During the swing era, along with bands such as Duke Ellington, Dizzy Gillespie, Chick Webb, Count Basie, and Andy Kirk, the Apollo also presented dance acts such as Bill Robinson, the Nicholas Brothers, Carmen De Lavallade and Geoffrey Holder, the Berry Brothers, and Buck and Bubbles. Comic acts also appeared on the Apollo stage, such as Butterbeans and Susie, including some who performed in blackface, much to the horror of the NAACP and the elite of Harlem.
The Apollo also featured the performances of old-time vaudeville favorites like Tim Moore, Stepin Fetchit, Moms Mabley, Dewey "Pigmeat" Markham, Clinton "Dusty" Fletcher, John "Spider Bruce" Mason, and Johnny Lee, as well as younger comics like Bill Cosby, Godfrey Cambridge, LaWanda Page, Richard Pryor, Rudy Ray Moore, and Redd Foxx.
Gospel acts which played the Apollo include the Staple Singers, Mahalia Jackson, The Clark Sisters, Sister Rosetta Tharpe, Clara Ward and Sam Cooke with the Soul Stirrers.  Performers of soul music on the Apollo stage included Ray Charles, Otis Redding and Aretha Franklin, and jazz was represented as well, by acts such as Art Blakey and Horace Silver.
Although the theater concentrated on showcasing African American acts, it also presented white acts such as swing bandleaders Harry James, Woody Herman and Charlie Barnet during the swing era, and, later, jazz greats Dave Brubeck, Stan Getz and Buddy Rich, who was a particular favorite of the Apollo crowd. During the 1950s, several white rock and roll performers whose musical backgrounds were more country music oriented, such as Buddy Holly and Duane Eddy played the Apollo but scored with their audiences by playing blues-styled material. The theater's audience was often mixed: in the 1940s it was estimated that during the week about 40% of the audience was white, which would go up to 75% for weekend shows. Jazz singer Anita O'Day headlined for the week of September 21, 1950, billed as "the Jezebel of Jazz".
Other performers whose careers started at the Apollo include Billie Holiday, Pearl Bailey (actress), Sammy Davis Jr., James Brown & The Famous Flames, King Curtis, Diana Ross & The Supremes, Parliament-Funkadelic, Wilson Pickett, The Miracles, Gladys Knight & the Pips, Stephanie Mills, Dionne Warwick, The Jackson 5, Patti Austin, Patti LaBelle, Marvin Gaye, Luther Vandross, Stevie Wonder, Aretha Franklin, Ben E. King, The Isley Brothers, Lauryn Hill, Sarah Vaughan, Ne-Yo, and Mary J. Blige.


In 1962, James Brown, who had first played the Apollo three years earlier with his vocal group The Famous Flames, recorded his show at the theater. The resulting album, Live at the Apollo, was a groundbreaking success, spending 66 weeks on the Billboard pop albums chart and peaking at #2. Brown went on to record three more albums (Live at the Apollo, Volume II, Revolution of the Mind, Live at the Apollo 1995) and a television special, James Brown: Man to Man, at the theater, and helped popularize it as a venue for live recordings. Other performers who recorded albums at the Apollo include Patti LaBelle, Clyde McPhatter, Marva Whitney, The Mighty Clouds of Joy, and B.B. King.
In 1979 Bob Marley and The Wailers played four nights at the Apollo Theater from October 25 to 28 in support of their Survival Tour.
On April 24, 2002, American pop star Michael Jackson played a free concert, where he performed three songs (all of them were from his eighth studio album Dangerous). The concert raised about $3 million. It was Jackson's final on-stage performance before his death in 2009. There is no full footage from the concert. However, rehearsal of "Heal the World" leaked in late 2017.
In 2007, gospel recording artist Byron Cage played at the Apollo for his album Live at the Apollo: The Proclamation. In 2017, Bruno Mars recorded his first TV exclusive concert titled Bruno Mars: 24K Magic Live at the Apollo.
Guns N' Roses visited the venue on July 20, 2017, for their Not in This Lifetime... Tour, and they released "Live at the Apollo 2017"(3CDR+1DVDR).


MTA Regional Bus Operations' M60 SBS, M100, M101 and Bx15 buses stop on 125th Street outside the theater. The M2, M3 and M10 buses stop nearby, on Seventh Avenue, St. Nicholas Avenue, and Frederick Douglass Boulevard respectively. Nearby New York City Subway stations are located at 125th Street/St. Nicholas Avenue, served by the A, B, C, and D trains, and at 125th Street/Lenox Avenue, served by the 2 and 3 trains.


The opening caused a public uproar, with a selected audience for the first performance, on Thursday 21 February 1901, and the first public performance scheduled for 22 February. The Times refused to review the private opening, instead waiting until the first public production on the following day. The opening production was the American musical comedy The Belle of Bohemia, which survived for 72 performances—17 more than it had accomplished when produced on Broadway. The production was followed by John Martin-Harvey's season, including A Cigarette Maker's Romance and The Only Way, an adaptation of Charles Dickens' A Tale of Two Cities.
George Edwardes produced a series of successful Edwardian musical comedies, including Kitty Grey (1901), Three Little Maids and The Girl from Kays (1902). An English version of André Messager's light opera Véronique became a hit in 1904, starring with Ruth Vincent, who also starred in Edward German's Tom Jones in 1907 in which Cicely Courtneidge made her London debut. Between 1908 and 1912 the theatre hosted H. G. Pelissier's The Follies. After this it staged a variety of works, including seasons of plays by Charles Hawtrey in 1913, 1914 and 1924, and Harold Brighouse's Hobson's Choice in 1916. Inside the Lines by Earl Derr Biggers ran for 421 performances in 1917. Gilbert Dayle's What Would a Gentleman Do? played in 1918  and Tilly of Bloomsbury by Ian Hay was the success in 1919.
George Grossmith, Jr. and Edward Laurillard managed the theatre from 1920 to 1923, presenting a series of plays and revivals, including Such a Nice Young Man by H.F. Maltby (1920) and Trilby (1922), the latter based on the 1894 George du Maurier novel of the same name. They had produced The Only Girl here in 1916 and Tilly of Bloomsbury in 1919. The Fake was produced in 1924, starring Godfrey Tearle. 1927 saw Abie's Irish Rose and Whispering Wires, with Henry Daniel. The next year, Laurence Olivier starred in R. C. Sherriff's Journey's End. Seán O'Casey's The Silver Tassie and Ivor Novello's A Symphony in Two Flats both played in 1929. Diana Wynyard starred as Charlotte Brontë in Clemence Dane's Wild Decembers in 1932. Marion Lorne was the star of a number of plays by her husband Walter Hackett from 1934 to 1937. Ian Hay's Housemaster had the most successful run in this period with 662 performances from 1936. Raymond Massey starred in Robert Sherwood's Pulitzer Prize-winning Idiot's Delight in 1938. Patrick Hamilton's play Gaslight held the stage in 1939, and Terence Rattigan's Flare Path played in 1942.
Control of the theatre transferred to Prince Littler in 1944. John Clements and Kay Hammond starred that year in a revival of Noël Coward's Private Lives, and Margaret Rutherford starred in The Happiest Days of Your Life in 1948, followed by Sybil Thorndike and Lewis Casson in Treasure Hunt, directed by John Gielgud in 1949. After this, Seagulls Over Sorrento ran for over three years beginning in 1950. The theatre's longest run was the comedy Boeing-Boeing, starring Patrick Cargill and David Tomlinson, which opened in 1962 and transferred to the Duchess Theatre in 1965. In 1968 Gielgud starred in Alan Bennett's Forty Years On, and in 1969 he returned in David Storey's Home, with Ralph Richardson. He returned to the theatre in 1988, at the age of 83, in The Best of Friends by Hugh Whitemore.
A number of hit comedies transferred to or from the theatre in the 1970s and 1980s, and other important plays here during the period included Rattigan's Separate Tables, with John Mills in 1976, Romantic Comedy with Tom Conti and Pauline Collins in 1983, Lyle Kessler's Orphans in 1986 with Albert Finney, I'm Not Rappaport the same year, with Paul Scofield, and Dorothy Tutin, Eileen Atkins and Siân Phillips in Thursday's Ladies in 1987. Driving Miss Daisy played in 1988, starring Wendy Hiller, and 1989 saw Zoë Wanamaker in Mrs Klein, Vanessa Redgrave in A Madhouse in Goa, Thunderbirds FAB starring Andrew Dawson and Gavin Robertson, and Peter O'Toole in Jeffrey Bernard Is Unwell. Penelope Wilton starred in Rattigan's The Deep Blue Sea in 1993, and In Praise of Love played in 1995 with Peter Bowles. Mark Little starred in the Laurence Olivier Award-winning one-man show, Defending the Caveman in 1999.


