Mount Iwate consists of a younger eastern symmetrical stratovolcano (Higashi-Iwate, "East Iwate") overlapping an older western stratovolcano (Nishi-Iwate, "West Iwate") which has collapsed to form a caldera.  Nishi-Iwate was formed approximately 700,000 years ago, and forms two-thirds of the mountain body. Higashi-Iwate was a later (300,000 years ago) parasitic volcano, which now forms the summit of the mountain.  The oval-shaped, 1.8 x 3 km caldera of Nishi-Iwate has a 0.5 km wide crater, partially filled by a crater lake called Lake Onawashiro. Several somma including Yakushidake, the largest, surround the more recent Higashi Iwate crater rim.
During the historical period, Mount Iwate erupted in 1686-1687 with a pyroclastic surge; however, the eruption of 1732 was much larger and resulted in a substantial lava flow on the northeast slopes of the mountain. This four-kilometre long lava flow ("Yakebashiri Lava Flow") has been designated a Natural Monument by the Japanese government. Mount Iwate has largely been quiet since 1732, with a small emission of steam and ash in 1919 and a series of volcanic earthquakes from 1998 to 2003.


Mount Mihara (三原山, Mihara-yama) is an active volcano on the Japanese isle of Izu Ōshima. Although the volcano is predominantly basaltic, major eruptions have occurred at intervals of 100–150 years.


Mount Mihara's major eruption in 1986 saw lava fountains up to 1.6 kilometres (1.0 mi) high. The eruption had a Volcanic Explosivity Index of 3, and involved a central vent eruption, radial fissure eruption, explosive eruption, lava flows, and a lava lake eruption. There was also a 16 km high subplinian plume.  All of the island's 12,000 inhabitants were evacuated by dozens of vessels consisting of both the military and civilian volunteers.
The most recent eruption was in 1990.


From a vantage point near the top of the cone it was once possible to leap into the crater. As a result, the volcano became a popular venue for suicides. Beginning in the 1920s, several suicides occurred in the volcano every week; more than six hundred people jumped in 1936. Authorities eventually erected a fence around the base of the structure to curb the number of suicides.


In the realm of fiction, Mount Mihara was the place where the Japanese government imprisoned Godzilla in the movie The Return of Godzilla. Five years later, in the sequel Godzilla vs. Biollante, bombs placed on Mt. Mihara go off and release Godzilla from his fiery tomb.
In the novel Ring by Koji Suzuki and its subsequent film adaption, Shizuko Yamamura, the mother of Sadako, predicted that Mount Mihara would someday erupt using her psychic abilities. After a failed psychic demonstration which resulted in Sadako psychically murdering a reporter, Shizuko became depressed and ultimately insane and committed suicide by leaping into the crater of Mount Mihara.


Mount Pinatubo (Sambal: Bakil nin Pinatobo; Kapampangan: Bunduk/Bulkan ning Pinatubu, Bunduk ning Apu Malyari; Pangasinan: Palandey/Bulkan na Pinatubu; Ilocano: Bantay Pinatubo; Tagalog: Bundok/Bulkang Pinatubo IPA: [pinɐtubɔ]) is an active stratovolcano in the Zambales Mountains, located on the tripoint boundary of the Philippine provinces of Zambales, Tarlac and Pampanga, all in Central Luzon on the northern island of Luzon. Its eruptive history was unknown to most before the pre-eruption volcanic activity of early 1991.  Pinatubo was heavily eroded and obscured from view by dense forests which supported a population of several thousand indigenous Aetas.
Pinatubo is most notorious for its VEI-6 eruption on June 15, 1991, the second-largest terrestrial eruption of the 20th century after the 1912 eruption of Novarupta in Alaska.
Complicating the eruption was the arrival of Typhoon Yunya, bringing a lethal mix of ash and rain to towns and cities surrounding the volcano. Predictions at the onset of the climactic eruption led to the evacuation of tens of thousands of people from the surrounding areas, saving many lives. Surrounding areas were severely damaged by pyroclastic surges, pyroclastic falls, and subsequently, by the flooding lahars caused by rainwater re-mobilizing earlier volcanic deposits. This caused extensive destruction to infrastructure and changed river systems for years after the eruption. Minor dome-forming eruptions inside the caldera continued from 1992 to 1993.
The effects of the 1991 eruption were felt worldwide. It erupted roughly 10 billion tonnes (1.1×10¹⁰ short tons) or 10 km³ (2.4 cu mi) of magma, and 20 million tonnes (22 million short tons) of SO
₂, bringing vast quantities of minerals and toxic metals to the surface environment. It ejected more particulate into the stratosphere than any eruption since Krakatoa in 1883. Over the following months, the aerosols formed a global layer of sulfuric acid haze. Global temperatures dropped by about 0.5 °C (0.9 °F) in the  years 1991–1993, and ozone depletion temporarily saw a substantial increase.


The volcano is about 87 kilometers (54 mi) northwest of Manila, the capital of the Philippines. Near Mount Pinatubo are former military bases that were maintained by the United States. The U.S. Naval Base Subic Bay was 37 kilometers (23 mi) south of Pinatubo, and the extent of Clark Air Base was just 14 kilometers (8.7 mi) east of the volcano's summit. The volcano is near to about 6 million people.


Mount Pinatubo's summit before the 1991 eruption was 1,745 m (5,725 ft) above sea level, only about 600 m (2,000 ft) above nearby plains, and only about 200 m (660 ft) higher than surrounding peaks, which largely obscured it from view. It is part of a chain of volcanoes which lie along the western side of the island of Luzon called the Zambales Mountains.
Pinatubo belongs to the Cabusilan sub-range of the Zambales Mountains, which consists of Mount Cuadrado, Mount Negron, Mount Mataba and Mount Pinatubo. They are subduction volcanoes, formed by the Eurasian Plate sliding under the Philippine Mobile Belt along the Manila Trench to the west. Mount Pinatubo and the other volcanoes on this volcanic belt arise due to magmatic occlusion from this subduction plate boundary.
Pinatubo is flanked on the west by the Zambales Ophiolite Complex, which is an easterly-dipping section of Eocene oceanic crust uplifted during the late Oligocene. The Tarlac Formation north, east and southeast of Pinatubo consists of marine, nonmarine and volcanoclastic sediments formed in the late Miocene and Pliocene.
The most recent study of Mount Pinatubo before the activities of 1991 was the overall geological study in 1983 and 1984 made by F. G. Delfin for the Philippine National Oil Company as part of the surface investigations of the area before exploratory drilling and well testing for geothermal energy sources in 1988 to 1990. He recognized two life histories of the mountain, which he classified as "ancestral" and "modern" Pinatubo.


Activity of Ancestral Pinatubo seems to have begun about 1.1 million years ago and probably ended tens of thousands of years or more before the birth of "modern" Pinatubo. Much of the rugged land around the present volcano consists of remnants of "ancestral" Pinatubo. It was an andesite and dacite stratovolcano whose eruptive activity was much less explosive than modern Pinatubo. Its center was roughly where the current volcano is. The projected height of the mountain is up to 2,300 m (7,500 ft), or 1.43 miles above sea level if it were a lone peak, based on a profile fitting to the remaining lower slopes, or lower if it had more than one peak.
The old volcano is exposed in the walls of an old 3.5 km × 4.5 km (2.2 mi × 2.8 mi) wide caldera, referred to as Tayawan Caldera by Delfin. Some of the nearby peaks are the remnants of ancestral Pinatubo, left behind when the softer parts of the old mountain slopes were eroded by weathering. Ancestral Pinatubo is a somma volcano with modern Pinatubo as the new cone.
Mount Dorst, to the east, is part of the dip slope of the ancestral Pinatubo. Several mountains near modern Pinatubo are old satellite vents of ancestral Pinatubo, forming volcanic plugs and lava domes. These satellite vents were probably active around the same time as the ancestral volcano and include the domes of Mount Negron, Mount Cuadrado, Mount Mataba and the Bituin and Tapungho plugs.


c. 33,000 BC: After a long period of dormancy, Modern Pinatubo was born in Ancestral Pinatubo's cataclysmic and most explosive eruptions, estimated to be five times larger than the June 1991 eruption. It deposited all around the volcano up to 25 km³ (6.0 cu mi) of pyroclastic surge material up to 100 meters (330 ft) thick. The total volume of volcanic material ejected during the eruptions is unknown. The removal of so much material from the underlying magma chamber resulted in the Tayawan caldera. The violent eruptive period started by the eruption is referred to by Delfin as the Inararo Eruptive Period, named after a village that was destroyed in the 1991 eruption.
Later eruptions of modern Pinatubo occurred episodically and lasted for periods much shorter than the repose intervals between them. Subsequent eruptions and eruptive period occurred about:
c. 15,000 BC (Sacobia Eruptive Period)
c. 7000 BC (Pasbul Eruptive Period). Its eruptions were as energetic, if not as voluminous as the Inararo eruptions.
c. 4000–3000 BC (Crow Valley Eruptive Period). This and the Mara-unot period's eruptions were smaller than the Inararo eruptions but about two to three times as big as that of 1991 based on the pyroclastic flow runout distances and depths of valley filling.
c. 1900–300 BC (Maraunot Eruptive Period)
c. AD 1500 (Buag Eruptive Period). Its eruptions were roughly the same size as those of 1991.
Each of these eruptions seems to have been very large, ejecting more than 10 km³ (2.4 cu mi) of material and covering large parts of the surrounding areas with pyroclastic flow deposits. Some eruptive periods have lasted decades and perhaps as much as several centuries and might appear to include multiple large explosive eruptions.
The maximum size of eruptions in each eruptive period though has been getting smaller through the more than 35,000-year history of modern Pinatubo, but this might be an artifact of erosion and burial of older deposits. The oldest eruption of modern Pinatubo, Inararo, was also its largest.
The 1991 eruption was among the smallest documented in its geologic record.
The volcano has never grown very large between eruptions, because it produces mostly unwelded, easily erodible deposits and periodically destroys the viscous domes that fill its vents. After the Buag eruption (c. 1500 AD), the volcano lay dormant, its slopes becoming completely covered in dense rainforest and eroded into gullies and ravines. The c. 500-year repose though between the Buag and present eruptive periods is among the shorter repose periods recognized in its geologic history.


