS Lackawanna
Other notable interments
Hiram Cronk, soldier with the New York Volunteers, the last surviving veteran of the War of 1812 as of the date of his death in 1905
General Thomas W. Egan, 40th New York Volunteer Infantry Regiment, Civil War
Brevet Brigadier General William Gates, veteran of the War of 1812, Seminole War, Mexican War and Civil War
William "Wild Bill" Lovett, leader of the White Hand Gang, veteran of World War I
Colonel Benjamin Kendrick Pierce, veteran of the War of 1812, Second Seminole War, and Mexican–American War, and brother of President Franklin Pierce


Dębno Castle is a late Gothic complex, built in 1470 to 1480 by Chancellor of the Crown and Kasztelan of Kraków, Jakub Dębiński (also known as Jakub z Dębna), in the southern Polish village of Dębno. It is located a few hundred meters south of the international European route E40.


Before stone castle was built, a complex made of wood and earth had existed on the location. It probably belonged to komes Świętoslaw of the noble Gryfita family, Kasztelan of Wiślica. Some time in the mid-14th century, Dębno passed into the hands of the influential Odrowąż family, to which Jakub z Dębna, founder of the castle, belonged. In 1586 the castle was rebuilt in Renaissance style, and at that time it belonged to a Hungarian nobleman Ferenc Wesselini, secretary of King Stephen Báthory. In the late 18th century, another remodeling took place, ordered by the Tarło family, who were then-owners of the castle. Tarło coat of arms and the date 1772 can still be seenon baroque portal. Also, at that time, a part of the northern wing of the castle was added.
Throughout the years, Dębno castle changed hands several times. It belonged to a number of noble Polish families - Lanckoroński, Rogowski, Rudnicki, Spławski (who in 1831 hosted there refugees of the November Uprising), Jastrzębski. Even though owners carried out numerous remodeling projects, the castle did not change its original look. It today consists of four rectangular segments, which make an internal, rectangular courtyard with a well. The gate goes through a Baroque portal. Lavlishly furnished rooms on upper floors were occupied by owners, while domestic workers lived on ground floor. The castle used to be surrounded by a moat, now, there is a permanent wooden bridge leading to the gate.
In 1945, the castle was taken over by the government of Poland, and between 1970 and 1978, it was renovated. Since 1978, Dębno castle has been home to a branch of Tarnów Regional Museum.


The DB Museum in Koblenz was opened on 21 April 2001 as the first remote site of the Nuremberg Transport Museum. It is run by volunteer workers as part of the Stiftung Bahn-Sozialwerk (BSW),  a kind of railway workers social service organisation, and has its origins in a BSW's 'Group for the Preservation of Historical Railway Vehicles' at Koblenz.


The DB Museum, Koblenz, is housed in the former goods wagon repair shop (Ausbesserungswerk) in the Koblenz district of Lützel. The site was built in 1905 as part of the rebuilding and expansion of Lützel goods station into the Koblenz-Lützel locomotive depot (Bahnbetriebswerk).
Originally the facility included a large roundhouse with two turntables, where the goods locomotives were stabled, as well as a wagon shed in which goods wagons were repaired until 1995. Today it accommodates the vehicles belonging to the DB Museum at Koblenz. The old Bahnbetriebswerk was dismantled bit by bit up to the early 1980s.


Various exhibits are displayed on the open part of the site. The museum's collection of vehicles includes more than 20 locomotives and wagons. The central themes of the exhibitions are electric trains and travelling by rail. In addition to the exhibits of actual vehicles, these themes are expanded by means of photographs, pictures and models in the museum rooms.


Books, model railway items and other gifts with a railway theme may be found in the small shop at the entrance.
A model railway, built in modular (Nordmodul) fashion, recalls the atmosphere of the steam age in the post-war years. Outside in the open air, a 110 m² LGB garden railway layout is being constructed.


The Dachau Palace  is a former residence of the rulers of Bavaria at Dachau, southern Germany.


The castle was constructed around 1100 as a castle  by the cadet branch of the House of Wittelsbach. In 1182, the last Count of Dachau, Konrad III, died without issue and Duke Otto I of Bavaria took possession of it shortly thereafter. The original castle was demolished between 1398 and 1403. In 1467, Sigismund, Duke of Bavaria resigned his rule of Bavaria-Munich and then kept only the new duchy of Bavaria-Dachau as his domain until his death in 1501.
William IV of Bavaria and his son Albert V ordered the construction of a Renaissance style four-wing palace with a court garden on the site of the old castle. The new building was designed by Heinrich Schöttl; construction began in 1546 and was completed in 1577. It later became the favoured residence of the rulers of Bavaria. Also, close to Dachau Palace was the Schleissheim Palace that started out with a Renaissance country house (1598) and hermitage founded by William V, Duke of Bavaria.
In 1715, Maximilian II Emanuel, Elector of Bavaria commissioned a redesign in Baroque style by Joseph Effner. The 60 wrought-iron parapet grilles on the facades have always been an essential accessory. The metalwork in six different gives the magnificent facade its final touch. They were commissioned by Elector Max Emanuel and produced by Antoine Motté between 1724 and 1725. The design is attributed to Joseph Effner, while the models for the castings were made by the Flemish sculptor Guillielmus de Grof. Only the south-west wing is extant; King Maximilian I Joseph of Bavaria ordered the other 3 wings to be demolished in the early 19th century. They had suffered extensive damage at the hands of the Napoleonic troops.


