More than 100 other witnesses were called to testify, mainly indirect witnesses relaying rumors of the time. The Code Napoleon permitted hearsay evidence to a much greater extent than Anglo-Saxon common law, but even so much of the evidence given was clearly inadmissible. Claims included:

The landlady would use the best bits of the corpses to make pâtés and stews for customers to eat
Certain farmers had seen human hands simmering in the cooking pot
Others reported having seen bed sheets or walls stained with blood
Others recounted that sickening smoke frequently came from the chimneys
The innkeepers would burn the corpses of their victims, including children, in the bread oven or pretend they were found dead from cold on the snow of the plateau
Jean Rochette's lawyer implicitly accepted that his client was a murderer, pleading that Rochette was not responsible for the murders because he had been unable to break free of the influence of his masters. This plea contributed to the fate of the accused. Some historians think that the culpability of the Martins in the "assassination" of Enjolras is far from being proven, arguing that the latter simply died of a heart attack after having too much to drink, and that this would explain why Marie Martin tried to make him drink herbal tea. The summing-up of the president of the court was effectively a second closing speech for the prosecution; the argument of the defence, that Chaze was a drunken down-and-out whose testimony was implausible, was ignored.


The Red Inn (1951) - directed by Claude Autant-Lara: A crime-comedy with Francoise Rosay and Julien Carette as the innkeepers and Fernandel in the role of a monk to whom they confess their crimes/sins
remade as
L'auberge Rouge (2007) at IMDb - Gérard Krawczyk, with Gérard Jugnot in the role of the priest and Josiane Balasko and Christian Clavier in the roles of the innkeepers.


Nowadays, Aubette is an artistic and historical landmark with free admission on Place Kléber, which is enjoyed by many tourists. It has three major rooms opened to the public. The facility includes the theater, gallery, and café.


The Auburn Botanic Gardens are a botanical garden located in Auburn (a suburb of Sydney), New South Wales, Australia. It was established in 1977 and covers an area of 9.7 hectares (24 acres).   There are two lakes, a waterfall and bridges. Duck River winds through the garden. The garden is maintained by Cumberland Council. It is open daily, and there is a small entry fee on weekends. The Japanese gardens, which have hosted couples from overseas, are one of the main attractions.
The Auburn Botanic Gardens attract thousands of visitors each year, including a significant number from outside Australia, who come to enjoy the surrounds of the gardens, which provide a variety of flora and fauna. The topography of the site, which slopes gently towards the Duck River, has been altered to create different perspectives and microclimates. Three habitats are intended to provide an experience of 'Australia' in the city – the woodlands theatre, the native garden and billabong, and the Australian rainforest. The gardens were opened by New South Wales governor Sir Roden Cutler on 11 September 1977.


Aucanquilcha is a massive stratovolcano located in the Antofagasta Region of northern Chile, just west of the border with Bolivia and within the Alto Loa National Reserve. Part of the Central Volcanic Zone of the Andes, the stratovolcano has the form of a ridge with a maximum height of 6,176 metres (20,262 ft). The volcano is embedded in a larger cluster of volcanoes known as the Aucanquilcha cluster. This cluster of volcanoes was formed in stages over eleven million years of activity with varying magma output, including lava domes and lava flows. Aucanquilcha volcano proper is formed from four units that erupted between 1.04–0.23 million years ago. During the ice ages, both the principal Aucanquilcha complex and the other volcanoes of the cluster were subject to glaciation, resulting in the formation of moraines and cirques.
The cluster has generated lava ranging in composition from andesite to dacite, with the main volcano being exclusively of dacitic composition. Systematic variations in temperature, crystal and biotite content have been recorded during the evolution of the cluster.
At Aucanquilcha volcano there is some fumarolic activity, and sulfur deposits are found at the summit. Several sulfur mines lie in the complex. One mine at an altitude of 5,950 metres (19,520 ft) was opened in 1913 and remained in use from 1950 to 1992. It was the world's highest mine during that period. Originally, sulfur obtained at the mine was transported down with llamas. Subsequently, an aerial cableway was employed to transport the sulfur to the town of Amincha. To bring the sulfur down, a road network to the summit was constructed in 1972, although it is now impassable.
In 1986, four men were reported to be living at an altitude of 5,900 metres (19,400 ft), making them the highest permanent residents on Earth.


Aucanquilcha is part of the Central Volcanic Zone (CVZ) of the Andes, a highly silicic volcanic zone in South America. The CVZ generates magmas at a rate of 0.11 cubic kilometres per millennium (0.026 cubic miles per millennium), one tenth of the global average of arc magma production, and lies about 135–180 kilometres (84–112 mi) above the Wadati–Benioff zone. The arc has migrated eastward towards the high Andes from the Pacific Ocean coast since the Jurassic. The arc contains andesitic volcanoes, ignimbrites and compound volcanoes and has generated over 3,000 cubic kilometres (720 cu mi) of eruption products over 28 million years.
The Aucanquilcha complex lies northwest of the Altiplano–Puna volcanic complex (APVC), a local large igneous province. The APVC is underpinned below at a depth of 20 kilometres (12 mi) by a slow seismic velocity zone that has been linked to the presence of 15–25% of partial melts in the zone. The Aucanquilcha complex is much smaller volumetrically than the APVC ignimbrites, but the duration of activity and the location indicate that Aucanquilcha is a subcomponent of the APVC complex.
The long-term magma output of Aucanquilcha is comparable to the magma output of other long-term active volcanoes in the central Andes such as Ollagüe and Llullaillaco. In all such cases, an early peak in magma output is followed by later lower-volume activity (0.1 to 0.2 cubic kilometres per millennium (0.024 to 0.048 cubic miles per millennium), followed by 0.01 to 0.02 cubic kilometres per millennium (0.0024 to 0.0048 cubic miles per millennium)). Unzen in Japan and Mount Duff and Lassen Peak in California have similar eruption histories. Such decreases may occur because of the lithostatic load imposed by the edifices on the magma chambers and the increased travel distance of the magma through the edifice.


Aucanquilcha is part of a cluster of volcanoes located between the Rio Loa and the Chile–Bolivia border. Aucanquilcha sits on top of a 2.7–3.3 mya andesite platform and rises more than 1,400 metres (4,600 ft) over it. The main volcano is composed of an east-west 8-kilometre (5.0 mi) long chain of stratovolcanoes and has an estimated volume of 37 cubic kilometres (8.9 cu mi). The maximum slope of the summit area is 25°. During the Cumbre Negra stage, a pyroclastic flow occurred on the northwestern side of the volcano. It covered 34 square kilometres (13 sq mi) on a run of 10 square kilometres (3.9 sq mi) and now has a volume of 0.3 cubic kilometres (0.072 cu mi). It was at first identified as a debris avalanche, but the lack of hummocky topography and the presence of large juvenile blocks identify it as a pyroclastic flow. One block in the flow and the lava dome from which the flow originated have been dated at 0.6 mya. Lava flows, mostly from the summit areas, are dark to grey in colour and extend as far as 2–3 kilometres (1.2–1.9 mi) from their vents. It is likely that two small lava domes (Cerro Cumbre Negra and Summit 5867) on the northwest flank occupy flank vents. To the north lies the 3.3 mya old andesite Cerro Tres Monos ridge; to the west lies the east-west Cerro Polan and La Luna ridge.
The volcanic cluster of which Aucanquilcha is a part contains about 19–20 volcanoes and has generated about 340 cubic kilometres (82 cu mi) of andesite and dacite over eleven million years. Covering a surface area of 700 square kilometres (270 sq mi), the cluster is surrounded on its northern, western and eastern sides by salt flats and alluvial deposits. On its southern side lies the Cerro Chela volcano. The cluster lies on a 70-kilometre (43 mi) thick crust, and arid conditions since the Miocene have preserved its structures. Its volcanoes are arranged in north-south and northwestern alignments, which may indicate a rupture of the crust above shallow magma reservoirs.
Aucanquilcha underwent a northwestward flank collapse, generating a debris avalanche deposit. The debris avalanche descended 2,100 metres (6,900 ft) and ran for 17 kilometres (11 mi) with an azimuth of 211°, eventually covering an area of 59 square kilometres (23 sq mi). The flow was channeled between Miño Volcano and Cerro Cumbre Negra (an eroded lava massif) towards the dry Rio Loa valley, favouring the preservation of the slide deposit. The proximal parts of the slide are covered by younger eruptive products and also by moraines, indicating that the slide was followed by at least one glacial episode. The slide lacks the hummocky topography usually found on debris avalanches but has radial ridges and grooves. Another landslide occurred during the Redondo stage on the eastern side of the main volcano into the Salar de Carcote. It has the classic hummocky topography of landslides and covers a length of 17 kilometres (11 mi) and a surface area of 35 square kilometres (14 sq mi), roughly half of the surface area of the Mount St Helens avalanche of 1980 and one-third of the surface area of the Ollagüe avalanche. A volume of 0.35 cubic kilometres (0.084 cu mi) is assumed based on a probable thickness of 10 metres (33 ft).
Petrographically, the composition of the cluster ranges from andesite to dacite with SiO₂ ranging from 62.8% to 65.7%. Andesites appear as lava flows while dacites form lava domes and dome complexes. The rocks from the main Aucanquilcha volcano are uniformly dacitic and show little evidence of temporal variation in their composition. Potassium content ranges from 1.5 to 4%. Plagioclase is the dominant component of the magma. Clinopyroxene+orthopyroxene+amphibole (hornblende and pargasite) or amphibole+biotite+minor amounts of pyroxene are subordinate components. Apatite, ilmenite, magnetite and zircon can also be found. There is evidence of magma mixing and mingling.
Rocks have a porphyritic texture. Basaltic andesites typically contain less than 10% crystals while dacites generally have more than 20% crystals. The Alconcha group lavas of the first one million years are crystal-poor and lack biotite; later lavas contain biotite and more crystals. Based on geothermometric data, the highest temperatures occurred during phases of high activity and lower temperatures are associated with low output periods. It is likely that crustal feedback and increased deep crustal influx of mantle-derived basalts drive increased magmatic flux. During the time of the Polan eruption on the west flank, magma output was spatially segregated with the peripheral Miño Volcano generating andesite lavas and the more central volcanos generating dacites.
Various parts of the main volcano have been subjected to hydrothermal alteration. The Azufrera stage edifice was subject to the most alteration; especially in the summit area and between the Angulo and Azufrera summits lie sulfur rich talus deposits. The central part of the complex is heavily altered by fumarole activity. Hydrothermal alteration may be driven by the formation of a deep magma reservoir and resulting hydrothermal circulation in overlying rocks.