In March and April 1991, magma rising toward the surface from more than 32 km (20 mi) beneath Pinatubo triggered small volcano tectonic earthquakes and caused powerful steam explosions that blasted three craters on the north flank of the volcano. Thousands of small earthquakes occurred beneath Pinatubo through April, May and early June and many thousand of tons of noxious sulfur dioxide gas were also emitted by the volcano.
From June 7 to 12, the first magma reached the surface of Mount Pinatubo. Because it had lost most of the gas contained in it on the way to the surface, the magma oozed out to form a lava dome but did not cause an explosive eruption. However, on June 12, millions of cubic yards of gas-charged magma reached the surface and exploded in the reawakening volcano's first spectacular eruption.
When even more highly gas-charged magma reached Pinatubo's surface on June 15, the volcano exploded in a cataclysmic eruption that ejected more than 5 km³ (1.2 cu mi) of material. The ash cloud from this climactic eruption rose 35 km (22 mi) into the atmosphere. At lower altitudes, the volcanic ash was blown in all directions by the intense cyclonic winds of a coincidentally occurring typhoon, and winds at higher altitudes blew the ash southwestward. A blanket of ash and larger pumice lapilli blanketed the countryside. Fine ash fell as far away as the Indian Ocean and satellites tracked the ash cloud several times around the globe.
Huge pyroclastic flows roared down the flanks of Mount Pinatubo, filling once-deep valleys with fresh volcanic deposits as much as 200 m (660 ft) thick. The eruption removed so much magma and rock from below the volcano that the summit collapsed to form a 2.5 km (1.6 mi) wide caldera.
Following the climactic eruption of June 15, 1991, activity at the volcano continued at a much lower level, with continuous ash eruptions lasting until August 1991 and episodic eruptions continuing for another month.


Activity at the volcano remained low until July 1992 when a new lava dome started growing in the caldera. Volcanologists suspected that further violent eruptions could be possible, and some areas were evacuated. However, the eruption was only minor. The last eruption of Mount Pinatubo took place in 1993.


The 1991 caldera afterwards filled with water from annual monsoon rains and a crater lake, Lake Pinatubo, was formed. In 1992, a growing lava dome formed an island, which was eventually submerged by the lake. Initially, the lake was hot and highly acidic, with a minimum pH of 2 and a temperature of about 40 °C (104 °F). Subsequent rainfall cooled and diluted the lake, lowering the temperature to 26 °C (79 °F) and raising the pH to 5.5 by 2003.
The lake deepened by about 1 meter (3.3 ft) per month on average, eventually submerging the lava dome, until September 2001, when fears that the walls of the crater might be unstable prompted the Philippine government to order a controlled draining of the lake. An estimated 9,000 people were once again evacuated from surrounding areas in case a large flood was accidentally triggered. Workers cut a 5-meter (16 ft) notch in the crater rim and drained about a quarter of the lake's volume.


On July 10, 2002, the west wall of the crater collapsed, slowly releasing approximately 160 million cubic meters (5.7×10⁹ cu ft) of water and sediments into the Maraunot River in Botolan, Zambales.
On July 26, 2011, a 5.9 magnitude earthquake struck close to Pinatubo; however, no major damages or casualties were reported.
On March 4, 2021, the PHIVOLCS raised alert level 1 over Mount Pinatubo after reporting an increase on its seismic activity. 1,722 volcanic earthquakes were also recorded within the vicinity of the volcano since January 2021.
On August 11, 2021, PHIVOLCS downgraded Mt. Pinatubo's Alert Level 1 to Level 0, due to "continued decrease in earthquake activity and a return to baseline seismic parameters".
PHIVOLCS said it noted a "significant decrease" in volcanic earthquakes, with an total of 104 quakes or an average 2 - 3 events per day recorded from July 1 - August 1, 2021.
On November 30, 2021, PHIVOLCS reported a weak explosion occurred on Mt. Pinatubo between 12:09 p.m. and 12:13 p.m., which produced a plume. The agency later confirmed it was a phreatic explosion produced by hydrothermal fluids near the surface, rather than a magmatic eruption.


The word pinatubo could mean "fertile place where one can make crops grow", or could mean "made to grow", in Sambal and Tagalog, which may suggest a knowledge of its previous eruption in about 1500 AD. There is a local oral tradition suggestive of a folk memory of earlier large eruptions. An ancient legend tells of Bacobaco, a terrible spirit of the sea, who could metamorphose into a huge turtle and throw fire from his mouth. In the legend, when being chased by the spirit hunters, Bacobaco flees to the mountain and digs a great hole in its summit showering the surrounding land with rock, mud, dust and fire for three days; howling so loudly that the earth shakes.


Aeta elders tell many stories about the history of the mountain, the best known being that it was once a Batung Mabye (Kapampangan language for "living stone"). It was said to have been planted on a kingdom by a displeased sorcerer but relocated by a hero. The mountain was soon turned into the abode of Apo Namalyari ("The lord of happenings/events"), the pagan deity of the Sambal, Aetas and Kapampangans living on the Zambales range.
It was said to comprise the whole mountain range until Sinukuan of Mount Arayat (the god of the Kapampangans) became a strong rival of Namalyari.  Their fight, which took place over the center plains, shattered the mountain into smaller bodies and Mount Arayat lost its center peak. Other versions have it that Pinatubo's peak shattered because of Namalyari's immense fury in an attempt to teach humans the meaning of fear and show how misdeeds will be punished.
According to the native elders, Apo Namalyari induced the June 1991 eruption because of displeasure toward illegal loggers and Philippine National Oil Company executives who performed deep exploratory drilling and well testing on the volcano looking for geothermal heat from 1988 to 1990.  Discouraging results from the wells forced the abandonment of the prospect 13 months before the April 2, 1991 explosions.


After being driven away by the 1991 eruption of Mount Pinatubo, in May 2009 some 454 Aeta families in Pampanga were given the first clean ancestral land ownership on Mount Pinatubo with the Certificate of Ancestral Domain Title (CADT) by the National Commission on Indigenous Peoples (NCIP), the government agency that deals with issues concerning indigenous people of the Philippines.  The approved and declared net land area of 7,440.1 ha (18,385 acres) covers the barangays of Mawakat and Nabuklod in Floridablanca, Pampanga, plus a portion of San Marcelino, Zambales, and a portion of Barangay Batiawan in Subic, Zambales.
On January 14, 2010, some 7,000 Aeta families from Zambales were officially granted the Certificate of Ancestral Domain Title (CADT)  covering the Zambales side of Pinatubo which includes the summit and Lake Pinatubo, officially becoming their lutan tua (ancestral land).  The ancestral domain title covers 15,984 ha (39,500 acres) and includes the villages of Burgos, Villar, Moraza and Belbel in Botolan and portions of the towns of Cabangan, San Felipe and San Marcelino.
Having the land title will protect them from others – including foreigners – exploiting their land without compensation and consent to the indigenous tribes. In the past, the Aetas had to contend with mining companies, loggers, and recently, tourist companies who earn from Mount Pinatubo but do not compensate the local tribes.
Ancestral domain titles are awarded to a certain community or indigenous group who have occupied or possessed the land continuously in accordance with their customs and traditions since time immemorial. They have the legal right to collectively possess and to enjoy the land and its natural resources to the exclusion of others.


Long before Mount Pinatubo became famous for its cataclysmic eruption, Philippine President Ramon Magsaysay, a native of Zambales, named his C-47 presidential plane Mt. Pinatubo. The plane crashed into Mount Manunggal in Cebu province in 1957, killing the President and twenty-four others on board.
The shape of Mount Pinatubo's caldera inspired New Clark City Athletics Stadium in Capas, Tarlac.


The caldera formed and Lake Pinatubo has, since June 15, 1991, become a tourist attraction with the preferred route through Barangay Santa Juliana in Capas, Tarlac.


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WikiWeb_Mount Sugarloaf State Reservation_0

Mount Sugarloaf State Reservation is a state-owned, public recreation area managed by the Massachusetts Department of Conservation and Recreation located in South Deerfield, just west of the Connecticut River. The state park includes the summits of North Sugarloaf Mountain and South Sugarloaf Mountain, as well as 1.75 miles of frontage on the Connecticut River and two river islands. The park is part of a larger park designation called the Connecticut River Greenway State Park. Portions of the park property along the river are used by the University of Massachusetts Amherst for agricultural research.


WikiWeb_Mount Sugarloaf State Reservation_1

The state maintains an automobile road and an observation tower on South Sugarloaf, open from late spring through the fall foliage season. The reservation is accessible via Route 116. Parking for a fee is available at the base of the mountain and at the summit of the auto road. The reservation is open for hiking, picnicking, and scenic viewing. Hiking trails include a section of the 20-mile Pocumtuck Ridge Trail. Canoe and kayak camping is allowed on the islands.


Mount Tarumae (樽前山, Tarumae-zan) is located in the Shikotsu-Toya National Park in Hokkaidō, Japan. It is located near both Tomakomai and Chitose towns and can be seen clearly from both. It is on the shores of Lake Shikotsu, a caldera lake. Tarumae is a 1,041 metre active andesitic stratovolcano, with a lava dome.


The most recent eruption, in 1982, was a phreatic eruption. Previous major eruptions have occurred in 1667, 1739 (plinian eruption of VEI 5), and 1909. The 1667 and 1739 eruptions were responsible for its present shape. Other eruptions were in 1919–21, 1923, 1926, 1933, 1936, 1944, 1951, 1953–55, and 1978.
Tarumae is an 'A' rank volcano — most likely to erupt in the relatively near future.


Designated as a Hokkaido Natural Monument, it is popular as an easy climb for hikers who may start at the seventh station and then take an hour to reach the crater.
At the foot of Tarumae on the north-west side one can find an impressive moss-covered cavern (Koke-no-domon).