The Palace is managed by the Bavarian Administration of State-owned Palaces, an administrative department of the Free State of Bavaria. It is open to visitors and the Banqueting Hall can be booked for special events. It is also used as a venue for classical concerts. The stairwell, same as the west facade of 1715 are built in the Régence style.
The main sight of the palace is the banqueting hall with its coffered Renaissance ceiling, designed and created between 1564 and 1566 by Hans Wisreutter, which was restored to the palace in 1977. The view from the top of the Schlossberg overlooks Munich and extends to the Bavarian Alps.


The court garden was created from the 1572 in order to enjoy the remarkable view from the Schlossberg, several pavilions were built, of which three are still preserved. Comparable with the vineyard and famous Sanssouci Palace, were the "hanging gardens" of the Schlossberg: terraces with precious espalier fruits. For the upper part of the parterres a still existing  balcony of lime trees was created. Joseph Effner re-designed together with his brother Johann Christoph Effner also the garden in Baroque style in 1717. As a representative of an enlightened absolutism, Elector Max III. Joseph ordered already in 1765 to develop an English landscape garden. Today, the lower part of the garden has been abandoned and is awaiting resurrection.


The temple was built around the beginning of the 12th century, during the Western Xia (1038–1227) period. In 1028, the Tibeto-Burman speaking Tangut people took over Zhangye (then known as Ganzhou) from the Ganzhou Uyghur Kingdom. A few years later they founded the Western Xia and controlled the entirety of the Hexi Corridor. To strengthen their hold over the area, the Xia built temples and ordered the translation of the Buddhist scriptures. They were especially strong during the reign of the Emperor Chongzong of Western Xia (1086–1139), and the Dafo Temple dates from this time.
The history of the temple relates that in 1098, a monk called Sineng Weimie had seen numinous lights and heard heavenly sounds coming from a nearby hill at the foot of a mountain. Investigating the area, Sineng unearthed a hoard which included a reclining Buddha statue and set out to build a great temple in honour of the image, which he believed had been revealed by divine favour. The nirvana image in the temple has a long history of patrons and visitors and has been protected for centuries by its Buddhist monks, but it has also suffered from decay and restoration. Protecting it was most difficult during the Cultural Revolution.
There is a story that Kublai Khan (1215–1294) was born in the temple, while his mother was living there, and another that Bing, the last Song dynasty (960–1279) emperor, was exiled to Zhangye and became a monk in the temple. However, Ruth W. Dunnell has reported that she has been unable to find evidence to support either of these claims. She notes that they "illustrate the accretion of legend around this particular Buddhist site".
The Hall of Scriptures has a double wall behind it and is forty metres long, twenty metres high. In 1996 the temple was added to the list of major national historical and cultural sites and the Beijing Review reported that 6,000 volumes of ancient Buddhist scriptures survived in the temple.
In 2005, the temple was reinstated as a place of worship, and the next year it was re-opened after a major restoration which aimed to promote it as a tourist attraction. On 1 July 2006, dozens of Buddhist masters blessed a large crowd which attended, in the largest gathering seen at the temple for more than a hundred years.


The temple's huge statue is made of clay on a wooden frame and depicts the Gautama Buddha's attainment of nirvana, with his ten disciples standing behind him. It is largely unaltered since the time of the Western Xia (1038–1227). With a length of some 35 metres (115 ft), Ruth W. Dunnell has described it as "the largest reclining clay Buddha statue in China".
The hall which contains the Buddha is 48 metres (157 ft) long and 24 metres (79 ft) wide, with a height of 33 metres (108 ft). It has a Qing dynasty (1644–1911) mural and is one of the few wooden structures of its period which survive. The mural tells the story of Xuanzang and his followers, showing Xuanzang riding on a horse and the monkey king Sun Wukong kneeling on the ground.