The volcano is currently not glaciated despite its height, due to the aridity of the climate. The Quebrada de Chaigüire valley originates at the foot of Aucanquilcha. Some of the source springs of the Rio Loa are on Aucanquilcha and it drains the western and northwestern sides of the volcano; the eastern side drains into the Salar de Ollagüe salt pan, the northeastern into the Salar de Laguani, and the southeastern into the Salar de Carcote. Most valleys only intermittently transport water, if at all, but it forms the headwaters of the Rio Loa.
The volcanic cluster was modestly glaciated during the Quaternary, as evidenced by glacial striations and moraines at elevations above 4,500 metres (14,800 ft), and shows evidence of glaciers both on the main volcano and its subsidiaries. At least two distinct glacier stages took place. The western Azufrera edifice was heavily glaciated in the past. At least three moraine stages have been mapped on that edifice, and on its southern side is found a modest cirque with glacially polished lavas on the floor. The Rodado stage edifice has several moraine stages on its southern slopes. Another small cirque with a moraine has been found in the northeastern side of the Cerro Cumbre Negra summit next to an Azufrera stage lava flow. A small moraine lies on the south side of the Angulo edifice; some lavas from that edifice overlie glacial deposits.


During the Second World War, the then Laird of Auchinleck gave permission for Officers from the armies of Poland, Canada and France to live in Auchinleck House.
In 1986 the remains of the buildings were turned over to the Scottish Historic Buildings Trust by James Boswell, a descendant of the 18th-century Boswells. The Trust repaired the roof, and thus ensured the survival of the building. In 1999 Auchinleck House was bought by the Landmark Trust, a building preservation charity whose aim it is to "rescue historic and architecturally interesting buildings and their surroundings from neglect and, when restored, to give them new life by letting them for holidays." Now restored, Auchinleck House is used for holiday lets, and is occasionally open to the public.


On 9 February 1968 the Auckland Regional Authority acquired 42 hectares of land from the Nathan Estate in Manurewa, and the Manukau City Council bought the remaining 40 hectares of the Estate, since the property was offered as a whole. The land was leased for grazing until 1970. Soil tests were carried out. These proved that the area was most suitable for a botanic garden.
A scientific advisory committee prepared the first master plan for the Gardens. This was adopted by Council in March 1972. On 19 February 1973 the then Auckland City Councillor, Tom Pearce, turned the first sod. A nursery was established at the eastern end of the Hill Road frontage.
In 1982 the Auckland Regional Authority bought approximately 20.5 ha from Manukau City and accepted from it a gift of 2.2 ha to give the Gardens a northern frontage onto Orams Road.
23 February 1982 the Gardens were officially opened by David Bellamy. At that time the facilities included a visitor centre, the courtyard, the carpark and public toilets. The plant collections were confined to the southern parts of the Gardens.
In 1983 the Sir John Logan Campbell Lecture Building was erected.
In 1986 an entrance at Katote Place was constructed in memory of Mr. Harry Beaumont, a former member of both the Auckland Regional Authority and Manukau City Council, and a strong promoter of the establishment of the Gardens.  That same year the Unitec Horticultural Classroom and an associated demonstration home garden were opened.
A review of the role and activities of the Gardens was undertaken in 1988–89 by a working party.
1990–present
In the early 1990s a covered courtyard and the Friends Horticultural Reference library were opened.
Redevelopment of garden collections were undertaken in the 2000s such as the Heritage Rose Garden, New Zealand Rose Garden and the South African garden.
A new significant addition to the garden was the opening of the Threatened Native Plant Garden by the Prime Minister Helen Clark on 29 September 2001.
This was followed by another significant development of a new Children's Garden, formally opened by the Prince of Wales on 10 March 2005. On the same year a new Visitor Centre building was constructed and opened.
A biennial sculpture exhibition (Sculpture in the Gardens), showcasing selected large-scale public sculptures, commenced in 2007 running for 3 months over the summer season.
Another round of garden redevelopment occurred in the late 2000s with a major revamp of the Edible Gardens into themed rooms and a second stage added to the Children's Garden.
From 2010 onwards, a series of low-impact and water treatment/ stormwater design initiatives were added around the garden such as 2 living roof buildings, vegetated swales, rain gardens and riparian planting around the central lakes.
This location was also used in television series Power Rangers Dino Charge, turned into Amber Beach Dinosaur Museum and later in 2016 changed to Amber Beach Dinosaur Zoo.


The mission of Auckland Botanic Gardens is threefold:
to contribute to the community's wellbeing and appreciation of plants.
to reflect in the range of plants on display the region's benevolent climate, its diverse landscape and its ethnic mix.
to meet the needs and interests of the community and to inspire and inform people about the importance of plants in their lives and to the environment.


Research in the Botanic Gardens has been mainly directed on identifying plants that are best suited to growing in local conditions. Three panels have been active, on natives, on trees and shrubs, and on bulbs and perennials. As a result of this research a great number of Advisory Leaflets was published, together forming the dossier "Gardening in Auckland – Horticultural advice for Auckland gardeners" (published regularly since 1981), freely available at the visitor centre.
Much of the trials have been conducted in the Shrub Trial Garden. Here some extensive collections have been created of Hydrangea, azalea, Deutzia and other genera.
Nowadays the advisory work is still continued and the Advisory Leaflets are still updated regularly.


Important collections of the Auckland Botanic Gardens include:
New Zealand Native Plant Collection, in several areas:
- The New Zealand Native Plant Identification Trail: a short walk highlighting characteristics of a selection of NZ native plants
- The Native Forest Trail: a marked walk that leads through a broadleaf/podocarp forest remnant with a total of about 30 hectares. 10 hectares are part of and managed by the Botanic Gardens. 20 hectares are part of 'Totara Park', managed by the Manukau City Council. The area was cut in earlier times to harvest timber. The forest is now regenerating. There are a number of tracks in the area. One of the tracks is described in a leaflet with information on plants and trees. The flora of the combined area consists of 158 species in total.
- The Harakeke (Phormium) Collection, with a large number of cultivars traditionally used by Maori for weaving.
- The Threatened Native Plant Collection, opened 2001 by Helen Clark, ex-Prime Minister of New Zealand.  Here we find for instance fine specimen of Three Kings (Trumpet) Vine Tecomanthe speciosa and of Shore Spurge.
- Native Plant Ideas: ornamental native plants combined in creatively designed gardens.
Rose Garden: consisting of the Historic Rose Garden (species and heritage roses), Reflective Rose Garden (formal display of floribunda, hybrid tea, shrub and climbing roses), New Zealand Rose Garden (a mix of garden roses with native plants) and Pergola Garden (modern and heritage roses with colourful perennials and annuals).
The Potter Children's Garden: arranged in 3 parts, the first stage focuses on the relationship between a native bird (kereru) and a native tree (puriri) with additional native planting themes of coastal, forest, wetland and a maze. The second part has 4 distinct habitats (bog, meadow, jungle and desert) showing plant adaptations. A separate third area contains a classroom and sustainable edible garden.
Trial Garden: groups of plants are selected for evaluation and research purposes.
Gondwana Arboretum: groupings of trees planted from the early 2000s onwards which showcase predominantly coniferous trees from Southern Hemisphere countries which once were part of Gondwana.
Edible and Herb Garden: a series of themed gardens which include the Walled Garden (portage-style garden with brick walls showing different micro-climates), Culinary Courtyard (formal display of attractive and useful culinary plants), Kiwi Backyard (informal garden with a food forest, raised planters, and composting ideas) and Orchard. The Herb Garden is one of the oldest plantings, established in 1979, with an array of herbs conveying their uses, value and historical significance.
Perennial Garden: bold, creative, colourful combinations of colour, texture and form of perennial plants that are known to do well in Auckland.
Camellia Garden: a collection of species and cultivars with well known Camellia species of japonica, sansanquas and reticulatas, supported with woody and herbaceous plantings of East Asian origin.
Magnolia Garden: a diverse array of species and cultivars, including a collection of NZ-bred varieties.
South African Garden: a wide range of southern Africa plants, particularly Cape flora. Significant plantings include Proteaceae, Asteraceae, restios and aloes.
Rock Garden: two sections with one an eclectic mix of uncommon plants with an emphasis on small perennials, shrubs, bulbs and succulents and another featuring cacti and succulents from the Americas.
Palm Garden: one of NZ's largest outdoor collection of different palms supported by sub-tropical plantings.
Urban Trees: shows a selection of small trees that can be successfully planted in private gardens.
There are a number of other smaller collections, for instance a collection of conifers, with a specimen of Keteleeria davidiana and Bishop Pine Pinus muricata.
The database, that lists all the plants in the collections, is available for consultation in the Visitor Centre.


By the early 20th century, the Auckland Harbour Board recognised the need for a dedicated ferry building in Auckland. Original plans were for a five-storey structure, but after public outrage at the height, a design of four storeys and a clock tower was proposed. The plan was similar to that of the San Francisco Ferry Building. The building was designed by Alex Wiseman, and erected by Philcox and Sons. It was completed in 1912, of sandstone and brick with a base of Coromandel granite, on reclaimed land. It cost £67,944, a large sum for the day, equivalent to NZ$10.9 million in 2016.
A new ferry building was built next to it in 1982 and a report released that year said that extensive renovations were needed to bring the Edwardian building up to earthquake and fire code standards. The Harbour Board were divided over whether to keep the building, but following strong public opinion decided to renovate it. It has had a Category I classification with the New Zealand Historic Places Trust (now Heritage New Zealand) since 1982. It was extensively restored from 1986 and reopened by the Governor General on 5 November 1988. It now contains shops and cafes on the lower level, with most ferry operations moved to the new building.


The more contemporary ferry piers and waiting area were constructed mostly as an open-sided structure with a curved seagull/sail-roof, which together with ornamental "smokestack" turrets is designed to evoke ships berthed behind the original building. It also needed to be of a low profile to retain building views, and was designed by architect Murray Day to be easily maintainable and expandable.