The Mount Washington Auto Road—originally the Mount Washington Carriage Road—is a 7.6 mi (12.2 km) toll road in southern Coos County, New Hampshire that extends from New Hampshire Route 16 in Green's Grant, just north of Pinkham Notch, westward across Pinkham's Grant and Thompson and Meserve's Purchase to the summit of Mount Washington in the White Mountains of the US state of New Hampshire. The road climbs 4,618 ft (1,408 m) from an altitude of 1,527 ft (465 m) at the bottom to 6,145 ft (1,873 m) at the top, an average gradient of 11.6%.  The road was completed and opened to the public in 1861.


The road has a series of sensors located at various altitudes along it. The sensors transmit weather data via a solar-powered radio link.


The Mount Washington Hotel is a hotel in Bretton Woods, New Hampshire, United States, near Mount Washington. It was designed by Charles Alling Gifford.
The area, part of the town of Carroll, New Hampshire, includes the Bretton Woods ski resort nearby. It is located at the northern end of Crawford Notch, 6 miles (10 km) east of the village of Twin Mountain along U.S. Route 302.
In December 2015, the hotel and the Bretton Woods Mountain Resort were purchased by Omni Mount Washington LLC from the CNL Financial Group, of Orlando, Florida, and will continue to be operated by Omni Hotels & Resorts under the official name of Omni Mount Washington Resort. It is a member of Historic Hotels of America, the official program of the National Trust for Historic Preservation.


The hotel was constructed between 1900 and 1902 at a cost of $1.7 million (approximately $55.4 million today) by Joseph Stickney, a native of Concord, New Hampshire who had made a fortune before the age of 30 as a coal broker in Pennsylvania. In 1881 Stickney and his partner, John N. Conyngham, had purchased the nearby Mount Pleasant Hotel (a large early hotel demolished in 1939) from lumberman John T.G. Leavitt. Subsequently, Stickney began work on his Mount Washington Hotel. He had envisioned the hotel to be a luxurious getaway for urban dwellers looking to escape the city.
Stickney brought in 250 Italian artisans to build it, particularly the granite and stucco masonry. Construction started in 1900 on the Y-shaped hotel, which opened on July 28, 1902. At its completion, the hotel boasted over 2,000 doors, 12,000 windows, and over eleven miles of plumbing.
At the opening ceremony, Stickney told the audience, "Look at me, gentlemen ... for I am the poor fool who built all this!" Within a year he was dead at the age of 64 due to a heart attack.
His wife, Carolyn Stickney, spent her summers at the hotel for the next decade, adding the Sun Dining Room with guest rooms above, the fourth floor between the towers, and the chapel honoring her late husband. Under its capable first manager, John Anderson, the hotel was a success. But the advent of income tax, Prohibition, and the Great Depression curtailed the hospitality business. In 1936, Mrs. Stickney's nephew, Foster Reynolds, inherited the hotel, but it closed in 1942 because of World War II. In 1944, a Boston syndicate bought the extensive property for about $450,000. The Bretton Woods monetary conference took place that year, establishing the World Bank and the International Monetary Fund. The owners were paid $300,000 for the loss of business and promised a daily room charge of $18 per person for the 19-day conference. Subsequently, each bedroom carried a plaque outside its door identifying which country's representative at that conference had stayed in that room.
Mount Washington Hotel was subsequently inherited by Stickney's nephew, who went on to sell the property to a group of New Hampshire businessman.
The Mount Washington Hotel and Resort is one of the last surviving grand hotels in the White Mountains and includes an 18-hole Donald Ross-designed golf course, as well as the hotel's original 9-hole course designed by A.H. Findlay.
It was declared a National Historic Landmark in 1986.
The hotel opened for its first winter season in 1999. Before that year the hotel would close to guests late in the fall and open in the spring. The entire hotel was overhauled before the winter, with efficient windows installed in the entire hotel.
In January 2009 the Mount Washington Resort completed a 50,000 square feet (4,600 m²) addition that includes a 25,000-square-foot (2,300 m²) spa and a 25,000-square-foot (2,300 m²) conference center.
In November 2010 it was revealed that the hotel's then-owner, CNL, had sought to trademark the Mount Washington name, which upset area business owners.  CNL said they were just directing their efforts against other hotels in the area that have the mountain's name and not other businesses that also have it.


The hotel was featured in two episodes of the television series Ghost Hunters, when it was searched by the TAPS paranormal investigation team on February 6, 2008.


The Omni Bretton Arms Inn is a hotel in the larger resort which was built as a house in 1896.  The Bretton Arms served as staff housing for many years.
It has been separately named to the Historic Hotels of America program of the National Trust for Historic Preservation.


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The national park lies in the south-central area of Mindoro and is politically divided between the municipalities of Sablayan, Calintaan, Rizal and San Jose in Occidental Mindoro, and the municipalities of Bongabong and Mansalay in Oriental Mindoro. It has a rugged terrain composed of slopes, river gorges, mountains and plateaus. In the park's northern portion, Mount Baco rises to an elevation of 2,488 metres (8,163 ft) above sea level. Mount Iglit reaches 2,364 metres (7,756 ft) and can be found south of Mount Baco. The park is crossed by eight major river systems, including the Lamintao and Anahawin Rivers which empty into the South China Sea. It is home to four ethnic groups on the island: the Batangas Tagalog, Mangyan, Hanunu'o and Bangan. The Mangyans depend on the park for their subsistence, where they engage in traditional farming and hunting for food. There are also areas of grasslands turned into pastures, as well as areas of slash-and-burn agriculture.
The park's vegetation consists primarily of grasslands, lowland Dipterocarp forests, and montane rainforests on the higher slopes. In the park's southern portion near the Lamintao River is a 367-hectare (910-acre) block of Acacia forest. There is also an area of Agoho forest along the Anahawin River within the Tamaraw Gene Pool Farm ecotourism site. The rest of the lowland portions are open grasslands. The most extensive forests in the national park are in the remote northern portion in the area of Mount Baco.


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The park is the habitat of the endemic tamaraw (Bubalus mindorensis), a small, hoofed mammal of the bovid family unique to the Philippines. It is one of the most seriously endangered animals in the world. It was for this reason that the park was established, first as a game refuge and bird sanctuary in 1969 with an initial area of 8,956 hectares (22,130 acres), then as a national park increasing its size a year later.
The biggest population of tamaraw can be found in the open grasslands of the national park. It contains the Tamaraw Gene Pool Farm, an off-site breeding facility established in 1980 under the Tamaraw Conservation Program in Manoot, Rizal. In April 2018, 523 tamaraws were spotted in the protected area. This is up from 327 spotted in 2012.


Mr. Trash Wheel, officially called the Inner Harbor Water Wheel, is a trash interceptor, a vessel that removes trash from the Jones Falls river as it empties into the Inner Harbor in Baltimore, Maryland. It is powered by water wheels and solar cells, and places trash from the harbor onto an onboard conveyor belt which routes it into dumpsters on the vessel. Mr. Trash Wheel was invented by John Kellett in 2008, who launched a pilot vessel at that time. A larger vessel was later developed; it replaced the pilot vessel and was launched in May 2014. The Mr. Trash Wheel vessel is part of the Waterfront Partnership of the City of Baltimore's "Healthy Harbor Plan."


Mr. Trash Wheel is a moored vessel that removes trash from the mouth of the Jones Falls river at Baltimore's Inner Harbor. Rubbish from the streets of Baltimore is flushed into storm drains that empty into the Jones Falls river. The floating rubbish is then carried by the river to its outlet into the Inner Harbor, where it is captured by Mr. Trash Wheel. Mr. Trash Wheel is powered by the current from the river, and backup power is provided by solar panels when the current is sluggish. These power a conveyor belt. Mr. Trash Wheel removes floating debris using rotating forks that dip into and out of the water, and which then place the trash onto a conveyor belt which moves it into a dumpster. The water wheel can be controlled remotely on the Internet. Mr. Trash Wheel was constructed using $720,000 of public and private funding.


Mr. Trash Wheel was invented by John Kellett, who developed the idea when observing trash in the harbor while passing Pier 6 on his walk to work. A pilot trash wheel was built and launched in the harbor by Kellett in 2008, and after this, Kellett built a larger machine that was launched in May 2014, which was able to pick up larger matter and held two dumpsters onboard. The use of two dumpsters allows the vessel to operate longer, without having to go back to shore to empty the single dumpster that was used on the initial pilot vessel.
On April 20, 2015, after the first significant rain storm of the season, Mr. Trash Wheel removed 19 tons of garbage from Baltimore's waterfront on that one day. The previous record for debris removal occurred on May 16, 2014, when the machine removed 11 tons of refuse on that day. At the end of the third quarter in 2016, (which occurred on September 30, 2016), it was noted that Mr. Trash Wheel had collected over 1,000,000 pounds (500 short tons) of trash since its inception.
Mr. Trash Wheel is part of the Waterfront Partnership of Baltimore's "Healthy Harbor Plan", which has a goal to clean up the harbor to the point of making it swimmable by the year 2020. In 2015, the Waterfront Partnership of Baltimore began fundraising efforts to construct a second water wheel like Mr. Trash Wheel for use "off the Boston Street Pier Park" at the Harris Creek outfall in Canton, Baltimore. This second trash wheel has been given the nickname "Professor Trash Wheel."
Adam Lindquist, director of the Healthy Harbor Initiative, approached What Works Studio to leverage the popularity of a video of the device in 2015. What Works Studio Creative Strategist Justin Allen was immediately struck with the organic look of the device and suggested personifying it with googly eyes and giving it a name. Several names were suggested by the What Works Studio staff but Mr. Trash Wheel is the one that stuck. What Works Studio suggested using Twitter as its primary channel for communication where it started gaining a following under the management of multiple What Works Studio staff. At this point, the googly eyes only existed on images of the trash wheel. The first set of physical eyes, which Lindquist had handmade in his spare time, were removed after a brief period. In March 2016, Key Tech, a Baltimore-based technology solutions company donated a more robust pair of permanent eyes.