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The Dagadusheth Halwai Ganapati temple is a Hindu Temple located in  Pune and is dedicated to the Hindu god Ganesh. The temple is visited by over hundred thousand pilgrims every year. Devotees of the temple include celebrities and chief ministers of Maharashtra who visit during the annual ten-day Ganeshotsav festival. The main Ganesh idol is insured for sum of ₹10 million (US$130,000). The Temple is 130 years old. It celebrated 125 years of its Ganapati in 2017.


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The Shrimant Dagadusheth Halwai Ganapati Trust carries out philanthropic work from the donations received, and is one of the richest in Maharashtra. The trust operates an old age home called Pitashree at Kondhwa in Pune. The home was built at a cost of ₹15 million (US$190,000) and opened in May 2003. In the same building the trust provides housing and education for 400 destitute children. Other services provided by the trust include ambulance service for poor and health clinics in tribal belts of Pune District.
Ganesh festival, Gudhi Padwa till Ram Navami are the festivals celebrated by Dagadusheth halwai Ganapati Trust, Pune.


Daian-ji (大安寺) was founded during the Asuka period and is one of the Seven Great Temples of Nara, Japan.


The Nihon Shoki records the founding of the Kudara Dai-ji (百済大寺), predecessor of the Daian-ji, in 639 during the reign of Emperor Jomei. A nine-story pagoda was added shortly afterwards. Moved during the reign of Emperor Tenmu, excavations have uncovered the foundations of the site of the Daikandai-ji (大官大寺), as it was then known, seven hundred metres to the south of Mount Kagu. Like the Yakushi-ji, and Gangō-ji, the temple relocated to the new capital of Heijō-kyō in 716–17, and it was rebuilt as the Daian-ji in 729. Its importance declined when the capital moved again to Kyoto at the end of the Nara period. A succession of fires, a typhoon in 1459 and earthquakes in 1585 and 1596 destroyed most of the temple. The stone bases of the former twin pagodas were removed for reuse at Kashihara Jingū in 1889, while the ruins of the other buildings lie in adjacent properties.


The temple houses nine statues in a style known as Daianji-yoshiki, but the acclaimed statue of Sakyamuni, said by the twelfth-century Oe no Chikamichi in Shichidaiji Junrei Shiki to have been the finest work in Nara, is now lost. The following Nara period statues have been designated Important Cultural Properties: a Jūichimen Kannon, Senjū Kannon, Fukūkensaku Kannon, Yōryū Kannon, Shō Kannon,  and a set of Four Heavenly Kings. Temple records of the Tenpyō era (747) have also been designated an Important Cultural Property and are now held in Chiba Prefecture.


Dainzú is a Zapotec archaeological site located in the eastern side of the Valles Centrales de Oaxaca, about 20 km  south-east of the city of Oaxaca, Oaxaca State, Mexico. It is an ancient village near to and contemporary with Monte Albán and Mitla, with an earlier development. Dainzú was first occupied 700-600 BC but the main phase of occupation dates from about 200 BC to 350 AD. The site was excavated in 1965 by Mexican archaeologist Ignacio Bernal.


The original name of this town is unknown. The archaeological site is named from the word Dannizhú, used by ancient inhabitants to refer the site, at the time when Bernal made local inquiries.
"Dainzú" means hill of the organ cactus in Zapotec, it is formed from two Zapotec words: danni meaning "hill" and zu meaning "organ cactus".
Another name used for the archaeological site is "Quiabelagayo" (Zapotec language) that means "Cinco Flores” (Five flowers).
The also means Macuilxochitl, which is part of the name of the town closest to Dainzú.


The founding chronology of Dainzú is uncertain. However, it seems possible that the site was occupied some centuries before the foundation of Monte Albán, as evidenced by the corresponding Rosario Phase ceramics found in the Oaxaca central valleys (700 – 500 BCE). At that time, Dainzú was one of the main villages of Tlacolula Valley. It was contemporary of other important population centers such as San José Mogote at the Etla Valley. As was the case with the rest of the villages from the region, Dainzú must have contributed in the foundation of Monte Albán. The Monte Albán construction was a milestone that contributed to the population decline in the zone, Dainzú population decreased around 200 BCE. In spite of Monte Albán important flourishing, Dainzú kept a dynamic of its own and positioned itself as one of the most important cities during the Classical Mesoamerican period. Finally the decline of Monte Albán caused relations reshuffling between the villages of the region, which also affected Dainzú and caused its decline.
There are numerous archaeological sites on the banks of the Rio Salado, including the early village of Abasolo. Opposite, on the west of Dainzú is a farming alluvial land; where Rosario Phase ceramic found confirms a Dainzú occupation from 750 BCE.