Side Man (2000) with Jason Priestley
Fallen Angels (2000) with Felicity Kendal and Frances de la Tour
The Odd Couple (2001)
Noël Coward's Star Quality (2001) with Penelope Keith and Una Stubbs
Arthur Miller's The Price (2003) with Warren Mitchell
The Goat or Who is Sylvia? (2004) with Jonathan Pryce
David Mamet's A Life in the Theatre (2005) with Patrick Stewart and Joshua Jackson
Mary Stuart (2005) with Harriet Walter
Edward Albee's Who's Afraid of Virginia Woolf (2006) with Kathleen Turner
Tennessee Williams' Summer and Smoke (2006) with Rosamund Pike
The Glass Menagerie (2007) with Jessica Lange
The Last Five Years (2007)
Glengarry Glen Ross (2007) with Jonathan Pryce
An Audience with the Mafia (2008)
The Vortex (2008) with Felicity Kendal
Divas (2008)
Rain Man (2008) with Josh Hartnett and Adam Godley
Three Days of Rain (2009) with James McAvoy and Nigel Harman
Carrie's War (2009) with Prunella Scales
Jerusalem (2010)
All My Sons (2010) with David Suchet and Zoë Wanamaker
The Country Girl (2010–2011) with Martin Shaw and Jenny Seagrove
Blithe Spirit (2011) with Alison Steadman
Yes Prime Minister (2011)
Jerusalem (2011–2012)
The Madness of George III (2012)
Long Day's Journey Into Night (2012) with David Suchet
Richard III and Twelfth Night (2012) with Mark Rylance and Stephen Fry
The Curious Incident of the Dog in the Night-Time (2013–2014)
Let the Right One In (2014)
Urinetown (2014)
My Night with Reg (2015)
The Audience (2015) with Kristin Scott Thomas
Dear Lupin (2015) with James Fox and Jack Fox
Peter Pan Goes Wrong (2015)
Nell Gwynn (2016) with Gemma Arterton
The Go-Between (2016) with Michael Crawford
Peter Pan Goes Wrong (2016)
Travesties (2017) with Tom Hollander and Freddie Fox
Cat on a Hot Tin Roof (2017) with Sienna Miller and Jack O'Connell
Everybody's Talking About Jamie (2017–2021)
Magic Goes Wrong (2021–2022)
Jerusalem (2022)


WikiWeb_Apollo Theatre (Oberlin, Ohio)_3

1914-1917, George Broadwell
1917-1925, Ira West
1925-1928, Oscar Smith
1928-1959, Jerry Steel
1959-2009, Bill & Sandy Steel
2009–present, Oberlin College


The Apollo Victoria Theatre is a West End theatre on Wilton Road in the Westminster district of London, across from London Victoria Station. (The theatre also has an entrance on Vauxhall Bridge Road.)  Opened in 1930 as a cinema and variety theatre, the Apollo Victoria became a venue for musical theatre, beginning with The Sound of Music in 1981, and including the long-running Starlight Express, from 1984 to 2002.  The theatre is currently the home of the musical Wicked, which has played at the venue since 27 September 2006.


The theatre was built by architect Lewis and William Edward Trent in 1929 for Provincial Cinematograph Theatres, a part of the Gaumont British chain. The theatre was built with two identical façades on Wilton and Vauxhall Bridge Roads. Construction is principal of concrete, with strong horizontal banding along the exterior sides of the auditorium. By contrast, the entrances feature a cantilevered canopy and are framed by vertical channelling, with two black marble columns rising to the roof line. The entrance is simple, making use of chrome trimmings, this leads to a nautical themed interior in the original Art Deco style that makes extensive use of concealed lighting, decorated with scallop shells and columns that burst into sculptured fountains at the ceiling.
The theatre had a 74 feet (22.6 m) by 24 feet (7.3 m) stage and was equipped with 10 dressing rooms and two suites for principals. The theatre was Grade II* listed on 28 June 1972.


Musicals, including The Sound of Music, Camelot and Fiddler on the Roof played at the theatre in the early 1980s.  In 1984, the interior was extensively modified by the introduction of a 'race track' that ran through the audience, for the show Starlight Express with performers on roller skates. The show premièred on 27 March, composed by Andrew Lloyd Webber and directed by Trevor Nunn and ran for 7,406 performances, over 18 years. With the removal of the 'tracks', the interior was extensively restored by architects Jaques Muir and Partners. This included the removal of 3,500 incandescent lamps that had become difficult to maintain and consumed a considerable amount of power. These were replaced by 88,000 low power LEDs specially designed for the theatre, creating the first auditorium completely lit in this way. Another Lloyd Webber production followed, Bombay Dreams premièred on 19 June 2002. It was created by A. R. Rahman with lyrics by Don Black and was directed by Steven Pimlott, closing after 1,500 performances on 13 June 2004. This was followed by the return to the West End of the Bee Gee's musical Saturday Night Fever on 6 July 2004, closing 22 October 2005 to tour.  This was followed on 10 April 2006 by the jukebox musical Movin' Out, featuring the music of Billy Joel.  This starred James Fox but ran for only two months.
The Broadway musical Wicked received its London première at the venue on 27 September 2006 with a cast featuring Idina Menzel as Elphaba, Helen Dallimore as Glinda, Nigel Planer as The Wizard, Adam Garcia as Fiyero and Miriam Margolyes as Madame Morrible.
On  27 September 2016, Wicked celebrated its tenth anniversary in the West End, with a curtain call reunion of former cast members.


The Apollon Theatre began construction on February 11, 1871, and opened on October 10, 1872.  The construction was paid for by various residents of Patras. The main erection committee included Theodor Hamburger (president), Dimitrios Patrinos, K. Lappas and A. Chrysanthis.
Other sponsors included the then-mayor of Patras, Georgios Roufos, Gustavos Clauss, Hamburger, Langouras, the Triantis Brothers, Panagiotis Brothers, father of Dimitrios Gounaris, Epameinondas Maximos, father of Dimitrios Maximos
The Apollon Theatre is one of only four neoclassic theatres that survive in Greece (the other three are the Malliaropouleio Theatre in Tripoli, which opened in 1910, the Apollo Theatre in Syros, opened in 1864 and the Piraeus Municipal Theatre in Piraeus, opened in 1895).