Several additional trash wheels have been produced after the success of the original. Three are planned to patrol the Inner Harbor but there are also plans for one on the West Coast and one in Central America.
Like Mr. Trash Wheel, the others deployed so far have also been anthropomorphised:
the Canton-based, female-gendered Professor Trash Wheel, visually distinguishable from the other instances due to her green googly eyes with lashes, was commissioned in December 2016;
the gender-neutral Captain Trash Wheel without lashes but with brown irises in June 2018 at Brooklyn.
Another female-gendered wheel at the mouth of the Gwynns Falls named Gwynnda the Good Wheel of the West. Gwynnda has the same lashes as Professor Trash Wheel but with purple eyes. The largest of the four wheels, Gwynnda picks up more trash and debris than the other three wheels combined.


The lands of Mugdock were a property of the Grahams from the mid-13th century, when David de Graham of Dundaff acquired them from the Earl of Lennox. It is possible that the castle was built by his descendant, Sir David de Graham (d. 1376), or by his son in 1372. In 1458, the lands were erected into the Barony of Mugdock. Later, in 1505, the Grahams were created Earls of Montrose.
The most famous of the Montrose Grahams, James Graham, 1st Marquess of Montrose, may have been born at Mugdock Castle in 1612. During the Bishops' Wars, a prelude to the Wars of the Three Kingdoms, Montrose briefly supported the Covenanters. He was imprisoned in Edinburgh in 1641 for intrigues against Archibald Campbell, 1st Marquess of Argyll, who was to become his arch-enemy. While Montrose was in prison, Lord Sinclair sacked Mugdock. Montrose returned there, however, until 1644 when he began his Royalist revolt, becoming the King's commander in Scotland. Mugdock was sacked again that year. Following the defeat of Charles I, Montrose was executed in 1650, and the lands were forfeited to the Marquess of Argyll. In 1661 Argyll too was executed, and Mugdock was returned to the Grahams, who restored the castle over a two-year period, building a mansion within the old castle walls. In 1682 the Grahams bought Buchanan Auld House near Drymen, a dwelling more fitting the title of "Marquess", though the family's official seat was kept at Mugdock Castle for a some time.
A terraced walled garden, incorporating a summer house, was built to the east of the castle in the 1820s. Local historian John Guthrie Smith (1834–1894), a relative of the Smith family of nearby Craigend Castle, leased the house from 1874. He had the 17th-century mansion demolished, and commissioned a Scottish baronial style house to be built in the ruins of the old castle. It was designed by architects Cambell Douglas & Sellars, and was extended to designs by James Sellars in the 1880s.
During World War II the house was requisitioned for use by the government. In 1945, Hugh Fraser (later Lord Fraser), owner of the large retail chain now known as House of Fraser, purchased Mugdock Castle from the Duke of Montrose. The 19th-century Mugdock House burned down in 1966, along with the remaining 16th-century outbuildings. In 1981 Lord Fraser's son Sir Hugh Fraser, 2nd Baronet, gifted the castle and the surrounding estate to Central Regional Council for use as a country park. The estate remains as Mugdock Country Park, and the ruins are publicly accessible. The remaining tower of the 14th-century castle has been renovated as a museum. The castle is protected as a scheduled monument.


The original castle was built in the mid-14th century. It may have been shield-shaped on plan, comprising towers arranged around a courtyard, and linked by curtain walls and ranges of buildings. In the middle of the south wall was the main gate. The castle stood on a natural, steep-sided mound formed of hard volcanic rock, at the west edge of Mugdock Loch, which was larger than its present extent. Of the early castle, only the south-west tower remains complete, and forms the most recognisable feature of the ruins. The narrow tower is of four storeys, with an entrance on the first floor, accessed via exterior steps on the east side. Inside the basement is vaulted, and a single room occupies each storey. On the outside, a line of corbels projects the two upper storeys out from the lower levels, giving the tower a distinctive "top-heavy" appearance. The only other remains are the basement of the north-west tower, part of the gatehouse, and linking sections of curtain wall.


The castle was extended in the mid-15th century, probably around the time that the barony was created. An outer wall was built to enclose the majority of the mound as an outer courtyard. This courtyard had its main entrance to the south, adjacent to the south-west tower. Inside the courtyard are the ruins of various stone buildings, mainly dating from the 16th century. These include a chapel at the north extent of the courtyard, and a domestic range at the south-west. Much of the outer curtain wall has also disappeared, although the southern section remains.


By the late 19th century, much of the castle was in ruins. When the antiquarian John Guthrie Smith (son of William Smith of Carbeth Guthrie) built his mansion, any remains of the eastern towers were obliterated. The one surviving tower was incorporated into the new building, via a first-floor covered passage, over a wide-arched bridge. The house itself was L-shaped and three storeys high, and built in the Scottish baronial style. The front door faced the south-west tower, framing a small courtyard. The house was mostly demolished to the foundations in 1967, although some walls stand to first-floor level.


The Sunni Mosque or the Mukhtarov Mosque is a historic mosque on the left bank of the Terek River in Vladikavkaz, Russia. The mosque owes its name to the Azerbaijani millionaire Murtuza Mukhtarov who financed its construction in 1900–1908. The architect Józef Plośko was inspired by Al-Azhar and other mosques of Cairo. Plośko was also the architect of Mukhtarov Palace in Baku. The mosque serves the Ossetian Muslim minority.
The Sunni Mosque is known for its picturesque setting against the dramatic backdrop of the Caucasus Mountains. It also used to serve the Ingush residents of Vladikavkaz before they were expelled from North Ossetia in the 1990s. The mosque has been protected as a historic landmark since 1934. In 1996, it was badly damaged by an explosion and later restored.


The mosque gets its name from Murtuza Mukhtarov, an Azerbaijani millionaire who constructed the mosque from 1900 to 1908. In 1960, under Soviet rule, it came under complete protection, in which a branch opened an indoor museum. Communism's fall brought the collapse of the Soviet Union, but within dispersion over the gatherings of Ossetian Muslims, the mosque returned to its usual function as a house of worship in 1996.


The Mukilteo Light is an operational navigation aid located on the east side of Possession Sound at Mukilteo, Snohomish County, Washington, in the United States. It is owned and operated by the City of Mukilteo as part of Mukilteo Lighthouse Park. The lighthouse is listed on the Washington State Heritage Register and was placed on the National Register of Historic Places in 1977.


Construction of the lighthouse began in 1905, using the Carl Leick design also seen in the second Ediz Hook lighthouse and Oregon's Cape Arago lighthouse. It was built of wood, while most other lighthouses of the era were constructed using brick and concrete. The lighthouse became operational in 1906, using a revolving Fresnel lens that was manufactured in France in 1852. In 1927, the original lens was replaced with the fixed (non-rotating) fourth-order Fresnel lens which is still in use. The lighthouse and a modern fog signal were automated in 1979, and in 1981, a remote fog sensor was installed.
The two Victorian-style homes on the property were used by Coast Guard personnel until 1996. The entire complex was renovated by the Mukilteo city government in the 1990s for use as a museum.
On August 19, 2001, the U.S. Coast Guard turned over ownership of the lighthouse to the City of Mukilteo. It is the centerpiece of Mukilteo Lighthouse Park, with the grounds and interior open to the public. The Mukilteo Historical Society maintains the lighthouse and its associated museum exhibits.


Mundomar is a animal theme park located in Benidorm, Costa Blanca, Spain. It is the sister park to the water park Aqualandia directly adjacent to it and with which it shares the same car park. There is a viewing area at the top of Mundomar next to the Dolphinarium, which gives a view of the majority of Aqualandia.
Many different species can be viewed at Mundomar, including dolphins, sea lions, penguins, meerkats and many more marine and land animals.
There are dolphin, sea lion, and parrot displays several times a day at the park, where visitors can watch trained handlers interacting with the animals, and putting on spectacular shows.
Mundomar is usually open from February to December.


Munkeruphus was built in 1916 for civil engineer Frederik Raaschou and his family by the two young architects Terkel Hjejle and Niels Rosenkjær.
In 1958 it was acquired by artist and designer Gunnar Aagaard Andersen
and his wife. Aagaard had previously lived in France from 1946 to 1951 where he had co-founded Groupe Espace, a collaborative between artists and architects who worked with spatial art, and he made it the centre of an active artistic environment with many visiting colegees visiting from abroad.
In 1986 it was purchased by the Capital Region Authority and subsequently listed by the Danish Heritage  Agency. For a few years it was left empty but in the autumn of 1988 it was ceded to a foundation with the aim of transforming it into an exhibition space for changing exhibitions. It was renovated with support from private benefactors and opened the doors to its first exhibition on 26 August 1989.


Munkeruphus was designed with inspiration from the Arts and Crafts Movement and American Colonial Revival architecture. It is a two-story, T-shaped structure with a horizontal board siding, topped by a shingled hip roof. The almost symmetrical main facade is nine bays long but the second window from each side and on both floors is omitted, save in the ground floor of the left hand side where a smaller window creates a small deviation from the dominating symmetry of the facade. The main entrance is through a double-leafed French door with a glass transom. On the north (rear) side, another wing has been designed to optimize views of the sea.


Set back from the coastal road between Hornbæk and Gilleleje, at the end of an unpaved driveway, the house is on a 16-hectare lot which consists of parkland with lawns, winding paths and many mature trees. The rear slopes reach all the way to the sandy beaches along the Øresund and the park affords views of Nakkehoved and Hornbæk along the coast as well as Sweden on the other side of the water. There are also a number of outdoor sculptures on the premises.


Munkeruphus is operated as a self-owning institution. It plays host to 5–6 exhibitions a year about art, crafts, design, architecture or other themes. It also serves as a venue for lectures and indoor as well as outdoor concerts. There is also a café which serves light lunch meals, cakes and hot and cold drinks in the ground floor of the rear wing.