A "tidal flow" system is in place, with the direction of the two centre lanes changed to provide an additional lane for peak-period traffic. During the morning peak, five of the eight lanes are for southbound traffic; in the afternoon, five lanes are northbound. At other times, the lanes are split evenly, but peak traffic has become proportionately less – in 1991 there was often a higher than 3:1 difference in directional traffic; in 2006, this had dropped to around 1.6:1. The bridge has an estimated capacity of 180,000 vehicles per day, and in 2006 had an average volume of 168,754 vehicles per day (up from 122,000 in 1991).
In March 1982, the Ministry of Transport and Auckland Harbour Bridge Authority conducted a week-long traffic blitz in an attempt to improve the standard of driving. Of the 600,000 vehicles which used the bridge over this period, 6,000 were stopped, with half of those receiving a ticket and the rest cautioned. A second blitz was held for 36 hours a few weeks later.
For many years, lane directions were indicated by overhead signals. In the late 1980s, a number of fatal head-on accidents occurred when vehicles crossed lane markings into the path of oncoming traffic. In 1990, a movable concrete safety barrier was put in place to separate traffic heading in opposite directions and eliminate head-on accident. Two specially designed barrier transfer machines moved the barrier by one lane four times a day, at a speed of 6 km/h, the first concrete safety barrier of its kind installed on a box girder bridge in the world.
In March 2009, the barrier transfer machines, which had lasted four times their original design life of five years, and the barrier were replaced. The new machines are capable of moving the barrier in half the time the old machines did. The concrete barrier blocks and the metal expansion blocks have been reduced in width by 200 mm, giving more width in the lanes either side of the barrier.
As part of the Victoria Park Tunnel project, the moveable barrier has been extended southwards to the Fanshawe Street onramp.


As part of large events such as the Auckland Marathon, normal motorway restrictions on access are sometimes relaxed. December 2011 was the first time that cyclists were officially allowed on the bridge, for a race / community cycling event organised by Telstra Clear, Auckland Transport, NZTA and Cycle Action Auckland, also allowing cyclists on the Northern Busway. The up to 9000 riders were protected by 160 stationary buses used as a 'guard of honour' between the bridge end and the Northern Busway from traffic on the rest of the motorway, which will stay open.


The bridge supports several utility services, including water and gas pipelines and fibre-optic telecommunications cables.
Transpower reached agreement with Transit in 2005 for the installation of cable supports beneath the bridge for a future cross-harbour power cable. In 2012, Transpower installed three 220,000-volt cables on the bridge, linking Hobson Street substation in the Auckland CBD to the Wairau Road substation on the North Shore.


The Auditorium and Music Hall building has served several purposes throughout its lifetime since it was built for Emil C. Jorgenson in 1895. Originally, the first floor was occupied by a liquor wholesale business, the second floor was used for a dance hall, and the third floor was a mini concert hall. The next owner renovated the third-floor space into apartments, and the dance hall became a boxing gymnasium. It remained this way until 1960. Around the 1980s, the architectural firm Boutwell, Gordon, Beard, Grimes, invested $2 million to update and renovate the building. They renovated the first floor to resemble the building's original design, created offices on the second and third floors for their own personal use, and leased the top floor to other professionals.


Located in downtown Portland, near the waterfront area on lot 6, block 23, the Auditorium and Music Hall building is on the east side of SW Third Avenue, in the middle of the block between Salmon and Taylor Streets.
The foundation of the four-story building is composed of pilings, concrete footings, and brick piers. Walls and arches support the first floor of timber, while iron columns support the second floor of concrete and wood. The roofing is reinforced with timber trusses that cover the width of the building, creating space for the concert room's high ceilings, which feature a cove ceiling over a "space 27ft high, 42ft wide, and 72ft long."
The building incorporates the Romanesque Revival style, evidenced in the design of its façade, influenced by works produced by Louis Sullivan, Frank Lloyd Wright, and Henry Hobson Richardson. The terra cotta detailing on the façade is notable on the side arch capitals on the third floor. The plant motifs, seen directly on the stone capitals at the first level, are "organized in geometric patterns [and] display the strong influence of Louis Sullivan; a significant aspect of these decorative elements is their variety."
This influenced White's design of the Auditorium building, which has elements of the Richardsonian Romanesque Revival style. Described as "interspersed with other coloured stones to accentuate doorways and windows. Rectangular blocks with little ornaments other than the play of voids and solids across the surface project enormous power and a sense of timelessness." This is seen in the design of the auditorium building's façade.


The house and grounds have been used in popular television and radio shows, including Flog It!, Antiques Roadshow and Gardeners' Question Time.
The exteriors and gardens were also used for the 1964 feature film Woman of Straw starring Gina Lollobrigida, Sean Connery and Ralph Richardson.
During 2017, scenes were filmed at Audley End for Trust produced by Danny Boyle and based on the life of John Paul Getty III. On 7 September 2018, scenes were shot for  The Crown. Previously, interior shots of the Library and Great Hall had been used to portray rooms in Balmoral Castle, Windsor Castle and Eton College.
Audley End appears in a popular series of videos on English Heritage's YouTube channel featuring the character of Mrs Crocombe, head cook at the house during the 1880s.


The Auer Dult is a traditional fair in Munich, Germany, combinding a market and a German style folk festival.
It takes place three times per year on the Mariahilfplatz in the Munich district of Au, fuelled by around three hundred traders and showmen, by the rule. Both sections - market and funfair - are sperated by the neo-gothic Mariahilfkirche (Mariahilf Church) in the very middle of the square. In contrast to the Oktoberfest and the Munich Spring Festival (Münchner Frühlingsfest), the Auer Dult is much less touristy, but way more local, discreet and calm. In the course of the year, around 300,000 visitors are counted.
The first fair of the year, the so-called Maidult (May fair) starts on the first Saturday of the month. Jakobidult takes place in late July and early August (beginning on the Saturday after the feast day of St. James) and Kirchweihdult occurs round the middle of October, from Saturday prior to Kirchweih till the following Sunday. Each one lasts nine days.


Next to the area of the Standl is a second one, where there are typical fairground rides. Until including 2019 there also used to be a small Ferris wheel, called the Russenrad (Russian's wheel). Visitors find a chairoplane, a child's roundabout, a swing boat, a horse riding track, dodgems and shooting galleries. There are also various takeaways and a beer tent which offers typical Bavarian specialities like the famous and much-beloved Steckerlfisch.


The triangular shape of the castle keep survives today. Between the wall (from the north to the south tower) and the inner courtyard were the kitchens, living quarters, stables and smithy. The original entrance, protected by a donjon, was in the wall between the north and former east tower. Between the wall (from the east to the south tower) and the inner courtyard were the grand hall, cellars and the castle chapel.
In the east corner of the inner courtyard lies the original well, drilled vertically through 62 metres (203 feet) of bedrock. The castle keep is surrounded by a ring wall which encloses the bailey. A further forecourt is enclosed by another ring wall. At the south side of this ring wall was the entrance to the estate. On 18 October 1356, a powerful earthquake shook the Rhine rift; the donjon collapsed onto the eastern and southeastern buildings. Beginning about 1370, large-scale reconstruction and expansion of the castle took place. The donjon was demolished, the entrance to the keep relocated and the northern shield wall was closed and raised. The entrance to the castle is now in the southwest corner, where it is protected by the south tower and an inner bailey.
A 4-metre (13-foot)-thick bastion was built in place of the east tower. This bastion (the first of its kind in Germany) was designed to protect the castle from cannon bombardment from the northeast. The north and south towers may have been raised at this time.
These additional fortifications, ordered by the Counts of Katzenelnbogen, gave rise to the name Feste Urberg (Urberg Fort) and made Auerbach one of the most secure and modern castles in the world at that time.


Auersberg belongs to Wildenthal, which has been a district of Eibenstock since 1994. North of the Auersberg lies the Sosa dam. Below the summit there is a parking lot. When ascending to the Auersberg, you cross the Johanngeorgenstadt district of Sauschwemme.
The main type of rock is medium-grained granite, which includes tourmaline. Also included in the granite are silver, tin and iron compounds, which were mined as early as the 16th century. At the peak of mining activity, there were up to 300 mines on the Auersberg. These included the Churhaus Saxony. In addition to the aforementioned rocks, quartz and slate have been proven to occur in veins on the summit.


In 1614, Emperor Matthias had a small hunting lodge built in what was then called the Wolfsau, at the time a flood-plain (Au is an Austrian and southern German term for a riparian forest or flood-plain). Around 1650, Ferdinand III bought up the area around the nearby Tábor (which is a Czech word used here for a fortified checkpoint outside the city's walls) at a branch of the unregulated Danube. He established a formal Dutch garden and expanded the hunting lodge into a small mansion. In the 1660s, Leopold I acquired the adjacent gardens from the noble Trautson family and had it transformed into an all-comprising pleasure park. In 1677 he converted the Trautsons' garden mansion into a small palace (a so-called Lustschloss, a palace for pleasure only), to which he gave the name "Imperial Favorita". Later on instead of this one the name Old Favorita became established, since in today's 4th district a New Favorita (today: Theresianum) had been built.
1683 was a bad year for Vienna and the Augarten: during the course of the Turkish siege the grounds and buildings were destroyed in their entirety, with exception of some parts of the walls. Not until 1705 were the gardens and the palace restored under Emperor Joseph I. The garden palace built at this time is now the headquarters of the Augarten Porzellanmanufaktur (Augarten porcelain factory), the second oldest porcelain factory in Europe. A few years later, in 1712, the new monarch, Charles VI, commissioned landscape architect Jean Trehet - also responsible for the creation of the gardens at Schönbrunn as well as at the Belvedere - to carry out new plans to develop the whole park, in French style. Today's Augarten is still based on this.
After the opening of the Vienna Prater to the public in 1766, the Augarten was likewise opened on 1 May 1775 by Joseph II. On this occasion nightingales were settled and hunting of them was strictly forbidden. The entrance at that time was still guarded by soldiers, whilst inside the park grounds war invalids and other handicapped people maintained order. The inscription Allen Menschen gewidmeter Erlustigungs-Ort von Ihrem Schaetzer ("A place of amusement dedicated to all people by their Cherisher") can still be read at the main gate to the Augarten from Obere Augartenstrasse. To satisfy these high expectations, dining rooms and dance halls, refreshment places and billiard rooms were established and for all of them the restaurateur Ignaz Jahn was responsible as traiteur.
Joseph II in 1781 ordered Isidore Canevale to erect a humble structure for the emperor and used to spend his summers there; it has become known as Josefsstöckl and is still existing today. Today's Heinestrasse linking this building to the Praterstern square has been planted as an alley on the order of the emperor. During the time of the Congress of Vienna the Augarten has been a most popular meeting place of the nobility.
During the disastrous inundation which afflicted Vienna from February 1 to March 1 of 1830, the entire Augarten was flooded to a depth of 1.75 metres (5 ft 9 in). Two memorial plaques, one on the inner side of the main portal and another at the gate to Castellezgasse, commemorate this flood. With the regulation of the Danube from 1860 to 1870, the Augarten became permanently separated from the Danube river. The former riparian forest and plain changed to a cultivated landscape, which was no longer subject to flooding.
After 1918, Augarten became a park administered by the federal government, and this stayed so until today.
Between 1934 and 1936, the dictatorial Federal Chancellor Kurt Schuschnigg lived in the Palais Augarten.
During the Second World War, military authorities chose the Augarten as one of several places to erect massive buildings for anti-aircraft defence (flak towers) to protect the inner city from Allied bombing. During summer 1944 the construction of a 55-metre (180 ft) high tower with platforms for anti-aircraft guns and nearby also a 51-metre (167 ft) high control tower was begun but not finished. Their remains are still visible in the middle of the park. Moreover, during the war hundreds of cubic metres of rubbish were dumped on the site whilst armoured vehicles criss-crossed the garden and - as it is supposed - common graves were dug for hundreds of war victims.
Today with the exception of the virtually indestructible flak towers and the bunker (in which a restaurant is housed) nothing from this dark period remains.