Apple Pie Hill (also known as Petty Coat Pile) is a hill in Tabernacle Township, Burlington County, New Jersey, United States. It is 205 feet (62 m) tall, making it one of the highest points of the New Jersey Pine Barrens. A 60-foot-tall (18 m) fire tower stands atop the summit, offering views of the surrounding Pine Barrens. The skylines of Atlantic City and Philadelphia are visible from the top of the tower. It lies along the Batona Trail in Wharton State Forest, making it a popular hiking destination.
On September 10, 2016, due to vandalism, the Department of Environmental Protection closed Apple Pie Hill to public access by erecting a fence around the tower. However, the tower is open to visitors when staff members are present and by appointment.
Soils are sandy almost everywhere, with profiles that resemble classic podzol development; Atsion, Lakehurst, Lakewood, and Woodmansie are common soil series.


Applecross Bay is large remote tidal coastal embayment, located next to the small fishing village of Applecross and is on the west coast of the Applecross peninsula in the Wester Ross part of Ross and Cromarty, in the Scottish Highlands in the west coast of Scotland. It lies between Loch Torridon and Loch Kishorn. The bay and village was inaccessible by road until the late 18th century and can now be reached by the long coastal road Shieldaig that was completed in 1982, or from the Scottish Gaelic: Bealach na Bà or Pass of the Cattle which at 625 metres (2,051 ft), is one of the highest roads in Scotland. The village of Applecross was established by St. Moalrubha, in the 7th century. A sculptured stone is the only relic of St. Moalrubha remaining, who built a chapel there.


The Applied Arts Collection of Milan (Raccolte d’Arte Applicata di Milano in Italian) is located in the Sforza Castle museum complex under the management of the municipality of Milan, Italy. The museum is divided into several sections with particular emphasis on jewelry, ivories, pottery and art glass.
The ceramic collection includes medieval, Renaissance and Baroque pottery, a maiolica group with pieces from 17th-century Lodi and Milan, and a collection of European chinaware and earthenware.
The collection of artistic glass includes the Cup Gonzagna, made of crystal clear glass and decorated with a pattern of small golden flowers and the Gonzaga coat of arm with a quadripartite black eagle on a white background.
In the Sala Della Balla is the Arazzi Trivulzio, a series of twelve tapestries representing the different months of the years. Their design is based on drawings by Italian painter Bramantino.


Appomattox Manor is a former plantation house in Hopewell, Virginia, United States. It is best known as the Union headquarters during the Siege of Petersburg in 1864–65.
The restored circa 1751 manor house on a bluff overlooking the confluence of the James River and Appomattox River, and the grounds are managed by the National Park Service. The museum there, Grant's Headquarters at City Point Museum, is a unit of the Petersburg National Battlefield Park.


Apraksin Yard (also Apraxin Dvor; Russian: Апраксин Двор) is a 14 hectares (35 acres) market and retail block in Saint Petersburg, Russia, currently under a massive long-term renovation project. The buildings of Apraksin Dvor nestle between Sadovaya Street and the Fontanka River, just southwest of the Alexandrinsky Theatre.
The first market on the spot originated in the mid-18th century, deriving its name from Count Apraksin who owned the plot. After a merchant named Shchukin purchased a portion of it, that part became known as Shchukin Dvor. The market buildings were wooden and burnt to the ground in 1782.
In 1863, a new department store was opened on the spot. It was built to a design by Geronimo Corsini. Over the next decade, more than 45 shops were constructed in the vicinity. In 1913, Apraksin Dvor contained more than 500 shops. A further 270 small wholesale enterprises were located on the grounds of Shchukin Dvor.
After the Russian Revolution of 1917, most buildings of Apraksin Dvor were given over to use as depots and warehouses.
By the beginning of the 21st century, Apraksin Dvor was a large city of block of small, downmarket shops facing the street with an open-air market - mostly clothing and accessories - on the inside: an enormous downmarket retail area in the middle of the ever more upscale city center. A long-term renovation plan was instituted; the market stalls were removed in 2008-9 to the Grazhdansky Rynok market (see article on Russian Wikipedia) on the periphery of the city. There are plans to turn the area into modern, pleasant retail, office, residential, hotel and cultural space. Wilkinson Eyre Architects and Foster and Partners are the lead architectural firms.


The length of the railway as of 2010 is 127 kilometres (79 mi) of which 37 kilometres (23 mi) is operational. It carries freight (including: wood, food, and postal services) and passengers, including a train which transports children to school. The Head Office of the railway is located in Apsheronsk.


Apt Cathedral (Cathédrale Sainte-Anne d'Apt) is a Roman Catholic church and former cathedral located in the town of Apt in Provence, France now designated as a national monument.
The shrine is the relic church of Saint Anne. Formerly a cathedral, it was the seat of the Bishop of Apt until the French Revolution. Under the Concordat of 1801, the diocese was divided between the Dioceses of Avignon and Digne.
Pope Pius IX granted a Pontifical decree of coronation towards its venerated Marian image through the Archbishop of Avignon, Monsigneur Louis Anne Dubreil on 9 September 1877. The white marble image depicting a child Blessed Virgin Mary is notable for having been a late creation of the renowned religious sculptor, Giovanni Maria Benzoni.


Aq Qaya (Crimean Tatar: Aq Qaya, Ukrainian: Ак-Кая, Russian: Белая скала) — is a rock in Crimea, situated near the village of Belaya Skala/Ak-Kaya of the Bilohirsk Raion.
The vertical white rocky wall rises above the valley of the Biyuk-Karasu river. The height above sea level is 325 m, the height difference between the valley and the top of the rock is 100 m.
The name Aq Qaya is translated from Crimean Tatar language as White Rock (Crimean Tatar: aq — white, Crimean Tatar: qaya — rock).
Aq Qaya was created as a result of erosion and weathering of chalk and Paleogene limestones and sandstones — a clear example of the Cuesta relief. In the upper part of the rock weathering created pillars, grottoes, oval niches. At the bottom of the rocks accumulate weathering products — slides, piles of boulders, erosion hollows.  In some places, erosion is restrained by thickets of wild rose and hornbeam.
Since 1981, it is a natural monument of national importance.


The Mamluk fort was built 1 kilometre south of Early Muslim Ayla and Denys Pringle credited in 1997 the first structure to Sultan Al-Nasir Muhammad (c. 1320). However, the still standing building is dated mainly to two construction phases, based on two inscriptions from the gatehouse: one runs the length of the vaulted room inside the gate and praises Mamluk sultan Al-Ashraf Qansuh Al-Ghuri (r. 1501–1516), and the second belongs to a medallion set above the first and is dedicated to Ottoman sultan Murad III who undertook substantial work in 1587.