The Munn Park Historic District is a U.S. historic district (designated as such on November 3, 1997) located in Lakeland, Florida. It is named in honor of the city's founder, Abraham Munn. The district is bounded by East Bay Street, North Florida Avenue, East Orange Street, and East Main Street. It contains 48 historic buildings and 1 object.
The central feature of the district is Munn Park. On June 3, 1910, the Daughters of the Confederacy erected a Confederate monument in the center of the park. It was removed March 22, 2019.


Drawing pin
Murska Sobota Cathedral (Slovene: Stolna cerkev sv. Nikolaja) is a Roman Catholic cathedral dedicated to Saint Nicholas in the town of Murska Sobota, Slovenia. It has been the episcopal seat of the diocese of Murska Sobota since the diocese was created in 2006.
The site was originally occupied by Roman temples. The first church here was built of wood from 1071, shortly after the Hungarians who had settled here converted to Christianity. Murska Sobota developed into a religious centre during the Middle Ages.
The mediaeval second cathedral of 1350 was replaced in 1912 by the present Neo-Romanesque building, which includes some decorative elements of the Jugendstil. Reinforced concrete was used in the construction.
The four bells from the old cathedral were re-hung in the new belfry. In 1992 a new organ was installed, which, with 37 registers, is one of the biggest in the country.


The Musée Grévin (French: [myze ɡʁevɛ̃]; Euronext: GREV) is a wax museum in Paris located on the Grands Boulevards in the 9th arrondissement on the right bank of the Seine, at 10, Boulevard Montmartre, Paris, France. It is open daily; an admission fee is charged. The musée Grévin also has locations in Montreal and Seoul.


The museum was founded in 1882 by Arthur Meyer, a journalist for Le Gaulois, on the model of Madame Tussauds founded in London in 1835  and named for its first artistic director, caricaturist Alfred Grévin. It is one of the oldest wax museums in Europe. Its baroque architecture includes a hall of mirrors based on the principle of a catoptric cistula in 2018, a young American author, composer, interpreter and designer, Krysle Lip was in charge of the artistic and esthetical transformation of the Hall of Mirrors  The hall of mirrors was built for the Exposition Universelle in 1900.
It was originally housed in the Palais des mirages designed by Eugène Hénard.


The Musée Grévin now contains some 450 characters arranged in scenes from the history of France and modern life, including a panorama of French history from Charlemagne to Napoleon III and bloody scenes of the French Revolution, with the original wax figures of the late 19th and early 20th centuries witnessing their technical evolution. By contrast, the more contemporaneous movie stars, athletes, and international figures such as Albert Einstein, Mahatma Gandhi, Shah Rukh Khan, Pablo Picasso, Michael Jackson, Josephine Baker and Pope John Paul II use the modern techniques of modeling. The tableau of Charlotte Corday murdering Jean-Paul Marat created in 1889 includes the actual knife and bathtub used.
New wax characters are regularly added to the Museum among more than 2000 made since it opened. They include Zinedine Zidane, Jean Reno, Monica Bellucci, Jean Dujardin, Isabelle Adjani and Nolwenn Leroy.
Bollywood celebrities whose wax has been added include Shah Rukh Khan, Aishwarya Rai  and Ranveer Singh.


The Musée Jean de La Fontaine is a writer's house museum located in Château-Thierry, France.
It is housed in the former house of Jean de La Fontaine, a French fabulist, and is mostly dedicated to collections and objects representing Jean de La Fontaine's work.


The Musée du Pays Châtillonnais, or Trésor de Vix, formerly called the musée archéologique de Châtillon-sur-Seine (Côte-d'Or), was created in the late nineteenth century and is managed by the community of communes of the Pays Châtillonnais.
The museum houses the finding of the Vix Grave, and especially the famous Vix krater, dated to circa 500 BCE and testifying to the links between the Gauls and the Greeks at that period.


Throughout France the second half of the nineteenth century was an era of growing interest in archeology.
The subject was particularly popular in the Côte-d'Or region since major excavations had been organized by Napoleon III on the site of Alesia, 80 kilometres (50 mi) from Châtillon. In 1882 the Châtillon Archaeological and Historical Society opened the first museum, to be a museum of archaeology.
The region is rich in archaeological relics.
The excavations of the Gallo-Roman Vertillum, about fifteen miles away, and those of Mount Lassois, produced a large number of objects.
In 1928 the society acquired a Renaissance hotel downtown, the hotel Philandrier, named after William Philandrier, an architect born in Chatillon in the 16th century.
In 1950 the museum expanded with a move into the hotel, which provided an exhibition area of 400 square metres (4,300 sq ft).
Three years later the discovery of the Vix Grave, a burial of prime importance for its richness and historical interest, brought international recognition to the museum.
It was able to collect all the treasures of the site, which otherwise would probably have been taken to the National Archaeological Museum at Saint-Germain-en-Laye.
In 2009, the museum left the hotel Philandrier, which had become too cramped, and moved to the old abbey of Notre-Dame de Châtillon.
Founded in the 12th century by Bernard of Clairvaux and rebuilt in the 17th and 18th centuries, the chateau had until recently been a hospital and nursing home.
The design of the new museum was assigned to the architect Antoine Stinco.
The new museum site has 2,000 square metres (22,000 sq ft) in a prestigious setting.
Taking advantage of the move, the museum reorganized its collection, which now covers the entire prehistory and history of the region up to the 18th century.


The Museo Dolores Olmedo (or the Dolores Olmedo Museum) is an art museum in Xochimilco, Mexico City, based on the collection of the Mexican businesswoman Dolores Olmedo. The museum will be relocated to Chapultepec in 2024.


In 1962, Dolores Olmedo acquired a property at La Noria, Xochimilco in southern Mexico City, which she would later convert into the museum named after herself in 1994.  Donating her entire collection of art including pre-Hispanic, colonial, folk, modern and contemporary art, the Dolores Olmedo Patiño Museum hosts the greatest collection of Frida Kahlo, Diego Rivera, and Angelina Beloff artworks. Upon Olmedo's death in 2002, she left funds for taking care of her museum, now open to the public.


Recently new areas have been added to the museum, "her private rooms" where she kept original decorations of her house such as ivory, china, and artwork by artists whom she nurtured in her latter years including José Juárez and Francisco Guevara. The museum now holds a permanent exhibition of works by Russian-Mexican artist Angelina Beloff, who was Diego Rivera's first wife.


Museo Ferrari (previously known as Galleria Ferrari) is a Ferrari company museum dedicated to the Ferrari sports car marque. The museum is not purely for cars; there are also trophies, photographs and other historical objects relating to the Italian motor racing industry. In addition to that, the exhibition introduces technological innovations, some of which had made the transition from racing cars to road cars.
It is located just 300 m (980 ft) from the Ferrari factory in Ferrari's home town of Maranello, near Modena, Italy.
The museum first opened in February 1990, with a new wing being added in October 2004. Ferrari itself has run the museum since 1995. The total surface area is now 2,500 square metres. The number of annual visitors to the museum is around 180,000.
The exhibits are mostly a combination of Ferrari road and track cars.


Michael 50 was an exhibition that opened on January 3, 2019, timed to coincide with Michael Schumacher's 50th birthday, as a tribute to Schumacher's Formula One career. The exhibit was organized in cooperation with Keep Fighting Foundation, a non-profit foundation that supports Schumacher‘s charitable work. One part of the exhibition, The Hall of Victories, displayed some of the most important Ferrari cars driven by Schumacher in his 11 years with the Scuderia Ferrari team:
Ferrari F310 (1996)
Ferrari F399 (1999)
Ferrari F1-2000 (2000)
Ferrari F2001 (2001)
Ferrari F2002 (2002)
Ferrari F2003-GA (2003)
Ferrari F2004 (2004)
Ferrari 248 F1 (2006)
The exhibition featured two road cars whose development Schumacher has contributed to:
Ferrari 430 Scuderia (2007)
Ferrari California (2008)
The black FXX Evoluzione number 30 was not included in the exhibition.

On February 1, 2019, the exhibition was visited by Schumacher’s son Mick, who had recently signed with the Ferrari Driver Academy.


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Argentine painter and art critic Eduardo Schiaffino, was the first director of the museum, which opened on 25 December 1895, in a building on Florida Street that today houses the Galerías Pacífico shopping mall. In 1909, the museum moved to a building in Plaza San Martín, originally erected in Paris as the Argentine Pavilion for the 1889 Paris exhibition, and later dismantled and brought to Buenos Aires. In its new home, the museum became part of the International Centenary Exhibition held in Buenos Aires in 1910. Following the demolition of the pavilion in 1932, as part of the remodeling of Plaza San Martín, the museum was transferred to its present location in 194
3, a building originally constructed in 1870 as a drainage pumping station and adapted to its current use by architect Alejandro Bustillo.
The museum was modernized both physically and in its collections during the 1955–64 tenure of director Jorge Romero Brest. A temporary exhibits pavilion opened in 1961, and the museum acquired a large volume of modern art though its collaboration with the Torcuato di Tella Institute, a leading promoter of local, avant-garde artists, and elsewhere; a contemporary Argentine art pavilion opened in 1980. This 1,536 square metres (16,533 sq ft) hall is the largest of 34 currently in use at the museum, which totals 4,610 square metres (49,622 sq ft) of exhibit space. Its permanent collection totals 688 major works and over 12,000 sketches, fragments, potteries, and other minor works. The institution also maintains a specialized library, totaling 150,000 volumes, as well as a public auditorium. The museum commissioned architect Mario Roberto Álvarez to design a branch in the Patagonian region city of Neuquén. Inaugurated in 2004, this museum has four exhibit halls totaling 2,500 square metres (26,910 sq ft) and a permanent collection of 215 works, as well as temporary exhibits and a public auditorium.
The ground floor of the museum holds 24 exhibit halls housing a fine international collection of paintings from the Middle Ages up to the 20th century, together with the museum's art history library. The first floor's eight exhibit halls contain a collection of paintings by some of the most important 20th-century Argentine painters, including Antonio Berni, Ernesto de la Cárcova, Benito Quinquela Martín, Eduardo Sívori, Sarah Grilo, Alfredo Guttero, Raquel Forner, Xul Solar, Marcelo Pombo and Lino Enea Spilimbergo. The second floor's two halls, completed in 1984, hold an exhibition of photographs and two sculpture terraces, as well as most of the institution's administrative and technical departments.