The most characteristic plant in the park is the giant tree aloe (Aloidendron dichotomum) known locally as the quiver tree or kokerboom. It is perfectly adapted to the dry semi-desert rocky areas found in the Nama-Karoo, able to withstand the extreme temperatures and the infertile soil. This tree, which grows up to five metres high, gets its name from the fact that the Bushmen (San) used the soft branches to make quivers for their arrows. The eye-catching silhouette of the quiver tree is typical of this part of Northern Cape landscape. When the tree flowers in the winter flocks of birds are attracted to their copious nectar, and baboons can be seen tearing the flowers apart to get the sweet liquor. The Shepherd's tree, a stocky tree that grows in typically dry, open woodland and bushveld, can be found in the area. The Khoi and San communities around these areas hold this tree in deep reverence; its destruction is strictly forbidden. This tree also grows in part of the Free State province.
There is an array of animal species on the 28 000 hectares of the Augrabies National Park. Game such as springbok, gemsbok and the endangered south-central black rhinoceros can be found here.  Rare animals such as the Cape clawless otter can be spotted in the area, alongside the black-backed jackal, caracal, the bat-eared fox and the African wildcat. The Water Monitor, Africa's largest lizard, can be found along the water.  The Doublebanded Sandgrouse can be found here, alongside the more commonly spotted Namaqua Sandgrouse. These are found in freshwater systems, lagoons, and the sea so long as fresh drinking water is available. A prominent landmark in the park is Moon Rock, a large exfoliation dome measuring around 700 metres (2,300 ft) by 100 metres (330 ft) and 30 metres (98 ft) high.


Apart from the Augrabies Falls, key activities in the park include night drives during peak season; the Gariep trail and the Klipspringer 3 day trail hike. The Augrabies National Park is approximately an 8 hours drive from Cape Town, and 10 hours from Johannesburg.


The original half-timbered manor house was built in 1660-4 by Ernest Günther, the first Duke of Augustenborg, after he bought the village of Stavensbøl and demolished it for the land. The one-storey, red-roofed buildings around the outer courtyard were added from 1733 while the main three-winged building, replacing the original manor, was built from 1770 to 1776 in full symmetry, a fine example of Baroque architecture.
With its yellow-painted walls and blue-tiled roof, the wings gradually increase in height up to the central section. The three central bays of the facade protrude as an avant-corps three storeys high. Inside a beautiful entrance hall was finished in white-painted stucco by the Italian decorator Michel Angelo Taddei (1755–1831). Taddei also worked on the interior of the two-storey Baroque chapel in the building's northern wing, adding a Rococo altarpiece with an integrated pulpit as well as decorations along the vaults and walls of the nave. During the same period, much of the town was regenerated. The palace building underwent further renovation in the 1920s. Hans Christian Andersen spent two weeks at the palace in the autumn of 1844 and wrote The Little Match Girl when he visited the castle.
During the First Schleswig War (1848–50), Christian August II, the last duke to live in the palace, left Augustenborg as a result of his close relations with Germany. Thereafter the building was first used as a barracks and from 1878 as a seminary for women.
In 1921, Augustenborg was purchased by the Danish state. It was fitted out as a hospital in 1927–28 and since 1932 has been used as a psychiatric hospital. There is an exhibit about the palace, the town and its ducal history in the building's entryway.


Augustinergasse was the home of the medieval artisans of Zürich. Beginning in the 17th century, rich factory owners settled there, resulting in an open 'competition' for the best facade. Tourist highlights are the numerous carved wooden bay windows of these colourful houses, along with some mostly tourist-oriented shops, coffeehouses and restaurants; thus the tiny lane is probably one of the most colorful streets in Zürich. Much more modestly decorated is the exterior of the former monastery's church, the Augustinerkirche that as of today is the parish church of the Christ Catholic community of Zürich.


The history of today's square began in 1785 on a site within the city walls as the Platz vor dem Grimmaischen Tor to designs by the city architect Johann Carl Friedrich Dauthe. It was renamed Augustusplatz in 1839 after Frederick Augustus, the first king of Saxony. In 1928 the social-democratic city government renamed it Karl-Marx-Platz, though this name proved unpopular and was ignored even in newspaper articles and town plans. In 1933 the Nazis renamed it Augustusplatz, then in 1953 it became Karl-Marx-Platz again, and finally in 1990 (on the day of German reunification) it returned to its current name of Augustusplatz.
It is now dominated by the Opernhaus on its northern edge, the Neues Gewandhaus (with the Mendebrunnen) on southern side, and the main buildings of the University of Leipzig, including the City-Hochhaus Leipzig on the western side bordering the city centre. Destruction during the Second World War and the radical city-planning policies of the GDR both mean the Augustusplatz has lost its historical appearance: the now closed Hauptpost, the newly built Radisson SAS Hotel (former names: Hotel Mercure, Interhotel am Ring, Hotel Deutschland) and the university complex are all built mainly of concrete and steel in the style of the 1960s or later. In May 1968, for example, the bomb-damaged Augusteum and the university church that had suffered little damage (Paulinerkirche) were both dynamited. From 4 September 1989 to 1990, Monday demonstrations took place. From 1996 to 1998 an underground car park was built under the Augustusplatz with many entrances and ventilation shafts leading on to the square, the construction of which proved controversial. The carpark's eight illuminated glass cylinders housing the stairwells have been mocked in particular, being nicknamed "Milchtöpfe" or milk-bottles.
The construction of the university's new main building or Paulinum involved a fierce controversy over the possible reconstruction of the university church between 2002 and 2004 .  Although completion of the complex was hoped for in 2009 for the university's 600th anniversary, the university now expects it to be reached in 2013. With its auditorium and the gabled roof it recalls the style of the former Augusteum and the demolished church. The Augustusplatz was mostly redesigned to plans by the architect Erick van Egeraat.


The landscape is characterised by moraines, woods, heath and a large number of ponds. The most important rivers in the nature park are the Stör and its many tributaries in the centre and the smaller Bünzau with its tributaries, the Buckener Au, Fuhlenau and Höllenau. Its highest point is the Itzespitze (83.4 m).


The region caters well for tourists and has a comprehensive network of bridleways, cycleways and trails. The Cheese Road goes through the southern part of the reserve. For walkers the Nature Park Way links the 5 nature parks in Schleswig-Holstein.
On the A 7 there is an information board which describes the landscapes and points of interest along the motorways by the nature park.


Although the Aula Palatina generally follows the standard architectural plan of earlier basilicas, with a lack of columns in the interior and an open, box-like shape, it is unique in its addition of a transverse vestibule reminiscent of a narthex. The basilica was made of solid brick, with black-and-white marble floors, and was equipped with a floor and wall-heating system. (hypocaust).  The basilica was originally part of a palace complex and was not a free-standing building, but had other smaller buildings (such as a forehall, a vestibule and some service buildings) attached to it. The outer courtyard and railings on the first and second stories of the basilica no longer exist, but overall it is remarkably well preserved.
During the Middle Ages, it was used as the residence for the Bishop of Trier. For that, the apse was redesigned into living quarters and pinnacles were added to the top of its walls. In the 17th century, the archbishop Lothar von Metternich constructed his palace just next to the Aula Palatina and incorporated it into his palace doing some major redesign. Later, in the 19th century, Frederick William IV of Prussia ordered the building to be restored to its original Roman state, which was done under the supervision of the military architect Carl Schnitzler. In 1856, the Aula Palatina became a Protestant church. In 1944, the building burned due to an air raid of the allied forces during World War II. When it was repaired after the war, the historical inner decorations from the 19th century were not reconstructed, so that the brick walls are visible from the inside as well.
A new organ was installed in 2014. It has over 6,000 organ pipes.


Aurinkolahti is easily accessible by public transport. The transit time between Vuosaari's metro station and downtown Helsinki is about 20 minutes. Located approximately 1 km from the Vuosaari metro station, Aurinkolahti can be reached on foot, by bicycle or bus, as well as by car. By car the area is served by the Ring III motorway.
Aurinkolahti is also located just south of the Columbus shopping centre, and six minutes by metro from Itis, the Nordic countries' largest shopping centre.


The Aurora Bridge (officially called the George Washington Memorial Bridge) is a cantilever and truss bridge in Seattle, Washington, United States. It carries State Route 99 (Aurora Avenue North) over the west end of Seattle's Lake Union and connects Queen Anne and Fremont. The bridge is located just east of the Fremont Cut, which itself is spanned by the Fremont Bridge.
The Aurora Bridge is owned and operated by the Washington State Department of Transportation. It is 2,945 ft (898 m) long, 70 ft (21 m) wide, and 167 ft (51 m) above the water. The bridge was opened to traffic on February 22, 1932, the 200th anniversary of the birth of namesake George Washington. It was listed on the National Register of Historic Places in 1982.
The bridge has been the site of numerous fatal incidents over the years. It is a popular location for suicide jumpers and several reports have used the bridge as a case study in fields ranging from suicide prevention to the effects of pre-hospital care on trauma victims. In 1998, a bus driver was shot and killed while driving over the bridge, causing his bus to crash and resulting in the death of one of the passengers. In 2015, five people were killed and fifty were injured when an amphibious duck tour vehicle crashed into a charter bus on the bridge in an incident that also involved two smaller vehicles.