The architectural style of this site is important due to the unique structure characteristics that distinguish it from others in the Valley of Oaxaca; these reflect a high artistic quality, as in the case of the lower platform of building A, which has a bas-reliefs gallery representing, what have long been thought to be, ballgame players. However, new interpretations of these figures have recently been proposed.
During its urban stage, Dainzú functioned as a second rank village, in terms of economic, political and religious importance. The main occupation corresponds to a transition period called II-IIIa, at approximately 250 to 350 CE.
Dainzú built against a hill, apparently for aesthetic reasons the original entrance was on the side of the River at the west end. Had a long occupation sequence from 600 BCE to 1,200 CE, although there is a possibility, according to archaeological evidence, there is a possibility that the area was occupied before Monte Albán, Dainzú apogee occurred from 600 BCE to 200 CE.
The site is located beside a tributary of the Rio Salado, while steps and chambers carved into the rock on the peak above perhaps belonged to a shrine.


The stone used for construction at Dainzú is mainly from river cobbles formed from volcanic rock such as basalt.
All building construction was adjusted to the site topography.
Only three structures have been explored thus far:


Located in the highest part of the site, apparently had religious purposes. Its construction is staggered, four platforms built with stones and clay, building four platforms, most interesting are the bas-reliefs decorating the bottom of the south wall of the lower body, called sculpture gallery, every stone contains figures with motion, there are not two the same and complete in varied positions. According to Ignacio Bernal hypothesis, these represent ballgame players whose position reveals movement, probably were placed during a reconstruction of the platform, reason there does not seem to be any arrangement.
The structure is a large platform built against the west-facing hillside and has about 35 bas-reliefs carved into the southern side of its lower wall. Most of these represent ball-players, while four represent the four ballgame deities. Interspersed among the representations of ballplayers are a small number of bas-reliefs depicting priests making offerings, these stones are incised with calendrical dates and may represent specific rituals related to the ballgame.
It is the oldest terrace, constructive characteristics have similarities with J building at Monte Albán.
Comprises three terraces superimposed on the hill, is connected with building B by means of a stuccoed patio. It has two facades (north and south) with a large stairway in the center.
The upper terrace is the highest and is formed by an almost vertical wall of more than 5 meters high with rounded corners, access was through a roofed stepped indoor passage. During investigations, four rooms were found, roof made by large stones placed at an angle, as in some of the Monte Albán tombs.
The lower terrace forms a 1.25 meter vertical wall. Entrance is by a stairway system recessed in the wall, at the southwest corner.
On the north side the relief is different from the rest. The terrace has a central stairway.
During the different construction stages, changes were made, for example the addition of rooms, stairways and walls, with the essential aim of repairing building damages and prepare for new and other uses.
At the hill summit of this building, is a large number of natural rocks protruding from the vegetation and representing severed heads, probably related to ball players.


These representations are unique in Mesoamerica the bas-reliefs portray religious dignitaries as well as ball players holding a small ball in a hand.
The site features a gallery of carved stone bas-reliefs similar in style to the danzante bas-reliefs at Monte Albán. Forty-seven of these represent ball-players wearing protective equipment such as helmets, knee-guards and gauntlets and holding a small ball in one hand. A large ball-court was found nearby, with an east–west orientation.
Further bas-reliefs are carved into the living rock of the hilltop shrine.
The presence of skulls may be an indication of the symbolism associated with the game.


Located west of complex A. Comprises a huge structure with a set of large walls rooms and beautiful stairways and patios that provide access to their different parts and correspond to different constructive times. It has six architectonic overlays, corresponding to different periods; the building has an important tomb with a jaguar bas-relief on a monolithic rock that forms the entrance. The head of the jaguar is engraved in the lintel with the forelegs flanking the entrance.
The constructions simplicity and generosity of open spaces in plazas or patios, lead to imagine civic or popular activities.
Access to this building is very characteristic: entrance was through the terrace bottom or plaza, via a staircase attached to the wall and crossed by a roofed hallway roofed with large monolithic stone slabs.
Originally this complex had two separate terraces, which were connected by the "Templo Amarillo ".  There are underground drainage channels for rainwater in several places. These are well constructed with rectangular cross-section.
Inside the terraces, four funerary chambers were found and several simpler tombs.
The most important tomb (tomb 7), was completely private and access was through a stairway.


It was built in the central part of building B with engraved stone walls and niches. The roof consists of a monolithic stone. The entrance has a Jaguar figure, the head is engraved in the lintel and the forelegs flank the entrance.
This tomb was looted perhaps in prehispanic times, hence it is partially destroyed.
Chronologically the Tomb corresponds to the Monte Alban II-III A era (200 to 600 CE).


It is a small adobe and stone construction located inside building B, it is certainly an altar built over a stuccoed platform, it faces a small patio to the west, the portico is composed of two monolithic (Monte Albán style) cylindrical columns on the right side, a rectangular niche was found. The entire building was painted yellow ochre. It might have had a religious significance as its orientation.