The Pre-Columbian Art Museum (also known by the acronym of its Spanish name MAP) is an art museum in Cusco, Peru, dedicated to the display of archaeological artifacts and examples of pre-Columbian artworks drawn from all regions of pre-Columbian Peru. The museum is situated on Plazoleta de las Nazarenas in Cusco's San Blas district, and has on permanent display exhibitions of some 450 individual representative artifacts that are drawn from the wider collection of its parent museum, the Larco Museum in the Peruvian capital Lima.


The building where the museum is now housed was originally an Inca ceremonial courthouse. In 1580, it was acquired by the conquistador Alonso Díaz and subsequently built over in Colonial style to become the home of an elite member of Cusco society, the Viceroy Hernandez de Cabrera, for whom the mansion is named. It then passed through many hands and had multiple functions, ultimately falling into a ruinous state. After a restoration by the Fundación BBVA, the Museo de Arte Precolombino re-opened in June 2003.
Peruvian President Alejandro Toledo inaugurated the museum at the summit, saying "we are showing the world our cultural wealth. I am profoundly proud that [we can give to the summit] a little of the culture that belongs not only to Peru, but also to Latin America… [The region must] look to its past to construct together a new Latin America with more health, education, justice for the poor and culture."


The works of art displayed at the museum, encompass a period of time ranging between 1250 BC and  AD 1532. There are a total of ten galleries: Formative, Nasca, Mochica, Huari, Chancay – Chimu, Inca, Wood, Jewelry and Stone, Silver, and Gold and Metals.
The Formative Gallery houses pieces from many diverse cultures. Among these are Cupisnique, Salinar, Vicus, Viru and Paracas in its older phase or “cavernas”. During this period (1250 B. C - 1 A. D.) there is a remarkable advance in ceramic art. Painting and sculpture take in place; there are beautifully naturalistic and symbolic representations; many of them enriched by the use of incise decoration in which the Cupisnique artist get to a high development.
The Inca culture conquered all the territory of pre-Columbian Peru where they restored with great political ability the Tahuantinsuyo empire. In the Inca Gallery magnificent ceramic objects are showcased like the emblematic aribalos or monumental vessels. These pieces have many decorative elements that transmit a subtle message of organization and symbolism. One of these aribalos is of great size and is unique to the collection.


The Museum's Auditorium seats 120 people and often houses lectures and other local events.


The building is what remains of monastery which was founded in the 16th century, sponsored by Diego Jiménez and Fernando Moreno. It was dedicated to the Virgin of Montserrat, whose image was brought to Mexico City from Catalonia. This image of the Virgin was almost always covered by three veils which were removed only for principal feast days.  Underneath the veils, the image was famous for its extensive array of costumes and jeweled ornaments. Originally, it was a Benedictine monastery. Early in the monastery's history, an epidemic of smallpox converted it into a hospital to attend to thousand of sick natives. The monastery was constantly involved in disputes, and at some point, it became inhabited by the monks of Saint Jerome. These monks were dedicated to the religious education of young people and the copying of manuscripts.  Eventually, the disputes forced the monastery to close in 1821 when it had only six monks living in it.


Over the centuries, the building has been a monastery, military quarters, an aeronautics museum, an archive and other uses. Documentation about the building from 1821 to 1930 is scarce, but photographs indicate the facade with the stores the building had before much of it was demolished to widen Izazaga Street. The building was declared a colonial monument in 1931. However, it was also decided to close the building to worship due to the religious conflicts that were going on during that decade (Cristero War). There are indications that in the mid 1930s, the building was used as barracks and later as the headquarters for the Federación Socialista de los Trabajadores (Socialist Federation of Workers).  After that, it was used as tenements. However, when the Charreria Federation took possession of the building in 1970, it was completely abandoned. When the tenants were evicted is not known. The building was ceded to a couple of non-profit organizations in the 1960s, but it was not occupied.


In 1970, it was decided to make the building into a tourist attraction, and it was remodeled at a cost of nearly six million pesos. With work done, the building was ceded to the Federación Nacional de Charros (National Federation of Charros), who converted it into the current museum. It was inaugurated in 1973 and is the only one of its kind in Mexico City.   The museum presents arts and crafts related to the sport and tradition such as saddles, lassos, hats, charro suits, firearms and more.  Most of the museum pieces have been donated by aficionados of the sport. Some of these items belonged to people such as Maximilian I of Mexico and Francisco Villa. The collection is divided by three historical periods, the colonial area, post-Independence and the Mexican Revolution to the present.  There is also a collection of watercolors by José Albarrán Pliego as well as dresses worn by the China Poblana. Since its opening, the collection has continued to grow as the museum receives more donations.
The origin of charrería dates to just after the Conquest. To attend livestock on haciendas, native peoples were trained to ride horses and tend to cattle, leading to a mix of Spanish and indigenous cultures. The principal objective of the museum is to preserve this rich tradition, especially for the Mexican people. The organization also has a permanent program to help schools and craftsmen dedicated to the tradition and the making of items associated with it.


Museum Voorlinden ([myˈzeːʏm ˈʋoːrlɪndən]) is an art museum in Wassenaar in the Netherlands. It was founded and is privately owned by Joop van Caldenborgh. It was opened on 10 September 2016 by King Willem-Alexander of the Netherlands.


The Museum of Cambridge, formerly known as the Cambridge & County Folk Museum, is a museum located in Castle Street in central Cambridge, England. It is housed in the former White Horse Inn, a Grade II listed 16th century former public house that closed in 1934. The Museum first opened in 1936, following a 1933 exhibition organised by the Cambridgeshire Federation of Women's Institutes, entitled 'A Festival of Olden Times, held in Cambridge's Guildhall.
Queen Mary visited the museum in 1938 and donated two exhibits, a miniature table and a tea caddy, the following year.
Reginald C Lambeth was the assistant curator in 1939. He wrote a series old articles in the East Anglian Magazine. In this 1939's annual report it stated that the collection had risen to over 1,900 exhibits.
In 1945 it was reported The museum is housed in an old coaching inn the White Horse and the quaint rooms afford an ideal setting for the collection. The building will be required for a town improvement scheme and the museum committee will have to find a new (and it is hoped), permanent quarters in the near future.
Enid Porter, a leading authority on Cambridgeshire culture, history, customs and beliefs and a pioneer of oral history, was Curator of the Museum from 1947 to 1976.
In 1988 it was reported that the museum might have to close as it was running out of money.
The museum presents the lives of the people of Cambridge and its surrounding area, the county of Cambridgeshire and the Fens from 1700 onwards. The collection includes more than 20,000 objects reflecting the social history of Cambridge and Cambridgeshire, including applied art, coins, costumes, decorative art, fine art, hobbies, law and order, medals, medicine, music, social history, textiles and toys. The museum also holds oil paintings by local artist Mary Charlotte Greene (1860-1951), a relative of author Graham Greene, as well as inn signs by another local artist, Richard Hopkins Leach (1794-1851).
The museum also administers Capturing Cambridge, a website that crowd sources local history, documenting stories and memories across Cambridge and the surrounding area street by street.
The museum is an independent charity, governed by a board of trustees. In 2020, as a consequence of the COVID-19 pandemic, the museum launched a fundraising campaign with the support of Cambridge MP Daniel Zeichner. In May 2021, the museum announced the success of its fundraising campaign and re-opened to the public.
The museum was shortlisted for the 2006 Gulbenkian Prize.
On the 27 August 2021 the museum began a temporary exhibition looking into the town and gown split and its relationship with public spaces.


The Museum of Modern Art in Rio de Janeiro (MAM) (Portuguese: Museu de Arte Moderna do Rio de Janeiro) is a museum located in northeastern Flamengo Park, in the city of Rio de Janeiro, Brazil. It is in the Centro district, west of Santos Dumont Airport, on Guanabara Bay.


Flamengo Park was an urban planning project on the coast of Rio under the direction of Roberto Burle Marx (1909-1994) in the 1950s and 1960s.  The Modernist concrete museum building, designed by Affonso Eduardo Reidy (1909-1964), was completed in 1955. The museum's landmark Modernist gardens were designed by Burle Marx.
The main building has a dramatic cadence of external pillar elements, connected by longitudinal beams, providing a galley level free of internal columns or structural walls. The park was created on landfill in the bay, so the pillars footings reach 20 metres (66 ft) down.
A large outdoor terrace is framed by the entrance façades of the main building and theater wing. The northern façade has aluminum shutters to control the amount of (low) natural light entering the gallery space during the winter solstice period. The windows of the gallery are oriented to the north and south.
An inner courtyard was also designed by Burle Marx. A broad spiral ramp element reaches an upper level, with a roof terrace, restaurant, bar, and lounge overlooking Guanabara Bay, Sugarloaf, and Rio's other granitic mountain formations.


Affonso Eduardo Reidy's essay for the meaning of the museum expressed:
"The cultural influence of a modern art museum is not only drawn from the collection of works of art and of courses of study and conferences held there, but more particularly the creation of their own intellectual atmosphere in which the artist is to enrich their own work and ideas in which the public can absorb the artistic culture required by the mind of modern man. "
The museum's scope is as an arts center, and includes:
exhibitions — galleries for the permanent collection and travelling shows.
school of art — with lecture and studio spaces.
theater — for concerts, plays, classical ballets, film exhibitions, and conferences.
operations — public services (dining, etc.), workshops, collections warehouses, and administration offices.


On July 8, 1978, a rough fire caused by a cigarette or due to an electrical failure, destroyed 90% of the artworks – including artworks from Pablo Picasso ("Cubist Head" and "Portrait of Dora Maar"), Miró ("Persons in a Landscape"), Salvador Dalí ("Egg on a Plate, Without the Plate"), Max Ernst, Paul Klee, Diego Rivera, René Magritte, Louis Van Lint, Ivan Serpa, David Alfaro Siqueiros, Manabu Mabe and others – and all artworks showed in a big retrospective of artist Joaquín Torres-García.