Construction on the bridge piers began in 1929, with construction of the bridge following shortly afterwards in 1931. The bridge's dedication was held on February 22, 1932, George Washington's 200th birthday; it opened to traffic the same day. A time capsule was installed on the bridge by the widow of Judge Thomas Burke and is planned to be opened in 2032.
The bridge was the final link in what was then called the Pacific Highway (later known as U.S. Route 99), which ran from Canada to Mexico. The bridge crosses the Lake Union section of the Lake Washington Ship Canal and, unlike earlier bridges across the canal, the height of the Aurora Bridge eliminated the need for a drawbridge. In 1930 Seattle City Council voted to build connecting portions of the highway through the Woodland Park Zoo, a decision which generated considerable controversy at the time.
The bridge was designed by the Seattle architectural firm Jacobs & Ober, with Ralph Ober as the lead engineer on the project. Ober died in August 1931, of a brain hemorrhage while it was still under construction. Federal funding programs were not available at the time, so the bridge was funded by Seattle, King County, and the state of Washington.
The bridge was nominated for the National Register of Historic Places on January 2, 1980, on account of its "functional and aesthetic" design qualities and its historical status as the first bridge constructed in the region without streetcar tracks. It was accepted to the National Register on July 16, 1982. The bridge formerly had a set of pedestrian refuge islands in the highway's median that were removed in 1944.
In 1990 the Fremont Troll—a large cement sculpture of a troll clutching a real-life Volkswagen Beetle—was installed under the bridge's north end. Up to half of the $40,000 cost for the artwork was donated from Seattle's Neighborhood Matching Fund, a local program to raise money for community projects. The Troll was heavily vandalized in the year following its construction, and large floodlights were installed on the bridge to discourage further damage.
Following the collapse of the Minneapolis I-35W arch-truss bridge on August 1, 2007, WSDOT was directed to perform inspections of all steel cantilever bridges in the state that used gusset plates in their design, including the George Washington Memorial Bridge. The bridge had earlier been certified as structurally sound with no serious deficiencies detected. That year, the Federal Highway Administration National Bridge Inventory found the bridge to be "functionally obsolete". The bridge was given a sufficiency rating of 55.2% and evaluated to be "better than minimum adequacy to tolerate being left in place as is". Its foundations and railings met the acceptable standards and no immediate corrective action was needed to improve it.
The George Washington Memorial Bridge underwent extensive seismic retrofitting in 2011 and 2012 at a cost of $5.7 million. During a regular inspection in October 2019, WSDOT structural engineers determined that an outside stringer beam on the southbound side of the bridge had corroded to the point of creating a visible sag in the roadway. Southbound traffic was reduced to two lanes for an emergency repair that cost $500,000 and took seven days (out of a scheduled ten days).


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Austin, Nichols & Company continued to grow, with an annual sales income of $40 million by 1920. Its chief activity was the production and export of foods under the Sunbeam Foods brand. At its peak, the company was among the world's largest wholesale grocers. In 1923 Austin, Nichols & Company acquired the large wholesale department of Acker, Merril & Condict. The Federal Trade Commission sued Austin, Nichols & Company, alleging that the acquisition would result in a monopoly, but later dropped the charges. By the mid-1920s, Austin, Nichols & Company suffered from decreasing sales, due to either the lawsuit or to the rise of chain stores. The company had closed its other locations by the late 1920s, selling off its packing subsidiary as well.
After Austin, Nichols & Company's other locations closed, the Williamsburg warehouse was used solely for importing and manufacturing products for the company. Starting in the 1930s, after Prohibition in the United States was repealed, the company started handling liquor. Austin, Nichols & Company's lease was renewed in 1934, and a distillery was subsequently installed. After the company's grocery business was sold to Francis H. Leggett & Co. in 1938 or 1939, the company's focus turned exclusively to liquor sales.
The Lehigh Warehouse and Transportation Company leased three floors of the building in 1939, but Austin, Nichols & Company continued to occupy the building through the 1950s. Austin, Nichols & Company bought a new structure in Maspeth, Queens, in 1955 and subsequently moved all of their operations there. The warehouse, now known as 184 Kent Avenue, continued to be used by small manufacturers for the next three decades, until 184 Kent Avenue Associates bought the building in 1986. However, by the 1990s, the warehouse was dilapidated. In 1999, the New York City Board of Standards and Appeals granted a variance to allow the renovation of the interior for residential use.


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The reinforced concrete facade is relatively simplistic and painted in shades of white. The facade is divided into numerous architectural bays, which generally contain groupings of three narrow, slightly-recessed windows on each floor. The western facade is divided into eight bays, all of which contain 3 windows on each floor, except for the southernmost bay, which only contains 2 windows. The eastern facade is divided into nine bays; the northernmost and southernmost bays contain 2 windows while the remaining seven bays contain 3 windows. A similar pattern can be found on the longer northern and southern facades, where most of the bays contain 3 windows, while the end bays and two of the center bays contain 2 windows. Loading docks, now sealed, were located on the western, northern, and southern facades.
Little ornamentation was used on the facade. A concrete marquee was located along the western half of the southern facade, above the loading docks. Other features of the facade included a concrete cornice at the top of the building, as well as inward-sloping walls and long uninterrupted wall sections. In a letter to Gilbert dated April 3, 1913, Turner Construction wrote that "Concrete, for grocery warehouses, has become almost the standard form of construction throughout the century." Gilbert later said, "The nature of the materials dictates the form of all its parts, and assuming that the purpose of the structure is kept in mind, as it should be, this purpose is necessarily expressed in very simple terms."
Gilbert chose to place emphasis on the scale of the building's dimensions, saying that a building's "principal claim to beauty" was derived from its proportion instead of its decoration. Havemeyer had originally asked Gilbert to design the western facade on the riverfront so that it would appear as massive as possible. While the initial proposals featured three different variants of window fenestration, the final plans simplified the design to the extent that the facades were all nearly identical. To save money, the windows' recessions were reduced in depth, but Havemeyer agreed to add rounded mullions between the two or three window panes in each bay. This serves to unite the "various levels of fenestration" on the building.


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Upon its completion, the Austin, Nichols and Company Warehouse included four tracks with 68 freight cars, a freight-loading system with several large derricks, and a telegraph service to instantly duplicate orders that were made in the Manhattan sales building. Loading bridges took railcars from car floats, unpowered barges with rail tracks on them. The building was used to process various foodstuffs, import European groceries, as well as manufacture and export dry goods. Material was carried through the factory via a system of chutes, conveyors, and pneumatic tubes. Upon the building's completion in 1915, the Brooklyn Daily Eagle stated that the facilities could accommodate 100 freight cars or 400 lighters a day, and that the number of required freight trucks had been cut from 100 to 35 per day. The warehouse employed 1,500 workers and nearly all of the floor space was being used.
Each floor was designed for a different purpose. The basement contained storage rooms for fish and olives, as well as an engine room, while the first floor contained administrative offices and the receiving and shipping divisions. Restrooms, as well as a restaurant and lockers for employees, were located in the mezzanine. The second floor included the exports and olive departments; storage and processing of dry foods, fruit, and canned foods; and the laundry room. The third floor contained the departments of extract & syrups, dried fruit, and small-scale coffee packing. The fourth floor contained more dry food/ingredient storage and large-scale coffee packing. The fifth floor contained storage of dry foods and other non-food products, as well as administrative offices and another employee restaurant. The sixth floor was used for roasting and storing coffee, as well as cutting and grinding spices.
The modern-day lobby of 184 Kent Avenue, now a rental building, contains a green wall in its lobby. The interior includes 338 luxury condominium apartments, which range from studio apartments to three-bedroom suites. There is also 17,850 square feet (1,658 m²) of rentable commercial space on the first floor. A cafe area and enclosed courtyard are located within the building. Other residential amenities include a musicians' room, a movie room, a riverfront gym, a children's play space, and shared rooftop space.


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In September 1914, Austin, Nichols & Company vice president Balfe said "The work of the architects, contractors and all connected with it, has in our opinion simply been wonderful." Likewise, an anonymous writer in the Engineering News stated in November 1914 that the warehouse is "a good example of a modern reinforced-concrete building of the concrete type" and that Gilbert's design was "somewhat unique". When the plant was finished in March 1915, the Brooklyn Daily Eagle wrote a sub-headline declaring that the building was a "Model of Modern Construction and Efficiency". In 1921, as reinforced concrete structures were becoming more popular, Arthur S. McEntee wrote in Architecture magazine, "The Austin-Nichols Warehouse, Brooklyn, is an excellent example of the modern adaptation of Egyptian architecture to the present-day requirements of commercialism." The similarities of reinforced-concrete buildings to Egyptian design were also observed by European critics such as Le Corbusier and Wilhelm Worringer.
Gilbert went on to design other reinforced-concrete industrial buildings such as the Brooklyn Army Terminal, built in 1919 in Sunset Park, Brooklyn, and the R. C. Williams Warehouse, built in Chelsea, Manhattan, in 1927. The Brooklyn Army Terminal was also built by Turner Construction and involved more complex infrastructure, including its own rail yard. The later Williams Warehouse, built for a competitor of Austin, Nichols & Company, contained its own direct rail connection. Both the Williams Warehouse and the Brooklyn Army Terminal were built with recessed architectural window bays in their facades. In a 1928 drawing, Gilbert cited the Brooklyn Army Terminal and the Austin, Nichols & Company Warehouse as being among his best works.