The mosque of al-Aqmar was the earliest to have lavish decoration across the entire façade. Elements decorating the façade are loaded with symbolic meaning and can be interpreted in various ways (see also the gallery below). One notable feature is the large medallion in the hood of the main niche above the entrance. This epigraphic medallion is pierced in the form of a grille, which is unique to the decorative repertoire of architectural façades in Cairo. “Muhammad and ʿAli” take up the center of the medallion surrounded by a Qur’anic inscription. The Qur’anic inscription around the medallion starts on the lower right side, stating:
“In the name of Allah, the Beneficent, the Merciful, O People of the House [ahl al-bayt] God only desires to put away from you abomination and with cleansing to cleanse you.”
Fatimids specifically interpret this Qur’anic inscription as a reference to themselves, using it as a statement of legitimacy and manifestation of Shiʿi ideology. The last few words of the inscriptions are cramped and placed on a new line, which indicates that the ratio of space to words was miscalculated.
The façade is divided into a variation of recesses: some, such as the main niche above the entrance, have a scalloped-shell hood with a medallion in the center while others, such as the niches flanking the main entrance niche, have flat muqarnas panels. The left beveled corner, topped by a muqarnas niche with the names of Muhammad and ʿAli, was designed to facilitate traffic turning around the corner, another unique feature to Cairo.
The combination of Mohammad and Ali are further prominent in the decoration of the left half of the façade, here name of Ali is in center and encircled by five linked Muhammad. The extravagantly decorated façade is what makes this mosque the major architectural monument of its time. It is important to note that the right side of the portal was later covered by another building and its current state is a modern restoration and reconstruction by the Bohras, hence the stone's lighter color and smoother texture in comparison with the original masonry of the rest of the façade.
Other carved images offer more abstract symbols. To the very left of the façade, there is a window grille framed by an arch resting on two small columns with the Muslim profession of faith above and roundels filling the spandrels in the names of Muhammad and ʿAli. The grille is formed of a radiating six-pointed star with a lamp hanging in the center. One scholarly claim argues that this window represents a mihrab (prayer niche), similar to a flat stucco mihrab found in the mosque of Ibn Tulun; however, the mihrab referred to has a star hanging from a chain and not a lamp.  A more plausible argument proposed by another scholar is that the window represents a shubbāk, the grille from which the caliph appeared to the public on Fatimid ceremonial occasions, specifically symbolizing a famous grille taken by the Fatimids from the palace of their Abbasid rivals in Baghdad and placed as an emblem of victory in the neighboring palace.
Near the grilled window, on the same side of the façade, are carved panels representing doors. One possible interpretation of the doors is in reference to the famous Shiʿi hadith: “I am the city of knowledge and ʿAli is its gate”.  The carved panels could also have a political interpretation rather than a religious one, representing the doors of the caliph's court (Bab al-Majlis) in connection with the official role of the mosque's founder, al-Ma’mun al-Bata’ihi, as master of the door (Sahib al-Bab); thereby symbolizing the Fatimid vizier's function in governing who had access to the caliph.  Although the grilled window and the carved door panels represent real objects, their particular use as part of the façade's decorative scheme grants them a metaphorical meaning associated with the historical framework of Fatimid caliphal rituals.

Lastly, the main foundation inscription of the mosque runs along the top of the façade, directly below the cornice of the building. Much of the inscription is missing, but what still survives mentions the reigning caliph al-Amir, his father al-Mustaʿli, and the vizier al-Bata’ihi. It translates as follows:
(Basmala, has ordered its construction ... the servant of our lord and master the imam al-Amir bi-ahkam Allah the son of the imam al-Musta'li) Bi'llah, commander of the faithful, may God's prayers be upon them and upon their pure and honourable ascendants, and their pious descendants, seeking the favour of God, the King, the Generous...O God, give victory to the armies of the imam al-Amir bi-ahkam Allah, commander of the faithful, over all the infid(els.....the most noble lord, al-Ma'mun amir of the armies, sword of Islam, defender of the imam), protector of the judges of the Muslims and the director of the missionaries of the believers, Abu 'Abd Allah Muhammad (servant of) al-Amir, may God strengthen religion for him, may He make the commander of the faithful enjoy long life, may He perpetuate his power and elevate his word, in the year 519 [1125-6]."
The name of the reigning caliph's father, al-Mustaʿli, is placed in the center of the inscription frieze above the entrance door for maximum exposure. While the inscriptions of the upper band are carved in relief with floriated letters, the lower band of inscriptions are plain, relatively small in size with flat letters and a floriated stem in the background.


The Aqsunqur Mosque (Arabic: مسجد آق, Turkish: Aksungur Camii; also known as the Blue Mosque (Arabic: الجامع الأزرق, Turkish: Mavi Cami) or the Mosque of Ibrahim Agha' (Arabic: مسجد إبراهيم أغا مستحفظان, Turkish: İbrahim Ağa Camii)) is located in Cairo, Egypt and is one of several "blue mosques" in the world. It is situated in the Tabbana Quarter (Darb al-Ahmar district) in Islamic Cairo, between Bab Zuweila and the Citadel of Saladin (Cairo Citadel.) The Aqsunqur Mosque also serves as a funerary complex, containing the mausoleums of its founder Shams ad-Din Aqsunqur, his sons, a number of children of the Bahri Mamluk sultan an-Nasir Muhammad and that of its principal restorer, Ibrahim Agha al-Mustahfizan.


The mosque was built in 1347 on the orders of the emir ("prince") Shams ad-Din Aqsunqur during the reign of the Mamluk sultan, al-Muzaffar Hajji. Aqsunqur was the son-in-law of former sultan an-Nasir Muhammad and one of the more prominent emirs of the latter's court. Aqsunqur's influence in the affairs of the sultanate grew during the reign of an-Nasir's successors following his death in 1340.
Medieval Muslim historian al-Maqrizi noted Aqsunqur supervised the entire project and also participated in its actual construction. Being the former governor of Tripoli, he had the mosque built in a Syrian architectural style. It was built around the late sultan al-Ashraf Kujuk's mausoleum which had been constructed previously in 1341. The mausoleum's incorporation within the mosque accounts for the irregularity of the building's structure. Aqsunqur's grave is also located in the mosque complex along with those of his sons. A mausoleum for Umm as-Sultan al-Sha'ban, one of an-Nasir's wives and mother of sultan Kamal Sha'ban, was built in 1359 while another tomb was built for an-Nasir's son Tankizbugha in 1362.
By the 15th century the Aqsunqur Mosque was reportedly in poor shape due to the loss of waqf ("religious endowments") funds from Syria. In 1412 a şadirvan ("ablution fountain") was built in the center of the courtyard by the Mamluk emir Tughan. Because funding was low, the Aqsunqur Mosque was used only for Friday prayers and religious holidays.


Between 1652 and 1654, during Ottoman rule, the emir Ibrahim Agha al-Mustahfizan, who was a general of the Jannisaries, began a major renovation project for the Aqsunqur Mosque, restoring its roof and arcades, and adding columns to support the mosque's southern prayer hall. Significantly, he decorated the building with blue and green tiles, hence the mosque's unofficial name as the "Blue Mosque". The tiles, which were imported from Constantinople and Damascus, were crafted in the Iznik style with floral motifs such as cypress trees and vases holding tulips.
Ibrahim Agha built his mausoleum, which was also decorated with marble tiles, in the southern hall. It was constructed using the typical Mamluk architectural style and included a mihrab ("prayer niche") resembling the mausoleums of Mamluk emirs also located in the mosque complex. In line with Ottoman tradition at the time, the Aqsunqur Mosque was officially renamed after its restorer as the "Ibrahim Agha Mosque." The latter name was not used frequently.


In 1908 the Aqsunqur Mosque was restored by the Comité de Conservation des Monuments de l'Art Arabe. The 1992 Cairo earthquake damaged the arches of the mosque's porticoes, but they were reinforced by the Egyptian government in the mid-1990s to prevent additional deterioration.
The Aga Khan Trust for Culture (AKTC) in conjunction with the World Monuments Fund began a restoration project of the mosque in 2009. The Mosque opened to the public in May 2015 after the completion of a six-year renovation project. The mosque was inaugurated in presence of Antiquities Minister Mamdouh el-Damaty, the Aga Khan, the Chairman of the Aga Khan Development Network, and Cairo governor Galal Saeed.
Renovation work focused structural stability, conservation of the interior and roof repair. Today, the Aqsunqur Mosque is a major destination for tourists visiting Egypt.


The mosque's interior also has an irregular layout mostly due to Ibrahim Agha's renovations which replaced most of the original cross-vaulting of the arcades with columns supporting a flat wooden ceiling. The only part of the mosque that continues to employ Aqsunqur's interior design is the qibla wall which uses cross-vaults that rest on octagonal-shaped piers. The technique of cross-vaults is a reflection of Islamic Syrian architectural influence. Along with the Mosque of Amir al-Maridani, the Aqsunqur Mosque has a hypostyle plan which is rare in Cairo and typically associated with Syrian style mosques.
The mihrab ("prayer niche" that indicates qibla) was built in a geometric interlace style typically found in Mamluk architecture. The design is used in the mihrab's spandrels. Other features of the mihrab include the hood's relief painted carvings, fluctuating lintel panels, marble panels, carved marble registers and mosaic inlay. To the right of the mihrab is the marble minbar ("pulpit.") Decorated with light gray, salmon, green and plum-colored stone inserts, it is the oldest and one of the handful remaining marble minbars used in a Cairo mosque. The handrail is also built of marble and has a pattern of rolling leaf and grape clusters carved from the stone.