The Museum of Sydney is a historical collection and exhibit, built on the ruins of the house of New South Wales' first Governor, Arthur Phillip, on the present-day corner of Phillip and Bridge Street, Sydney.


The original house, which was Australia's first Government House, was built in 1788 and later abandoned.  The foundations were exposed by archaeologists in 1983. The new museum building on the site was designed by Denton Corker Marshall architects. The museum was built as part of the Governor Phillip Tower development and is managed by the Historic Houses Trust of New South Wales.
The Museum of Sydney explores colonial and contemporary Sydney through objects, pictures, and new digital media techniques. Panoramic views of Sydney— from 1788 until today— stretch across walls and video screens. Sydney's convict era is explored in a giant showcase of goods and chattels recovered from more than 25 archaeological digs.


When it was commissioned, the project was called the First Government House Museum. While the museum building was under construction in November 1993, the New South Wales Minister for the Arts announced that the museum would be known as the Museum of Sydney on the Site of First Government House, described in the press at the time as a "mouthful" and commonly contracted to The Museum of Sydney. The change of name attracted protests.


The public entrance to the museum is via First Government House Place in Bridge Street, Sydney. The outline of Phillip's residence, the first Government House, is marked out on the plaza with inlaid stone. Excavation of the site revealed examples of covered drains dated to the late 1790s and brick barrel drains dated to circa 1811 and another to circa 1828.  The remains of the drains and privies are shown in their original context, along with other archeological artifacts, in glass display cases built into the pavement of the forecourt.


The large open-air Museum of the Slovak Village (in Slovak: Múzeum slovenskej dediny) is situated on the outskirts of the northern city of Martin in Slovakia.


The first idea of the open-air museum was put forward by Ján Geryk, the SNM secretary, on 16 April 1931 and it was thought to be built in Opleta. The museum was planned around Scandinavian designs of open-air museums and was mentioned to be real-life place for whole families: they would live and work there "in the old way of life". Finally, the museum was established in the 1961, by the Slovak National Museum in Martin and in 1964-66 the 218 objects from 113 villages were selected to create the reconstructed village settlements from 13 regions. The foundation stone of the Museum of Slovak Village was laid on 3 September 1968. The first group of buildings was of the Orava region and was open to public in 1972.


The museum presents northwest Slovak traditional folk architecture, typical in its habitation and lifestyle of traditional rural communities in Slovakia from the 19th to the early 20th century. In an area of 15,5 hectares there are 129 dwelling, farm, technical, social, and religious buildings. Besides many domestic buildings, there are for example croftlofts, a pub, a village store, a garden house, a firehouse, a wooden Renaissance bellhouse, an elementary school, and an exhibition on Romano Drom (Journey of Gypsies). In this open-air museum, visitors can see interesting technical objects – such as vegetable (mainly flax) oil production, worsted production and weaving cloth. These buildings are from different Slovak regions – Orava, Liptov, Turiec and Kysuce-Podjavorniky. 22 objects (mainly agricultural homesteads) are furnished and open to visitors. Agricultural exhibitions show the cultivation of traditional plants, trees, spices, medicinal and magic herbs.
One of the most interesting objects is Catholic church from Rudno (1792) with its decorative paintings and Baroque altar with statutes of St. Stephen, St. Nicolas and Virgin Mary inside.


At the Museum of the Slovak Village, various events are held every year. These whole-day events show or reconstruct traditional professions, production and handicrafts, ceremonies, traditional manners and folklore. For instance, Easter in the Countryside, Days of Firefighters, Children Sunday, Michal's Market or Christmas in the Countryside.


The Mutual Building (Afrikaans: Mutual Gebou), in Cape Town, South Africa, was built as the headquarters of the South African Mutual Life Assurance Society, now the "Old Mutual" insurance and financial services company. It was opened in 1940, but before the end of the 1950s—less than 20 years later—business operations were already moving to another new office at Mutual Park in Pinelands (north east of the city centre); since then Old Mutual has become an international business and their present head office is in Johannesburg.
The building is a fine example of art deco architecture and design, and it has many interesting internal features such as the banking hall, assembly room, directors' board room; external features include a dramatic ziggurat structure, prismoid (triangular) windows, and one of the longest carved stone friezes in the world. It has been said that it provides evidence of the colonial attitudes of the time, and the "ideals of colonial government promulgated by Rhodes in the late nineteenth century".
The Mutual Building is now converted to residential use, although some parts of the building are used commercially.  For example, the Banking Hall (which is now an events venue) and the retail shops that operate outside on the ground level.


The figure here (adapted from www.skycrapers.com) compares the building with some of the other contemporaneous tall buildings in the world. Those involved in the design of the building travelled widely to study inspirational examples of corporate buildings elsewhere in the world. They learnt about the latest approaches to lighting, ventilation and fire protection in the USA, South America, England and Sweden. In the USA, the Eastern Columbia Building in Los Angeles is one example of the genre of building design that captured their attention:  this building was completed in 1930 and has also since been converted to residential occupation.
The art deco style was chosen.  However, the building is embellished with features in other styles (such as neo-classicist in the case of the banking hall) intended to reinforce the long-standing and traditional values of the Old Mutual business.


The building was completed in 1939 and opened early in 1940 with a great fanfare. The local paper provided a 16 page supplement, and South African architects and dignitaries enthused about it. In his definitive examination of the design of the building, Federico Freschi summarises the status of the building thus:
"Ultimately, the consensus suggests that the Old Mutual Building is at once a worthy monument to modern design principles and the consolidation of an important corporate and public image."
The building is listed elsewhere as a notable building, and it is regarded as an important example of the social values of the time and of the economic state of the nation, but all as seen from a European or "colonial" perspective, as explained by Freschi.


Within 20 years (in the late 1950s) the Old Mutual began to vacate the building, moving in stages to new offices at Mutual Park in Pinelands, Cape Town. By the 1990s, only assorted tenants remained, the last of which departed in May 2003.
At this time, conversion to residential occupation began under the direction of Robert Silke at Louis Karol Architects. The name of the building was changed by the developers to Mutual Heights, a decision that did not find favour with all owners and residents involved in the new community. Despite scepticism about the name, it is generally agreed that the conversion was the first in a series of projects that re-invigorated the central business district of Cape Town.  The conversion has been the subject of a number of architecture and design awards.
In February 2012, the large "Old Mutual" sign on the east side of the building was removed, leaving little external evidence of the commercial origins of the building;  in 2015 Old Mutual Properties finally disposed of the remaining portions of the interior that had not been sold previously, including the banking hall, the directors suite and the fresco room.


The building is constructed using reinforced concrete, filled in internally with bricks and plaster, and clad on the outside with granite. At first sight, the building is a striking example of the Art Deco style and many of its features epitomize this genre - however, some interior features deviate from true Art Deco and probably reflect the desire of the company to demonstrate solidity and traditional values at the same time as contemporaneous, forward-looking values.
It is 276 feet (84 m) high, as measured from the ground floor to the top of the tower, but the building is often listed as being more than 90 metres high (even as high as 96.8 metres on the Old Mutual web site); this probably takes account of the "spire" at the top.
Having only 10 levels ("storeys") above ground level in the main part of this tall building (excluding the three levels of basement car parking, and the additional levels in the tower), it is evident that the spacing between floors is generous — generally each floor is about 5 metres (16 ft) above (or below) the next. In one of the meeting rooms on the eighth level (the Assembly Hall - see below), the curtains alone are more than six metres long. This generous spacing between floors was intended to achieve the greatest possible overall height for the building without exceeding the city planning limitation of 10 storeys, and it was allowed only in view of the "set back" design of the exterior structure.


The original design of the building is attributed to Louw & Louw (Cape Town architects), working with Fred Glennie (best known at the time as a mentor to architectural students) – Mr Glennie is personally credited with most of the detailed work but Ivan Mitford-Barberton was also involved with some internal details as well as with the external granite decorations.
It is pleasing that the principal areas of the building have been so little changed over the years, especially the entrance, the banking hall, the assembly room, the directors' room, the atrium, and the windows. Even the original door handles (including the Old Mutual "logo") and the original banisters (on the staircases) are all still intact, and the atrium is largely unchanged although it is now protected from the weather by a translucent roof.
The original light fittings in the "public" areas are largely still intact, and in most parts of the building there are beautiful block-wood (parquet) floors.
Here is a selection of interior design details that exemplify the quality and attention to detail that was applied to this project by the architects, artists and designers.
The paragraphs below now visit each of the significant areas and features of the building in turn.


The building incorporates a range of significant features.


Black, gold-veined onyx is used in the Darling Street foyer, the ceiling of which is over 15 metres high and finished with gold leaf, laid by Italian workmen. The view of the glass window over the door to the banking hall (above) shows the iconic ziggurat shape of the building etched into the glass. Visitors must climb 17 steps to gain access to the banking hall, and towards the top they are met by the original "pill box" where security staff can observe who (and what) is entering and leaving the building. On either side of the pill box are the entrances to the main lifts – two on the left and two on the right (there are two "staff" lifts and one "service" lift elsewhere in the building).
Characteristic stainless steel trim and light fittings, such as can be seen here, are used extensively throughout the building.


Given its tall marble-clad colonnades, the magnificent banking hall would be more properly described as an example of "neo-classicism" although the light fittings echo the art deco theme that prevails elsewhere in the building, and again we see that the glass over the doors (at the far end in the photograph below) are etched with the iconic ziggurat form that is taken by the whole building.
The two service counters that can be seen in the banking hall look identical, but only the one on the right is original—the one on the left is a later, somewhat inferior, copy.
Between the columns of the banking hall the coats of arms are presented for each of the many provinces and countries within Southern Africa in which the South African Mutual Life Assurance Society had a presence.
The banking hall is now owned privately and is available for hire as an events venue.