The chapel, with its noticeably thicker walls, comprises one side of the current main building, standing approximately 13 meters up to the ridge. In the west end there was a narrow tower which today lies on the central axis of the main building. Today's low ceiling in the chapel dates back to the reconstruction that was carried out in the 17th century. In the tower there may previously have been a private chapel for the manor's gentleman on the floor above the ground floor. Behind the chapel lies a partition, probably listed in records as the chancel rail ~1620, but moved to the back during reconstruction of the chapel. The chapel pews have carved end-ornamentation, and one of the pew doors is preserved.
The altarpiece is in the 1650-century Baroque style and was painted and carved by anonymous artists. The painting shows the crucifixion, while the carved angels on the frame exhibit the passion-cycle implements: nails and a thorny crown. At the bottom of the altarpiece, under the image, are carved the coat of arms for Bjelkes, Juuls and Lindenows. A chalice and a silver altar dish from 1655 are preserved at Austrått. A chasuble from 1662 is preserved in the church's collection. The carved pulpit is from the early 17th century.
In addition to the altarpiece, 4 of the 7 paintings with biblical theme that Ove Bjelke acquired for the chapel are preserved. In addition 7 of the 10 sculptures from the Middle Ages were rescued from the fire in 1916. The most important of these is the Austrått Madonna, one of four sculptures in the chapel which date from the period of 1220–1260, and which were either imported from northern England, or were carved in Trondheim by an English craftsman. There are also two sculptures of Saint Olaf, from 14th and 15th centuries.
The coffins of Ove Bjelke, of his first two wives Maren Juul and Regitze Giedde, as well as of a later owner, Judge Søren Dass (who died in 1757) lie in the burial chamber beneath the church.  The entrance to the burial chamber lies behind the altar. The burial chamber was built in 1667 by Ove Bjelke. The coffins were buried in the Ørland church yard from 1859 to 1928. They were returned to the manor during the feast of Saint Olaf in 1928; a large ceremony with 3000 spectators accompanied the return.


Australia Square was constructed shortly after height restrictions were lifted in the city of Sydney and at a time when small sites, including blocks created by laneways, were being consolidated into larger blocks to accommodate high-rise office towers.
It was the world's tallest lightweight concrete building at the time it was built. The Tower Building is approximately 170 metres (560 ft) tall and occupies only one quarter of the block. The circular plan of the main tower allowed Seidler to minimise what he called "the dark canyon effect", an approach further helped by setting the tower back from the street.
The original proposal included 58 floors; however, this was reduced to 50. On the 47th floor is a revolving restaurant called The Summit and the 48th floor houses an observation deck. The building contains one of Sydney's largest basement car parks with spaces for 400 vehicles. The major tenants of the Tower include Origin Energy, HWL Ebsworth and ninemsn.
With a height of 170 metres (560 ft), Australia Square also holds the distinction of being Australia's first modern "skyscraper" (a building which exceeds the height of 150 metres (490 ft)) as designated by the Council on Tall Buildings and Urban Habitat.


The project was instigated by Dick Dusseldorp, the founder of Lend Lease.
The city block which is now Australia Square is approximately 5,500 square metres (59,000 sq ft) in area, and formerly held some 30 properties and buildings. Australia Square was constructed by Civil & Civic. Construction, starting with demolition of the old buildings, began in 1961. The finished tower is 50 storeys tall with most of these available for commercial tenants, a total of 40,900 square metres (440,000 sq ft).
The tower is constructed of lightweight concrete, with 20 projecting vertical columns tapering to the summit and supporting a combination of interlocking rib-structured reinforcement and radial support beams. The tower is 42 metres (138 ft) in diameter, with a central core of 20 metres (66 ft) diameter. The core contains elevator shafts, emergency stairwells and service conduits. Each floor is donut shaped, with a clear span of 11 metres (36 ft) to the perimeter windows and a total area of 1,032 square metres (11,110 sq ft) each. Construction time for each floor was five working days—a new standard in office tower construction.


In 2007, the zoo and the Government of Queensland made a land deal involving giving a parcel of land from the Beerwah State Forest to Australia Zoo in return for land near Peachester State Forest which was transferred to the government for forestry. The swap permitted the development of an open-range safari attraction, allowing the zoo to expand to a world-class standard. In 2008, a new $5 million animal hospital, claimed to be the largest wildlife hospital in the world, opened next to the packing shed. The new 1,300-square-metre (14,000 sq ft) facility is built of mud brick and hay. It contains two operating theaters with viewing areas for student veterinarians, two treatment rooms, intensive care units for mammals, birds, and reptiles, a X-ray room, and public areas including a drop-off area, pharmacy, nursery, and waiting room. A conference room in the building will be rented out to help generate operating funds.
On 15 March 2008 the Brisbane-based newspaper, The Sunday Mail, claimed there are plans to sell Australia Zoo to Animal Planet and create a $100-million Disney-style wildlife theme park. Terri has publicly announced that she has no plans to sell the zoo, but is looking to expand the park. Despite rumours that she intended to return to the United States, Terri denied the claims and became an Australian citizen on 20 November 2009.
During the 2019–20 Australian bushfire season, the Wildlife Hospital associated with the zoo treated its 90,000th injured animal.


The 'Mount Franklin Crocoseum' stadium at the zoo has a seating capacity of 5,000. It is used mostly for animal shows. At the time of its construction, it was the first in the world where snake, bird and crocodile shows were conducted. Australia Zoo calls this the 'Australia Zoo Wildlife Warriors Show'. This is also where the zoo presents concerts, such as the Summer Down Under series.


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The Australian Army Memorial on Anzac Parade commemorates the service of Australian soldiers.
Australian soldiers have fought as a national group in conflicts since the Second Boer War in South Africa. This memorial commemorates their continuing tradition of service, in war, conflict and peace operations.
The memorial was unveiled by the Governor-General of Australia, The Hon. Bill Hayden AC on 1 November 1989. Presented on behalf of the people of Australia: Prime Minister of Australia, Bob Hawke AC.


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The two central figures represent two Australian soldiers facing the east and the rising sun, and represent the importance of support and comradeship represented in the Australian term, 'mates'. They wear the distinctive Australian slouch hat that carries the 'Rising Sun' badge. The figures stand on a raised podium paved in a radial pattern which refers to the Army insignia. Seven pillars represent the seven major conflicts in which the Australian Army was involved during the 20th century. They are surrounded by water, symbolic of the long sea journeys involved in Australian campaigns.
This memorial is also intended to remind the visitor of the importance of the Australian Digger in the development of national character and sentiment. The term 'Digger' was first used to describe the Australian soldiers during the trench warfare of World War I.
The main design was by sculptors Joan Walsh-Smith and Charles Smith in collaboration with architects Ken Maher and Partners. The bronze casting was assisted by the Army's Royal Australian Electrical and Mechanical Engineers (RAEME).


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The garden consists of Australian Bushland with cultivated displays. It is the Australian Plant Garden of the Botanic Gardens Trust and includes not only picnic areas and over 20 kilometres (12 mi) of walking tracks, but also a native flora research facility and the NSW PlantBank. Its themed features include:
Woodland Conservation Area
Woodland Picnic Area
Stolen Generations Memorial
The Australian PlantBank
Visitor Centre, Cafe & Playground
Lakeside Lawn
Connections Garden
Fig Tree Wedding Arboretum & Knot
Sundial of Human Involvement
Wollemi Discovery Walk
Big Idea Garden
Mountain Bike Trail
Wattle Garden
Banksia Garden
Callitris Grove
Kurrajong Arboretum
Mallee Eucalypts
The Blue Tree
The Woodland Picnic Area highlights the endangered Cumberland Plain Woodland found within the estate. The Garden is also a haven for over 160 species of birds as well as wallaroos, wallabies and kangaroos that call the Garden home.  With the rapid growth occurring in the Macarthur region it is fast becoming a wildlife corridor for our local native fauna.
Mount Annan Botanic Garden covers a vast area and is accessible by two loop roads that traverse the site, however visitors will miss the beauty of the location if they do not stop throughout and walk around the different garden locations.  From the top of Sundial Hill visitors have spectacular 360° views of the surrounding countryside including views of the Sydney skyline.
Since inception, the Garden has undergone intense development including major changes to what was once the Terrace Garden that has been renamed to the Connections Garden, which is now the showcase of the estate.


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There are five major lakes in the Garden. Lake Gilinganadum and Lake Nadungamba are in the Northern section, passed by vehicles entering the Garden. In the centre are Lake Sedgwick and Lake Fitzpatrick; whilst in the South is the Wattle Garden lake. Beyond the Wattle Garden lie three even smaller unnamed lakes.
To the east of Lake Nadungamba lies the Campbelltown Weather station, operated by the Bureau of Meteorology.


The Austrian Film Museum (German: Österreichisches Filmmuseum) is a film archive and museum located in Vienna, Austria. It was founded by Peter Konlechner and Peter Kubelka in 1964 as a non-profit organization.


Since 2005, acclaimed filmmaker Martin Scorsese who is also a vocal supporter of film preservation serves as Honorary President of the Austrian Film Museum. In 1995, Scorsese visited the Film Museum on the occasion of a complete retrospective of his work.
Artist VALIE EXPORT was named the first Honorary Member by the Film Museum's Board of Directors in the summer of 2021.
Among the filmmakers who have visited the museum throughout its history are Martin Scorsese, Chantal Akerman, John Alton, Olivier Assayas,  James Benning, Busby Berkeley, Bernardo Bertolucci, Stan Brakhage, Luigi Comencini, Luc & Jean-Pierre Dardenne, Catherine Deneuve, Claire Denis, Lav Diaz, Jean Eustache, Valie Export, Harun Farocki, Rainer Werner Fassbinder, Federico Fellini, Michael Haneke, Werner Herzog, Philip Seymour Hoffman, Danièle Huillet, Chuck Jones, Elia Kazan, Alexander Kluge, Kurt Kren, Fritz Lang, Claude Lanzmann, Richard Leacock, Sergio Leone, Richard Linklater, Dušan Makavejev, Gregory J. Markopoulos, Groucho Marx, Jonas Mekas, Jeanne Moreau, Marcel Ophüls, Arthur Penn, Christian Petzold, Yvonne Rainer, Eric Rohmer, Jean Rouch, Paul Schrader, Werner Schroeter, Ulrich Seidl, Don Siegel, Michael Snow, Alberto Sordi, Jean-Marie Straub, Tsai Ming-liang, Agnès Varda, Paul Verhoeven, Luchino Visconti, Viva, Kôji Wakamatsu, Apichatpong Weerasethakul und Frederick Wiseman.