Aqua Multiespacio is an office skyscraper in Valencia, Spain. Completed in 2006, it has 22 floors and stands 95 metres (312 feet) tall. This makes it the third tallest building in Valencia, after the Hilton Valencia and Torre de Francia.
The complex consists of two towers.  Construction began in 2002 and ended in 2006. The complex was designed by two architectural firms: E. Clerk Architects and L35 with Eduardo Simarro.  It is located near the City of Arts and Sciences. The five-story parking garage has a capacity of 2,400 vehicles. The construction of the parking garage took more than a year. The design of the study project was Jerde California, who specializes in the development of tertiary areas, however, it was Spanish architectural firms, Simarro and Escribano, which gave shape and form to the construction. Additionally, the buildings have art.
The building was opened on June 1, 2006 and has 110 stores in an area of 35,000 square meters. The office tower is 23,000 square meters, and there is also 16,000 square meters for two hotels. The construction cost was €240 million.
The shareholders for the project are Iberdrola estate, whose headquarters have been moved to the complex and Valencia Gesfesa residential.


Wetlands
An exhibition that showcases the ecosystem of the St. Lawrence corridor that includes many birds, amphibians, insects, reptiles, and plants that inhabit the surrounding environment.
Banks of the St. Lawrence River
While visitors overlook the mighty St. Lawrence River, they can observe the grey and harbour seals as they frolic and play amongst the waves.
The Arctic Sector
Visitors can observe animals that exist in the Arctic, such as Harp seals, walruses, and polar bears as they move through the four different seasons with an underwater glass view. Visitors are also entertained with a daily walrus show that has two Pacific Walruses and one Atlantic Walrus. The Aquarium claims to be the first and only institution of its kind to care for the two subspecies.


The aquarium features a collection of over 11,000 animals representing over 500 different species in exhibits ranging in size and capacity from about 5,000 to 350,000 gallons. Exhibits introduce the inhabitants and seascapes of the Pacific, while also focusing on specific conservation messages associated with each region. The Pacific Ocean is the focus of three major permanent galleries, sunny Southern California and Baja, the frigid waters of the Northern Pacific and the colorful reefs of the Tropical Pacific.


This 10,000-square-foot (930 m²) exhibit area houses over 150 sharks and rays. The main tank houses larger spec rays, blacktip reef sharks, grey reef sharks, zebra sharks, and a sand tiger shark, while the more docile bamboo and epaulette sharks live in the three touch pools.


The Aquarium of the Pacific's marine science and conservation ventures include: breeding and conservation programs for endangered marine animals and habitats; housing of unreleasable seals, sea lions, and sea otters from local care centers and marine parks; beach and habitat cleanups; a variety of green business practices; and continuing efforts to educate visitors on the importance the ocean, its threats, and conservation, including the hazards of marine pollution, over-harvesting, habitat destruction and global climate change. One example is a trashion festival with works by Marina DeBris educating about ocean pollution.
The Aquarium of the Pacific is also home to many cultural events throughout the year, such as the Pacific Islander Festival in the summer, the Moompetam Festival in the fall, special treats for the animals at Christmas, the Festival of Human Abilities in January, and the African Heritage Festival in February.


The aquarium architecture is inspired by the towering, breaking waves of the Pacific and mirrors the fluid and dynamic temper of the ocean. Kajima International, developers of the world's most critically acclaimed and technologically advanced aquariums, was the developer of the Aquarium of the Pacific and architects included the Los Angeles office of Hellmuth, Obata & Kassanbaum and Esherick Homsey Dodge and Davis of San Francisco. Construction was a joint venture of Turner Construction Company and Kajima International. On June 20, 1998, construction was completed and the aquarium opened to the public.


The image of the city from the hills nearby, with arches in the foreground and Gibraltar in the background, was one of the most common postcards of the city during the eighteenth and nineteenth centuries. To provide water to the city, the aqueduct began construction in 1777, completed in 1783. It had two sections, the farthest located in the suburb of El Cobre and precisely known as Los Arcos del Cobre, and a section nearest the neighborhood of La Bajadilla, now almost disappeared due to the large number of buildings that have been attached. It currently passes through the neighborhood of La Bajadilla.
The architect for the project was Pablo Casaus under the supervision of master plumber Florindo who had just completed a similar construction in Puerto Real. It has a series of arches of stone and brick with buttresses.
It is described as "a beautiful aqueduct" in 1911 when it was the water supply to the city. Algeciras was at the time largely dependent on the invalids who were attracted to the town by the pleasant winter climate.


The Arènes de Lutèce ([a.ʁɛn də ly.tɛs], "Arenas of Lutetia") are among the most important ancient Roman remains from the era in Paris (known in antiquity as Lutetia), together with the Thermes de Cluny. Constructed in the 1st century AD, this theatre could once seat 15,000 people and was used also as an amphitheatre to show gladiatorial combats.
The terraced seating surrounded more than half of the arena's circumference, more typical of an ancient Greek theatre rather than a Roman one which was semi-circular.
The orchestra was surrounded by the wall of a podium 2.5 m (8.2 feet) high, surmounted by a parapet. The stage was 41m long. A series of nine niches were most likely used for statues.  Five small rooms were situated beneath the lower terraces, some of which appear to have been animal cages that opened directly into the arena.
Slaves, the poor, and women were relegated to the higher tiers — while the lower seating areas were reserved for Roman male citizens. For comfort, a linen awning sheltered spectators from the hot sun. From its vantage point, the theatre also afforded views of the rivers Bièvre and Seine.
When Lutèce was sacked during the barbarian raids of AD 275, some of the structure's stone work was used to reinforce the city's defences around the Île de la Cité. However, Chilperic I had it repaired in 577 and gave performances there. Subsequently, the theatre became a cemetery, and  was filled in completely following the construction of wall of Philippe Auguste (ca. 1210).
Centuries later, even though the surrounding neighbourhood (quartier) had retained the name les Arènes, the exact location was lost. It was discovered by Théodore Vaquer during the building of the Rue Monge between 1860–1869, when the Compagnie Générale des Omnibus sought to build a tramway depot on the site.
Spearheaded by the author Victor Hugo (1802–1885) and a few other intellectuals, a preservation committee called la Société des Amis des Arènes undertook to save the archaeological treasure. After the demolition of the Couvent des Filles de Jésus-Christ in 1883, one-third of the arena was uncovered. The Municipal Council dedicated funds to restoring the arena and establishing it as a public square, which was opened in 1896.
After the tramway lines and depot were dismantled in 1916 and line 10 of the Paris Métro was constructed, the doctor and anthropologist Jean-Louis Capitan (1854–1929) continued with additional excavation and restoration of the arena toward the end of World War I. The neighbouring Square Capitan, built on the site of the old Saint-Victor reservoir, is dedicated to his memory. However, a portion of the original arena — opposite the stage — was lost to buildings which line rue Monge.
Standing in the centre of the arena one can still observe significant remnants of the stage and its nine niches, as well as the grilled cages in the wall. The stepped terraces are not original, but historians believe that 41 arched openings punctuated the façade.