The main lifts in the building are fast ("the fastest in Africa" it was claimed when the building opened) and no expense was spared – even in the basement parking area, the lifts are trimmed with black marble.  Each door has an etched representation of an indigenous bird or animal from South Africa, with significant plants as additional decoration, or in some cases the corporate logo of the time.
The individual etchings in detail (click on the images to see the full-size version):
These designs are attributed to Ivan Mitford-Barberton.


Perhaps the best known feature of the building (in artistic circles at least) is the Assembly Room, sometimes referred to as the "Fresco Room"; Freschi indicates that this was originally intended as a facility for policy holders. Here there are striking frescoes depicting some of the history of the nation of South Africa, undertaken by Le Roux Smith Le Roux two years after the completion of the building.
Le Roux was supported in his early career by the famous British architect Herbert Baker, who provided bursaries so that Le Roux could spend time in London and elsewhere.  In London he undertook a mural in South Africa House with Eleanor Esmonde-White.  An acquaintance (still living) of Le Roux and Esmonde-White recalls that Baker insisted that Eleanor Esmonde-White be awarded a bursary, despite gender-related objections from elsewhere;  in the event she got to go to London with Le Roux, with the bursary.  Following their years in London, Le Roux was awarded this commission to work on the Mutual Building and he therefore returned to Cape Town, but only after the main building work was done - it was not sensible to undertake this meticulous work while building operations were still in progress.
These frescoes are considered elsewhere as good examples of the genre—see for example "Decopix - the Art Deco Architecture Site" where the Mutual Building itself is well represented.
The five frescoes on the end walls and over the entrance depict more than 100 years of the history of the nation, including industrial development, the Great Trek, mining following the discovery of gold, the growth of industry and agriculture, and a hint of international travel and trade. Freschi considers that ".. in contemporary terms, Le Roux's work was seen to be distinctly progressive and very much in keeping with the ostensibly liberal party line of Jan Smuts' coalition government".
The panels are reproduced below, and selected portions from them are provided in the images that follow.
The five panels are presented left to right, in a clockwise direction when standing in the Assembly Room, back to the windows. The first and fifth are on the side walls, the second, third and fourth are on the long wall that includes the main entrance.
The fifth image includes a representation of the Mutual Building itself, the tallest building in what is known as the "City Bowl", below the slopes of Table Mountain. This did not remain true for long, it was only one year later that the General Post Office was built on the other (seaward side) of Darling Street, and a large number of larger more modern buildings have been built since (see the views from and of the building, shown further down this page).
Some details from the panels:
In 2016 the Assembly room was purchased for private use, and with the adjoining sections of the building it is being re-finished as private accommodation.


The atrium extends from the roof of the banking hall to the very top of the main building. It was originally open to the weather, but it is now protected by a translucent roof, through which the tower can be seen extending even higher.
The circular windows visible here are incorporated into the apartments that now occupy the front of the building.


The rising nature of the ziggurat mass of the exterior of the building is reinforced by the prismoid (triangular) windows, which extend up and down the height of the building. These windows are of note because they set the Mutual Building apart from some of the buildings that inspired it, for example the Eastern Columbia Building in Los Angeles. They are also functional, because they allow light to enter the building more effectively than would otherwise be the case (using the reflective properties of the inside face of the glass), and by opening and closing blinds on the one side or the other it is possible on sunny days to manage the heat entering the building as the sun traverses the sky.
Water-cooled air conditioning was another innovative feature of the original building, that avoided the need for extensive natural ventilation and allowed more freedom for the design of the windows and granite spaces between;  the same water-cooled air conditioning design is in use today.
As Freschi notes in his paper, the prismoid windows make for much more visual interest than the conventional windows in the General Post Office building. Here the image juxtaposes the Mutual building (foreground) with the General Post Office built the following year (behind).


The granite cladding of the building was hewn from a single boulder on the Paarl Mountain, north east of the city of Cape Town. The cladding incorporates decorative baboon, elephant and tribal heads that project from the upper facades of the Darling Street elevation (the front of the building).


On the Parliament Street facade there are carved granite figures representing nine ethnic African groups (not just South African) labelled thus:  "Xosa", "Pedi", "Maasai", "Matabele", "Basuto", "Barotse", "Kikuyu", "Zulu", and "Bushman". Note that the identification of the tribes does not necessarily follow current practice.
The individual figures in detail (remember you can click on the images to see the full-size version):
Recently Sanford S. Shaman has written a critique of these figures, and other features of the building
 partly based on interviews with pedestrians walking around the building.


Around the three sides of the building facing Darling Street, Parliament Street and Longmarket Street there is a 386 feet (118 metre) frieze depicting scenes from the colonial history of South Africa, reported at its completion to be the longest such frieze in the world.
It is of interest that, at the time, it was proclaimed that the building was built by South Africans, using South African materials; while the frieze was itself designed by South African, Ivan Mitford Barberton (born in Somerset East, Eastern Cape, in 1896), the work was executed by a team of Italian immigrants led by Adolfo Lorenzi. It has recently come to light that, in the course of the work, Lorenzi's team of masons were incarcerated when the Second World War broke out in 1939, being Italian and therefore regarded  as "the enemy" at that time. They were obliged to finish their work under an armed guard.
A composite view of the frieze can be seen at the right; unfortunately in this version some portions are missing or obscured by trees in leaf.
The sections of the frieze are as follows:
The landing of Jan van Riebeeck
The arrival of the 1820 Settlers
The "Post Office Stone"
The building of the Castle of Good Hope
The emancipation of the slaves
Negotiations with Chaka (also known as "King Shaka)"
The Great Trek
The dream of Nongqawuse (other spellings are sometimes used)
Discovery of diamonds at Kimberley
Erection of a cross by Bartholomew Dias
Rhodes negotiating with the Matabele
David Livingstone preaching, healing and freeing slaves
The opening up of Tanganyika Territory
The defence of Fort Jesus depicting Arab inhabitants
A second version of this collage of the complete frieze can be found elsewhere


Muyil (also known as Chunyaxché) was one of the earliest and longest inhabited ancient Maya sites on the eastern coast of the Yucatan Peninsula. It is located approximately 15 kilometres (9.3 mi) south of the coastal site of Tulum, in the Municipality of Felipe Carrillo Puerto in the state of Quintana Roo, Mexico. Artifacts found here date back from as early as 350 BC. to as late as 1200-1500 AD.  The ruins of Muyil are an example of Peten architecture, like those found in southern Mayan sites with their steep walled pyramids such as Tikal in Guatemala.  It is situated on the Sian Ka'an lagoon, a name meaning "Where the Sky is Born". Muyil was located along a trade route on the Caribbean once accessible via a series of canals. Among the most commonly traded goods were Jade, obsidian, chocolate, honey, feathers, chewing gum, and salt.  It is believed that throughout much of its history, Muyil had strong ties to the center of Coba located some 44 kilometres (27 mi) the north / northwest. The 2010 federal census reported a population of 191 inhabitants in the locality.


On 7 December 1977 the Österreichische Post brought out a definitive stamp on this subject in their Austrian landscape series to the value of 20.00 shillings.


In 1970 the site began to be excavated by archaeologist Gerald Cadogan. It is near another Myrtos settlement called Fournou Korifi. This settlement lasted from the early Minoan period, middle Minoan period, and the Neopalatial period. The early Minoan Period lasted from 3560 BCE to 2160 BCE. The middle Minoan period includes the old and new palace period which lasted from 2160 BCE to 1600 BCE. The late Minoan period lasted from 1600 BCE to 1170 BCE.
This site was established approximately 3000 BCE with Fourno Korifi being established around the same time. They were both destroyed in a fire around 2150 BCE. Its estimated Pyrgos was resettled in 1900 BCE.  From then on Pyrgos served as an administrative center and established new structures.


This Minoan settlement on the road to Ierapetra boasts several Minoan features:  a drain, paved floors and footpaths and ashlar foundation blocks for its central building. Although historians may debate whether certain Minoan sites were actually administrative or exchange sites, it is widely agreed Myrtos-Pyrgos was an administrative site. Myrtos Pyrgos is used as an example of what an administrative site during the Minoan civilization looks like. Unlike other settlements, Myrtos-Pyrgos named rulers found in iconography with proof of control of exchanges and items produced. This site is also known for its central tomb and country house.


The country house was built in the Late Minoan Period and was built atop of a hill. Historians theorize the house was built to overlook all of the agriculture and be a building that rules the site. The building had in total 9 rooms. Three of the rooms are thought to be basements for the rooms above. The house is also thought to be three stories tall. Another three of the rooms are thought to be entrances meanwhile the other rooms may have been store rooms. In the artifacts historians found, there is evidence that suggests a shrine being located in the house.


Inside the tomb, archaeologists found clay vases and cups. This suggests rituals were a practice used by the Minoans. In addition, knives, daggers, and triton shells were also found. The corpses found were thought to be all part of a certain social group as they were all male. The remains are a bit disfigured in their structure. One man has an extra long bone and a young man's skeleton was given the skull of an older man. It is unknown for what specific reason the dead were arranged in this way. While other depositions of men, women, and children were outside of the tomb, it is thought the Myrtos Pyrgos tomb was constructed for powerful figures.
Some archaeologists suggest the Minoans had an idea of a religion due to the placement of the tomb. The tomb is placed on the edge of the settlement but it is still within the settlement. This suggests the Minoans saw tombs as a gateway to the afterlife. In addition, unlike other tombs that have been found at other sites, the Myrtos Pyrgos tomb is monumental and public. This reinforces the idea of the dead in the tomb being of some significance or purpose.


Mystic Manor (Chinese: 迷離大宅) is a dark ride attraction in the Mystic Point area of Hong Kong Disneyland. Unlike Disneyland's Haunted Mansion attraction and its counterparts in other Disney parks, Mystic Manor has a lighthearted, fantasy-based theme with no references to departed spirits or the afterlife, due to differences in traditional Chinese culture. The attraction does feature several references to the Haunted Mansion, such as a Medusa changing portrait, a conservatory, and the busts that turn to follow visitors as they move. References to other Disney attractions include several figures similar to those from The Enchanted Tiki Room in the Tribal Arts room.