The collection, preservation and restoration of films and film-related artifacts is one of the Film Museum's chief responsibilities. The collection comprises approximately 31,000 films from 1893 to the present and all genres. It focusses on several specific collection areas which were established since the founding of the museum. In addition to the classics of film history, there is a focus on international and Austrian avant-garde film, Soviet revolutionary cinema, and the German-language film exile. Special attention is also given to film documents on contemporary history and "ephemeral" forms such as amateur film.
The Film Museum takes active measures to safeguard and give access to its collections. This happens through digitization, restoration, and analogue duplication. The Film Museum has been active in this field since the early 1970s. One of the first major restoration projects was the reconstruction of Dziga Vertov's early sound film Enthusiasm - The Donbass Symphony (1930) by Peter Kubelka and Edith Schlemmer. Since 2008, the Film Museum has been using digital restoration techniques in addition to traditional photochemical reproduction methods.
In addition to its film collection, the Film Museum houses a specialized public film library, collections of film stills, posters and paper documents, as well as numerous special collections (including those on filmmakers such as Dziga Vertov and Michael Haneke). Several stocks of material have been made accessible to scholars and students online.
With over 28,200 books and more than 400 journal titles, the library of the Film Museum is the largest film library in Austria. It has been located at Hanuschgasse 3 since 2018; previously it was housed in the Albertina building. The catalog is available online. The private library of the Austrian emigrant Amos Vogel (Amos Vogel Library) with about 8,000 books, journals and juvenile writings is part of the library and is open to the public since the end of 2019.


The basis of the Film Museum's education policy has always been the "screened presence" of film: the cinema event. Since the 1960s, the Film Museum has offered contextual material on the subjects of film history and film aesthetic in diverse ways (publications, lectures, discussions with artists, etc.). Since 2002, these activities have gradually been increased. The Film Museum is a research and educational facility and supports research projects in academic and non-academic fields, cultivating collaborations with international research institutions and universities.
Since 2002 the Film Museum has been inviting children and teenagers between the ages of 5 and 18 to visit its screenings, lectures, close-up-programs and laboratories in the framework of the Cineschool series. The Film Museum is also offering a project for schools called Focus on Film. The program provides teachers with guidance by film experts, both Film Museum employees and external film educators, for the duration of one semester. The film seminar Summer School which takes place once a year, is a four-day education program for teachers.
The Austrian Film Museum is a partner of the CINEMINI EUROPE project, which is dedicated to the development of film education for ages 3 to 6.
Working in cooperation with Austria's universities, the Film Museum regularly hosts and organizes academic courses and seminars.
The Film Museum is a partner or initiator of scientific research projects. For example, starting in 2004, the Dziga Vertov Collection was scientifically processed and put online, followed by the research project "Digital Formalism" (2007-2010) with the Institute for Theater, Film and Media Studies at the University of Vienna and the Interactive Media Systems Group at the Vienna University of Technology. The KUR_Program for the Conservation and Restoration of Mobile Cultural Assets enabled the Deutsche Kinemathek and the Austrian Film Museum to secure the outtakes of Friedrich Wilhelm Murnau's Tabu (1931) through recopying, to edit them scientifically, and to publish them in digital form. "Ephemeral Films: National Socialism in Austria" (in partnership with the United States Holocaust Memorial Museum, Washington) was one of the many projects that the Film Museum is carrying out together with the Ludwig Boltzmann Institute for History and Society in Vienna. From 2016 to 2019, the Film Museum was involved in the European research and dissemination project "I-Media Cities," funded by the EU under the Horizon 2020 program for research and innovation. Since 2019, the Austrian Film Museum has been coordinating the research project "Visual History of the Holocaust: Rethinking Curation in the Digital Age" together with the Ludwig Boltzmann Institute for Digital History.


The Film Museum has been publishing books on film history since the 1960s. In a second series, books and booklets on the work of Jean Eustache, Yasujiro Ozu, Humphrey Jennings, and Robert Gardner appeared in the 1980s and early '90s. In 2003, a new book series called KINO was inaugurated jointly with Zsolnay-Verlag, with volumes on popular film genres (including. "Singen und Tanzen im Film," "Western," "Film und Biografie," Klaus Kreimeier's "Kulturgeschichte des frühen Kinos," among others) and important film artists (Edgar G. Ulmer, Peter Lorre, Orson Welles, Laurel & Hardy, Buster Keaton).
Since 2005, the other series, jointly edited with SYNEMA – Society for Film and Media under the imprint FilmmuseumSynemaPublikationen, offers richly illustrated books on the work of independent filmmakers (Claire Denis, Peter Tscherkassky, John Cook, James Benning, Michael Pilz, Apichatpong Weerasethakul, Gustav Deutsch, Romuald Karmakar, Olivier Assayas, Joe Dante, Dominik Graf, Hou Hsiao-hsien, Jean-Marie Straub & Danièle Huillet, Ruth Beckermann) and on topics of film history (Dziga Vertov, Jean Epstein's film theory, Josef von Sternberg's last silent film, female film comedians c. 1910) and theory ("Film Curatorship," "Was ist Film," "Screen Dynamics," "Archäologie des Amateurfilms," texts by and about Amos Vogel, Alain Bergala's "Cinema Hypothesis," Siegfried Mattl's Writings on Film and History, Guy Debord). A three-volume publication on the history and collections of the Film Museum was published in 2014. The series, which comprises around 35 volumes (as of 2022), is in German, or English, or bilingual.
As a founding member of the Edition Filmmuseum, the Austrian Film Museum has been producing DVDs of rare films (by Erich von Stroheim, Lev Kulešov, Josef von Sternberg, Dziga Vertov, Straub/Huillet, John Cook, Michael Pilz, James Benning, Apichatpong Weerasethakul, Lav Diaz) since 2005. Edition Filmmuseum is a joint project of film archives and cultural institutions in the german-speaking part of Europe.
Since 2012 the Film Museum has made some sections of its film collection accessible online. These include (in the form of a searchable database) the holdings of the newsreel "Österreich in Bild und Ton" (Austria in Sound and Vision; 1935-1937) and all surviving issues of "Kinonedelja" Dziga Vertov's first newsreel and his "Kino-Pravda".


The Autobahnsee is located just north of the Bundesautobahn 8 motorway and is bordered to the east by the village of Dickelsmoor. There are three parking places for those seeking recreation as well as lawns, barbecue facilities, children's games and toilets. Access is via a path that runs around the lake.
For the safety of visitors, a waterfront station is located directly on the shore. The lake has a small pier specially designed for model boats.
The Kaisersee lake and the Derchinger Baggersee are located nearby.


It is possible to fish in the lake according to local regulations. Commonly available species include rainbow trout, char and brook trout. Pike are also common in the lake, but they will rarely be larger than about 45 centimetres (18 in).


Autodrome Chaudière is a quarter mile, high banked, asphalt short track located in Vallée-Jonction, Quebec, Canada, about 65 kilometres south of Quebec City.
The circuit opened in 1992 as a dirt track; in 2005, the track underwent resurfacing to convert it into an asphalt track. Notable series which have competed at Autodrome Chaudiere include the ACT Castrol Series, PASS North Series, ISMA Racing Series and Sportsman Quebec. The track has also hosted a NASCAR Pinty's Series race every year since June 2014 (except for 2020 and 2021). The track record, 10.77 seconds, was established on 22 June 2013 by American driver Ben Seitz from the ISMA Racing Series.


The Autodrome Montmagny is a multi-track motorsport venue located in Montmagny (Canada), approximately 80 km east of Quebec City. The facility features a 3/8-mile-long oval track, a 2 km road course and a dragstrip.
Inaugurated in 1994, it was originally a one-half-mile oval dirt track (about 0.8 km). In 1998, it was paved and reduced to its present oval length. The road course was built for the 2014 season, using the oval track.
The racetrack was the property of the American stock car driver Ralph Nason for a decade before being sold to local owners in 2010.
The track hosts stock car races (Quebec's ACT Series, PASS North, Sportsman Quebec) and drift competition (Drift Mania Canadian Championship). Road (car and motorcycle) and drag racing are planned for 2014.


The Grand Prix de France (UMF French Federation) was organized in Linas-Montlhéry in 1925, 1931, 1935 and 1937 with the best worldwide racers.
A competitor Grand Prix de France (MCF Club) was also organized from 1924 to 1937 with the best French and British racers.
The Bol d'or, the well-known French motorcycle endurance race of 24 hours, was held in Linas-Montlhéry before the Second War from 1937 to 1939, and after the Second War in 1949, in 1950, from 1952 to 1960, in 1969 and in 1970. British motorcycles  were victorious usually from 1931 to 1959, (Velocette, Norton or Triumph); American Harley-Davidson, French Motobécane, German BMW, Italian Moto Guzzi, Austrian Puch and Czechoslovakian Jawa won only once. A legendary French racer, Gustave Lefèvre (Norton  Manx)  is always the record holder with 7 victories despite riding alone during 24 hours : his average speed was 107 kilometres per hour (66 mph) in 1953. The year after, two riders were allowed.  In 1969, a Japanese bike, Honda Four, wins for the first time. In 1970, a British one, Triumph Trident, wins for the last time.
Another race open the year in France, the Côte Lapize, climbing around the hill of Saint-Eutrope : the new engines confidentially prepared during the winter months were shown. In early 1950s, Pierre Monneret riding the famous Gilera Four, 500 cc, sent by the official Italian team, was one of them.
Some races were open to production motorcycles like the Coupe du Salon (morning for motorcycles, afternoon for motorcars) or the Coupes Eugène Mauve.
Fatal accidents at Autodrome de Montlhéry include Benoît Nicolas Musy (1956), and the one in which Peter Lindner, Franco Patria and three flag marshals died in 1964.