The spit is commonly called the Arabat Arrow (Ukrainian: Арабатська стрілка, Arabatska strilka; Crimean Tatar: Arabat beli; Russian: Арабатская стрелка, Arabatskaya strelka) in Russia and Ukraine.
The landform is called an "arrow", and has been called that since at least the middle of the 19th century. In the name, the word “Arrow” means : long spit, bay-bar, accompanying the seashore in shallow water.
The Arabat part of the name comes from the Arabat Fortress, a 17th-century Turkish fort at the southern end of the spit. "Arabat" derives from either Arabic "rabat" meaning a "military post" or Arabic "rabad" meaning a "suburb".


The Arabat Arrow is 112 km (70 mi) long, and from 0.270 to 8 km (0.17 to 5.0 mi) wide. Its surface area is 395 km² (153 sq mi) and thus the average width is 3.5 km (2.2 mi). The spit is low and straight on the Azov Sea side, whereas its Sivash side is more convoluted. It contains two areas which are 7–8 km (4–5 mi) wide and have brown-clay hills. They are located 7.5 km (4.7 mi) and 32 km (20 mi) from the Henichesk Strait.
The top layers of other parts of the spit are formed by sand and shells washed by the flows of the Azov Sea. Its vegetation mostly consists of various weed grasses, thorn, festuce grasses, spear grass, crambe, salsola, salicornia, Carex colchica, tamarisk, rose hip, liquorice, etc.
Offshore water is shallow with the depth reaching 2 m (7 ft) only some 100–200 m (330–660 ft) from the shore. Its temperature is around 0 °C (32 °F) in winter (near freezing), 10–15 °C (50–59 °F) in spring and autumn, and 25–30 °C (77–86 °F) in summer; air temperature is almost the same.
The spit is very young and was created by sedimentation processes around 1100–1200 AD.


The rural communities of Henicheska Hirka, Shchaslyvtseve and Strilkove are located in the northern section of the spit, within the Kherson Oblast. The community of Solyane is located in the southern part of the spit, administered as part of the Republic of Crimea.


Arabat Spit is a popular place for summer vacation among Ukrainians because of the warm water of the Sea of Azov. There are a variety of hotels and guesthouses on the first line of the sea. Arabat Spit is a popular spot among kitesurfers and windsurfers.


Construction was completed in 1926. The Aragon was designed in the Moorish architectural style, with the interior resembling a Spanish village.  Named for a region of Spain, the Aragon was an immediate success and remained a popular Chicago attraction throughout the 1940s. The Aragon's proximity to the Chicago 'L' (elevated railway) train provided patrons with easy access, and often crowds in excess of 18,000 would attend during each six-day business week. Each night, powerhouse radio station WGN broadcast an hour-long program from the hall to audiences throughout the Midwestern United States and Canada.
According to legend, the secret tunnels under the nearby Green Mill bar, a Prohibition-era hangout of Al Capone, lead to the Aragon's basement.
A fire at an adjacent cocktail lounge in 1958 forced the Aragon to close for several months. After the reopening, crowds declined significantly, to the point that regular dancing ended in 1964. A succession of new owners used the Aragon as a roller skating rink, a boxing venue, and a discothèque (as the Cheetah, a spin-off of the New York disco), among other uses. There were also occasional efforts to revive it as a traditional ballroom.
The Aragon hosted nearly all of the top names of the big band era. During the 1970s, the Aragon was home to so-called "monster rock" shows, which were marathons of rock and roll acts often lasting six hours or more. The shows gained a reputation for attracting a tough crowd, leading to the nickname, "the Aragon Brawlroom".
In 1973, Latin promoters Willy Miranda and Jose Palomar, who had promoted Hispanic dances and concerts in Chicago for years, became owners of the Aragon. They soon teamed up with rock promoters Arny Granat and Jerry Mickelson (owners of Chicago-based Jam Productions, which by 2017 claimed to be the "largest independent producer of live entertainment in the United States"), who used the hall for their rock concerts.
World championship boxing made its way to the Aragon Ballroom on December 15, 1982, when the World Boxing Association's world Cruiserweight champion, Puerto Rican Ossie Ocasio, successfully defended his title by beating challenger Eddie Taylor by a 15 rounds decision.
In the late 1990s, Luis Rossi (former owner of La Raza newspaper), Ivan Fernandez, and Mercedes Fernandez purchased the Aragon.  In September 2014, Mercedes Fernandez sold all her interests in the Aragon.  Under the name "Aragon Entertainment Center", the hall continued to host a variety of Spanish language and Vietnamese language shows as well as English language rock concerts. It still hosts occasional boxing events.
In 2015, the theatre was used in the filming of Zack Snyder's Batman v Superman: Dawn of Justice, doubling as the theatre where Thomas (Jeffrey Dean Morgan) and Martha Wayne (Lauren Cohan) get shot. The sign for the venue and the marquee was temporarily reconstructed, and removed once the filming had been completed.
As of late 2017, Live Nation owns the Aragon Ballroom, and produces a variety of English language and Spanish language pop and rock concerts there.
The Aragon has hosted the following Chicago bands: In 1968, it had Shadows of Knight. In 1969, it separately hosted Howlin' Wolf, Buddy Guy, The Buckinghams, and The Five Stairsteps. In 1973, it hosted Muddy Waters, in 1975 it had Styx, and in 1976 it had REO Speedwagon (from Champaign). In 1978 Van Halen kicked off their first World Tour here. In 1979 it hosted the Clash, Bo Diddley and the Undertones on the same bill.  In 1982 it hosted the Jam and the Professionals, then—over two consecutive nights—the Clash, the Elvis Brothers and Defunkt.  In 1983, it had Cheap Trick (from Rockford), and in 1984 it had Ministry. In 1997, it had Smashing Pumpkins and Local H (from Zion) separately. In 2004 it had Chevelle. In 2005 it had Twista with Ludacris (raised in Illinois), (and separately) Fall Out Boy (from Wilmette), Plain White T's (from DuPage County), Disturbed (from the Southwest Side), and Wilco. In 2007, it had OK Go. In 2009, it had jam band Umphrey's McGee (from South Bend). In 2011, it had Rise Against, and in 2013 had Alkaline Trio. In 2013, it had EDM group Krewella (from Northbrook) and rapper Lupe Fiasco. In 2015, K. Flay (from Wilmette) performed there. DJ Kaskade (also from Northbrook) performed there in 2017.
The Aragon has hosted the following bands from Wisconsin: Steve Miller Band in 1969, BoDeans in 1994, and Garbage in 1998. Tommy James & the Shondells from Niles, MI played there in 1968.


The park forms part of the large river island of Bananal Island in the Araguaia River in the southwest of the state of Tocantins, in Brazil. The park is largely flat land and lies at an altitude of 200 to 240 m (656 to 787 ft) above sea level. It is situated at the junction of the Amazon biome to the north and the grassland and stunted woodland biome to the south; the river is subject to large fluctuations in level and the park is subject to periodic flooding. The flora consists of a mixture of savannah grassland, scrub and deciduous forest. Rainfall is most frequent between November and March and the hottest time of year is during September and October.
The park would be in the proposed South Amazon Ecotones Ecological Corridor.


There are piassava palms and buriti palms in parts of the park that are frequently inundated. In the forested areas some frequently encountered  species include the cow tree, Cabralea, Tabebuia, Qualea parviflora, black sweetwood and genipap. In the drier savannah part of the park there are many species of grasses, with scattered trees such as the souari nut tree and the pau-d'alho.


There is a wide range of mammals in the park including marsh deer, other species of deer, peccary, capybara, giant anteater, maned wolf, jaguar, giant otter and armadillo. The reptiles present include the anaconda, spectacled caiman, black caiman and South American river turtle, and the rivers are home to many freshwater fish as well as Amazon river dolphins and Tucuxi dolphins. There are plenty of birds too, including the common toucan, anhinga, greater rhea, quail, partridge, osprey, Orinoco goose, heron. egret, Spix's macaw, hoatzin and musician wren.


Aran Fawddwy is a mountain in southern Snowdonia, Wales, United Kingdom. It is the highest point (county top) of the historic county of Merionethshire (for local government purposes, it lies within the current council area of Gwynedd). It is the only peak in Wales outside North Snowdonia above 900m, and higher than anywhere in Great Britain outside Northern Snowdonia, the Scottish Highlands (and islands) and the Lake District. The nearest urban centres to the mountain are Dinas Mawddwy to the south, Llanymawddwy to the southeast, Llanuwchllyn on the shores of Bala Lake to the north, and Rhydymain to the west.
The nearest settlements with around 2,000 people are Bala and Dolgellau. On the eastern slopes of Aran Fawddwy is the small lake named Creiglyn Dyfi, the source of the River Dyfi. Its sister peak is Aran Benllyn at 885 metres (2,904 ft). There is also a middle peak- Erw y Ddafad-ddu.
A cairn is placed on the eastern ridge as a memorial to RAF Mountain Rescue team member Michael Robert Aspain who was struck and killed by lightning in 1960.


Erected according to the model of the Italian mendicant order churches of that period, the church had a three-nave rectangular base, with squared-off eastern end and a square sanctuary which is covered by ribbed groin vaults.
The Gothic-style portal, lancet windows and the prominent bell tower (which has been transformed into a minaret by the addition of a conical roof) distinguished the building from the Byzantine churches in the city. On the other side, the technique used for the brickwork was local, and alternated small courses of bricks and ashlar.
The NE nave was possibly flanked by a series of chapels, each of them belonging to a noble Genoese family. One of them was dedicated to the Virgin Mary, and another to Saint Nicholas. As a whole, the building resembled the churches of Chieri and Finale Ligure in Italy.
The flat wooden roof and rather pretty wooden galleries date from the restoration in 1913-1919. On this occasion, the height of the building was lowered, and many Genoese headstones were found. During the same restorations, rests of paintings were also discovered near the Mihrab, but were covered again.
In the passage under the belfry, moldings are still visible, as well as fragments of stones with armorial bearings which were once placed along the wall. On the north side of the building there is a large and attractive courtyard with a şadırvan.
Today, Arap Camii is the largest mosque on the Galata side of the Golden Horn. It is one of the most interesting mosques in the city due to its early Italian Gothic architectural style and church belfry, which has practically remained unaltered even after being converted into a minaret.


Human skeletal remains were discovered close to the cove during excavations between 1901 and 1902. Other finds have included flint scrapers, arrowheads, and bone and antler tools.


The bank and ditch of the henge, as well as its two entrances, were probably established in the Late Neolithic period, with the stones added later, sometime before 2000 BCE. The site seems to have been in use until the Bronze Age, when the outer bank was reconstructed so that the round barrow could be erected. Both the earthworks and the stoneworks are probably later than the nearby Gib Hill.


Arboretum is situated in Zürich-Enge, as of today being a district of the city of Zürich, on Zürichsee lake shore being a part of the so-called Quaianlagen initiated by Arnold Bürkli. The park is separated by the General-Guisan-Quai and Mythenquai roads, from the lower lake shore promenade and the Enge harbour area.
Public transport is provided by the Zürich Tram route 5, as well by the VBZ bus lines 161 and 165 at the Rentenanstalt stop.


The prison was designed by Sir Joshua Jebb and Frederick Clarendon and opened on its present site in 1848, to house military prisoners. The church has an unusual entrance porch with stairs leading to twin galleries for visitors in the nave and transept. Another unusual feature is the Celtic round tower which erupts from a rectangular base. It opened as a civilian prison in 1975.
The adjoining Church of the Sacred Heart, which is the prison chapel for Arbour Hill prison, is maintained by the Department of Defence. At the rear of the church lies the old cemetery, where lie the remains of British military personnel who died in the Dublin area in the 19th and early 20th century.
An interesting feature is the tunnel which runs from St Bricans Military Hospital, via the Prison to the former Collins Barracks.
A doorway beside the 1916 memorial gives access to the Irish United Nations Veterans' Association house and memorial garden.


The military cemetery behind this prison is the burial place of 14 of the executed leaders of the 1916 Easter Rising.  The leaders were executed in Kilmainham Gaol and their bodies were transported to Arbour Hill for burial. The 14 buried in Arbour Hill are:
Patrick Pearse
Tom Clarke
Thomas MacDonagh
Joseph Plunkett
Éamonn Ceannt
Seán Mac Diarmada
James Connolly
Ned Daly
Willie Pearse
Michael O'Hanrahan
John MacBride
Michael Mallin
Con Colbert
Seán Heuston
The graves are located under a low mound on a terrace of Wicklow granite in what was once the old prison yard. The grave site is surrounded by a limestone wall on which the names are inscribed in Irish and English. On the prison wall opposite the grave site is a plaque with the names of other people who were killed in 1916.


The Arc de Berà (sometimes written Barà) is a triumphal arch some 20 km north-east of the city of Tarragona, Catalonia, Spain, close to Roda de Berà. This monument is part of the Archaeological Ensemble of Tarraco, which was added to the UNESCO's list of World Heritage Sites in 2000. It stands on the line of what was the Via Augusta, now the N-340 road.
Its name derives from the count Berà. It is a triumphal arch with a single opening consisting of a central body on a podium, decorated with fluted pilasters crowned by Corinthian capitals. The upper part of the construction is an entablature made up of architrave, frieze and cornice. The stone used is probably from a local quarry.
The monument was built as a result of the will of Lucius Licinius Sura and it was erected in the reign of Augustus, around 13 BCE. The surviving inscription reads: “Ex testamento L(uci) Licini L(uci) f(ilii) Serg (ia tribu) Surae consa[...]”. It is thought it was dedicated to Augustus or to his genius, and that it marked the limit of the district of Tarraco.


The ArcelorMittal Orbit (often referred to as the Orbit Tower or its original name, Orbit) is a 114.5-metre (376-foot) sculpture and observation tower in the Queen Elizabeth Olympic Park in Stratford, London. It is Britain's largest piece of public art, and is intended to be a permanent lasting legacy of London's hosting of the 2012 Summer Olympic and Paralympic Games, assisting in the post-Olympics regeneration of the Stratford area. Sited between the Olympic Stadium (now called London Stadium) and the Aquatics Centre, it allows visitors to view the whole Olympic Park from two observation platforms.
Orbit was designed by Turner-Prize winning artist Anish Kapoor and Cecil Balmond of Arup Group, an engineering firm. Announced on 31 March 2010, it was expected to be completed by December 2011. The project came about after Mayor of London Boris Johnson and Olympics Minister Tessa Jowell decided in 2008 that the Olympic Park needed "something extra". Designers were asked for ideas for an "Olympic tower" at least 100 metres (330 ft) high: Orbit was the unanimous choice from proposals considered by a nine-person advisory panel. Kapoor and Balmond believed that Orbit represented a radical advance in the architectural field of combining sculpture and structural engineering, and that it combined both stability and instability in a work that visitors can engage with and experience via an incorporated spiral walkway. It has been both praised and criticised for its bold design, and has especially received criticism as a vanity project of questionable lasting use or merit as a public art project.
The project was expected to cost £19.1 million, with £16 million coming from Britain's then-richest man, the steel tycoon Lakshmi Mittal, Chairman of the ArcelorMittal steel company, and the balance of £3.1 million coming from the London Development Agency. The name "ArcelorMittal Orbit" combines the name of Mittal's company, as chief sponsor, with Orbit, the original working title for Kapoor and Balmond's design.
The ArcelorMittal Orbit temporarily closed after the 2012 Olympic and Paralympic Games while the South Plaza (in which Orbit is positioned) underwent reconstruction for its long-term legacy use as a public outdoor space. It re-opened to the public on 5 April 2014. The structure incorporates the world's tallest and longest – 178 m (584 ft) – tunnel slide, designed by Carsten Höller. The idea was originally envisioned by the London Legacy Development Corporation as a way to attract more visitors to the tower. The slide includes transparent sections to give a "different perspective" of the twisting red tower and was completed in June 2016. This follows an option to abseil down the tower, introduced in 2014.