Autostadt attracts around 2 million visitors a year.  It is very popular because of the ultra modern architecture it features in each building. Extensive use is made of water and vegetation between the pavilions and mounds of earth covered in grass are located in the grounds.  Modern design is not just incorporated into the pavilions but also into the furniture such as benches and chairs.
It has a small track for the off-road Volkswagen Touareg underneath the bridge which leads from the main town to the Autostadt which is located above the main canal cutting through the city, the Mittelland Canal.  Visitors must be able to show driving licences before being able to drive the vehicles.  First, the guide drives the car around the track showing the features of the vehicle and giving information of the vehicle's capabilities.  After driving around the track, the visitor can then drive around the track under the surveillance of the guide who sits in the passenger seat.  Any other passengers sit in the back.  Features of the track include a 21 degree angled hill, another hill which is angled on the side, a water tank, a sand pit which is located under a road bridge, a log road and a numerous small mounds which allow one wheel to be raised off the ground.
There is a mini track for children where they can drive small electric cars in the form of Volkswagen Beetles.
Autostadt has a large variety of multimedia activities and devices which include car design software.  There is a room exhibiting the advantages and disadvantages different fuels have on the performance of cars.  There are two cinemas which show small films in German.  One of these cinemas is located in its own purpose built buildings and is in a large sphere.
Major attractions are some famous cars, such as the first petrol vehicle produced, and the Beetle.
There are two 60 meter/200 ft tall glass silos (AutoTürme) used as storage for new Volkswagens. The two towers are connected to the Volkswagen factory by a 700-metre tunnel.  When cars arrive at the towers they are carried up at a speed of 1.5 metres per second.  The render for the Autostadt shows 6 towers.  When purchasing a car from Volkswagen (the main brand only, not the sub-brands) in select European countries, it is optional if the customer wants it delivered to the dealership where it was bought or if the customer wants to travel to Autostadt to pick it up.  If the latter is chosen, the Autostadt supplies the customer with free entrance, meal tickets and a variety of events building up to the point where the customer can follow on screen as the automatic elevator picks up the selected car in one of the silos.  The car is then transported out to the customer without having driven a single meter, and the odometer is thus on "0".
There is also a room with interactive devices which provide information on the design of cars using Audi as an example.  Computer software allows visitors to design their own cars using features from Audi cars.


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The Autry Museum of the American West is a museum in Los Angeles, California, dedicated to exploring an inclusive history of the American West. Founded in 1988, the museum presents a wide range of exhibitions and public programs, including lectures, film, theater, festivals, family events, and music, and performs scholarship, research, and educational outreach. It has two sites and attracts about 150,000 visitors annually.
In 2013, it extensively redesigned and renovated the Irene Helen Jones Parks Gallery of Art and the Gamble Firearms Gallery in its main building. In its related opening exhibit for the Parks Gallery, Art of the West, the new organization enabled material to be presented in relation to themes rather than chronology, and paintings were shown next to crafts, photography, video and other elements in new relationships.


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The Autry was established in 1988 by actor and businessman Gene Autry as "Gene Autry Western Heritage Museum" to explore and share the comprehensive story of the American West and its multiple cultures and interpret its significance. Its Griffith Park collection includes 21,000 paintings, sculptures, costumes, textiles, firearms, tools, toys, musical instruments, and other objects. The museum presents contemporary and historical exhibitions, year-round programs for children, intellectual forums, and the Native Voices at the Autry performing arts series.
Native Voices at the Autry Museum of the American West has been the only equity theater that has only focused on producing new works by Native American, Alaska Native, and First Nation playwrights since 1995. Randy Reinholz (member of Oklahoma’s Choctaw nation) and his wife Jean Bruce Scott have run this theater program that runs out of the Museum for 20 years. Native Voices has since been able to produce over 34 full productions, gone on over 20 tours, with 23 new play festivals and 13 Native playwrights. Native Voices is a crucial part of the Autry’s mission to promote art history and cultures of the American West.
The museum is located in Griffith Park across from the Los Angeles Zoo. The 4,000-square foot Parks Gallery was renovated in 2013 and has been organized into three theme areas: Religion and Ritual, Land and Landscape, Migration and Movement, and also contains two mini galleries with revolving exhibits. This enables flexible curating of the museum's extensive materials: paintings can be placed near textiles, photographs, pottery and videos. The spaces can also be used for more flexible programming.
The Gamble Firearms Gallery also was renovated in 2013. It now shows more of the context and place of firearms in the Old West; curators grouped firearms by themes: "hunting and trapping, the impact of technology on firearms, the conservation movement and the West in popular culture." This is part of the Western Frontiers: Stories of Fact and Fiction Gallery.
The Autry's Southwest Museum of the American Indian Collection of Native American art is one of the most significant of its kind in the United States, second only to the Smithsonian Institution National Museum of the American Indian. The 238,000-piece collection includes 14,000 baskets, 10,000 ceramic items, 6,300 textiles and weavings, and more than 1,100 pieces of jewelry. It represents work by indigenous peoples from Alaska to South America, with an emphasis on cultures of California and the Southwestern United States.
The Library and Archives of the Autry includes the collections of the Braun Research Library and the Autry Library. It is a research enterprise that supports scholarly work in Western history and the arts. In 2002, the Women of the West Museum of Colorado merged with the Autry Museum. This has broadened the scholarly and educational emphasis to include gender issues and women’s experiences in the American West.
From 2004 to 2015, it was known as the "Autry National Center of the American West and in October 2015, the museum began using the name "Autry Museum of the American West" to describe its "principal activities as a museum." "


The Cathedral of Saint Lazarus of Autun (French: Cathédrale Saint-Lazare d'Autun), commonly known as Autun Cathedral a Roman Catholic cathedral in Autun and a national monument of France. Famous for its Cluniac inspiration and its Romanesque sculptures by Gislebertus it is a highlight in Romanesque art  in Burgundy and it is the seat of the Bishop of Autun.  The Bishop of Autun set forth the construction of St. Lazarus Cathedral as a result of the large movement of pilgrims travelling to Vezelay as they progressed on the pilgrimage route to Santiago de Compostela.
Due to social practices that involved pilgrims venerating the relics of saints in this period, the Bishop of Autun ordered the creation of a larger cathedral to house the relics and accommodate the influx of pilgrims into Autun. The column capitals and main façade of the church are embellished with realistic sculptures carved by Gislebertus. The artwork is a means of teaching the masses of Christian ethics with dramatic scenes of heaven and hell. Other features include a rare tympanum signed by Giselbertus of Autun.
The Autun Cathedral is a magnificent display of Romanesque Art and Architecture. The sculptures created by Gislebertus successfully integrate biblical iconography relating to the new and old testament's with ease and amazing artistic ability. The size and quality of the tympanum of the Last Judgment, and the lintel of the Temptation of Eve are impressive and exquisitely detailed pieces of art. The Autun Cathedral remains on the highest elevation in Autun, France and is considered a fine example of the French Romanesque.


Autzen Stadium is the largest sports arena in the state of Oregon. In 1970, the San Francisco 49ers defeated the Denver Broncos 23-7 in an exhibition game at Autzen Stadium in front of a crowd of 26,238.
State high school football championship games were played at Autzen Stadium until 2006. It also hosts football camps, coaches' clinics, marching band competitions, and musical concerts.
Nitro Circus Live was held at the stadium in 2016 and 2018.


The river passes through the following communes:
Haute-Vienne: Saint-Germain-les-Belles
Corrèze: Benayes, Lubersac, Ségur-le-Château
Dordogne: Payzac, Savignac-Lédrier, Saint-Mesmin, Génis, Cherveix-Cubas, Tourtoirac, Cubjac, Le Change, Bassillac


Avachinsky has erupted at least 16 times in recorded history. Eruptions have generally been explosive, and pyroclastic flows and lahars have tended to be directed to the south west by the breached caldera.  The most recent large eruption (VEI=4) occurred in 1945, when about 0.25 km³ (0.060 cu mi) of magma was ejected.  The volcano has since had small eruptions in 1991 and 2001.
The volcano continues to experience frequent earthquakes, and many fumaroles exist near the summit.  The temperature of gases emitted at these fumaroles has been measured at over 400 °C (752 °F). In light of its proximity to Petropavlovsk-Kamchatsky, Avachinsky was designated a Decade Volcano in 1996 as part of the United Nations' International Decade for Natural Disaster Reduction, together with the nearby Koryaksky volcano.


The idea of the tower's reconstruction at the same place it was destroyed originated from the Journalists' Association of Serbia in October 2002. In the early 2004, Radio Television Serbia (RTS) joined in with the media promotion of the project and commenced a series of fund-raising events in order to collect money for the construction. The project was endorsed and supported by numerous media, painters, writers, actors, musicians, athletes and businessmen. It is estimated that a million people, through various activities, supported the project.
An agreement regarding its construction was signed by Dušan Basara, director of the construction sector of the Ratko Mitrović Company — which was in charge of the construction of the tower — and general director of RTS, Aleksandar Tijanić. Many fund-raising events have been held for the collection of funds so a new tower can be constructed. One of the first was a match between Serbian grand slam-winning tennis players Ana Ivanovic and Novak Djokovic. All the proceeds went to the Avala Tower fund. Ceca Ražnatović (a Serbian folk singer) held a concert on 15 June 2006, with all the proceeds going to the Avala Tower fund. RTS ran commercials for donations to rebuild the tower. According to a December 2006 report, when it was announced that the construction of a new Avala Tower would commence that same month, over €1 million was collected through fund-raising and donations.
As the NATO used projectiles with depleted uranium, the military first conducted surveys to check for the contamination of the debris, before giving the green light for construction works. Clearing of the site began on 21 June 2005. Over one million tons of rubble was removed. Seismic survey followed and the construction works started on 21 December 2006. Initially, completion of the new tower was expected in August 2008, but construction works were severely delayed. The opening date was pushed back to 29 April 2009, the tenth anniversary of its destruction. Radio Television Serbia reported on 23 October 2009 that the tower had been completed.
The rebuilt tower was opened on 21 April 2010 and with 204.68 m (671.5 ft), it is 2 m (6 ft 7 in) higher than the demolished one. Materials used include 5,880 tons of concrete and 500 tons of reinforcement bars. The height of the reinforced concrete section is 136.65 metres (448.3 ft), while the steel antenna construction, and the antenna itself, are 68 metres (223 ft) tall.


The tower had 137,000 visitors in 2016, 155,000 in 2017 and 185,000 in 2018. In June 2017 the tourist complex was opened at the base of the tower. It includes, among other facilities, a restaurant, ethno-gallery, souvenir shop, sports fields and outdoor gym. By August 2017, a 105 cement prints of the people who helped the reconstruction were displayed, including those of tennis players Novak Djokovic and Ana Ivanovic and a new lift, for the parents with children and the disabled, have been constructed.
In 2018 the children area at the base was expanded with the elf village, consisting of houses connected by a small bridge. A classroom in the open was set in the pine forest and the artificial climbing rock was built. On 19 October 2018, a colorful decorative light on the entire tower became operational.