According to London mayor Boris Johnson, in around October 2008 he and Tessa Jowell decided that the site in Stratford, London that was to become the Olympic Park for the 2012 Olympics needed "something extra" to "distinguish the East London skyline", and "arouse the curiosity and wonder of Londoners and visitors".
A design competition held in 2009 called for designs for an "Olympic tower". It received about 50 submissions. Johnson has said that his early concept for the project was something more modest than Orbit, along the lines of "a kind of 21st-century Trajan's Column", but this was dropped when more daring ideas were received.
The media reported unconfirmed details of the project in October 2009, describing the interest of the steel magnate Lakshmi Mittal, one of Britain's richest men, in funding a project that would cost around £15 million. Boris Johnson was believed to want something like the Eiffel Tower or the Statue of Liberty. At that time there were understood to be five artists being considered, including Antony Gormley. Early designs reportedly included 'Transmission' by Paul Fryer, a 400-foot (120 m) high structure "resembling a cross between a pylon and a native American totem pole", according to The Times. A spokesman for Johnson would only confirm that he was "keen to see stunning, ambitious, world-class art in the Olympic Park", and that work on commissioning the project was at an early stage.
Mittal's involvement came about after a chance meeting with Johnson in a cloakroom in Davos in January 2009, as they were on their way to separate dinner engagements. In a conversation that reportedly lasted 45 seconds Johnson pitched the idea to Mittal, who immediately agreed to supply the steel. Mittal later said of his involvement, "I never expected that this was going to be such a huge project. I thought it was just the supply of some steel, a thousand tonnes or so, and that would be it. But then we started working with artists and I realised that the object was not just to supply steel but to complete the whole project. It took us almost 15 months of negotiation and discussion." Johnson has said that, "In reality, ArcelorMittal has given much more than the steel."
Kapoor's and Balmond's Orbit was announced as the winner on 31 March 2010. According to The Guardian, Orbit was chosen from a short list of three, beating a design by Antony Gormley and one by the architectural firm Caruso St John. According to The Times, Gormley's design was a 390-foot (120 m) steel colossus titled Olympian Man, a trademark piece of a statue of himself, rejected mainly on the grounds of its projected cost, estimated at £40 million.
Johnson and Jowell agreed to issue a commission for Orbit in partnership with Mittal after it was chosen by a nine-person advisory panel brought together by them to advise on a long list of proposals. According to Mittal, the panel made a unanimous decision to pick Orbit, as it both represented the Olympic Games and was achievable within the ambitious time frame. Kapoor described it as "the commission of a lifetime".
Johnson pre-empted possible criticism during the official launch by stating: "Of course some people will say we are nuts – in the depths of a recession – to be building Britain’s biggest ever piece of public art. But both Tessa Jowell and I are certain that this is the right thing for the Stratford site, in Games time and beyond."
The completed structure was officially unveiled to the press and public on 11 May 2012.
An image of the structure was included in the 2015 design of the British passport.
The structure was re-purposed with the world's longest slide in 2016, as a way to attract more visitors.


Arch 22 is a commemorative arch on the road into Banjul in the Gambia. It was built in 1996 to mark the military coup d'état of July 22, 1994, through which Yahya Jammeh and his Armed Forces Provisional Ruling Council overthrew the democratically elected Gambian government.
The arch stands on the Banjul-Serrekunda Highway, near the traffic island at the intersection with Box Bar Road, Independence Drive, and Marina Parade. A statue of the "unknown soldier" can be seen near the base of the arch: the soldier has a rifle strapped to his back and carries a baby in one hand while signaling victory (making a V-sign) with the other.
Arch 22 is depicted on the back of the 100-dalasis banknote.


WikiWeb_Arch Street Friends Meeting House_0

The Arch Street Friends Meeting House, at 320 Arch Street at the corner of 4th Street in the Old City neighborhood of Philadelphia, Pennsylvania, is a Meeting House of the Religious Society of Friends (Quakers). Built to reflect Friends’ testimonies of simplicity and equality, this building is little changed after more than two centuries of continuous use.
Pennsylvania founder and Quaker William Penn deeded land to the Society of Friends in 1701 to be used as a burial ground. The east wing and center of the meetinghouse was built between 1803 and 1805 according to a design by the Quaker carpenter Owen Biddle Jr.  Biddle is best known as the author of a builder's handbook, The Young Carpenter's Assistant, published in 1805. The building was enlarged in 1810–11, with the addition of the west wing.  Architects Walter Ferris Price and Morris & Erskine also contributed to the design and construction of the building.  The firm Cope & Lippincott renovated the interior of the east wing and designed the two-story addition behind the center building in 1968–69.
Today, the Meeting House continues to be a center for worship and the activities of the Monthly Meeting of Friends of Philadelphia and Philadelphia Yearly Meeting.
Notable members of the Religious Society of Friends who worshiped at this meetinghouse include abolitionists and woman rights advocates Sarah and Angelina Grimke. Edward Hicks, the noted painter and cousin of Elias Hicks, also attended meeting here.
The meetinghouse was listed on the National Register of Historic Places in 1971 and declared a National Historic Landmark in 2011.  The latter designation was as a consequence of the building being the only surviving documented work by Owen Biddle.


WikiWeb_Arch Street Friends Meeting House_1

The ground upon which the meetinghouse was built was the first burial ground for Quakers in Philadelphia.  Although the plot was officially given to the Society of Friends by William Penn in 1701, burials had been taking place here since as early as 1683.  According to reports, Quakers were buried here alongside of “Indians, Blacks and strangers.”
Notable interments include:
Charles Brockden Brown (1771–1810), the first American novelist (Wieland)
Samuel Carpenter (1649–1714) and most of his family and his brother Abraham Carpenter (a non-member who married a Quaker) were buried in the Friends Burial Ground. Samuel was a Deputy Governor under William Penn and the "First Treasurer" of Pennsylvania.
Lydia Darrah (1728–1789), Revolutionary War spy
John Eckley (1652–1690), First Purchaser, merchant and judge of the Provincial Court in Philadelphia.
James Logan (1674–1751), secretary to William Penn
Samuel Nicholas (1744–1790), founder and first commandant of the United States Marine Corps. Each November 10, Marines mark his grave with a wreath at dawn.
Robert Waln (1765–1836), U.S. Congressman
Dr. Thomas Wynne (1627–1691), personal physician of William Penn and one of the original settlers of Philadelphia in the Province of Pennsylvania. Born in Wales, he accompanied Penn on his original journey to America on the ship Welcome.
Caspar Wistar (1761–1818), American physician, professor of anatomy and vice president of the American Philosophical Society.  Wistar mentored Meriwether Lewis before Lewis joined William Clark on the expedition to cross the western part of the continent.


The monument is ruined – lacking most of the body above the archway. All that remains are the two pylons and the arch itself, while the entablature and spandrels have disappeared, as have the decorative elements, such as the mouldings of the fascia and the pylons. It is around 5.8 metres in height and 6.92 metres in width.
It was constructed of limestone, on a base of granite blocks, without mortar, of which the two quadrangular columns, including mouldings at the top and bottom, survive, as does the arch on top, a semicircle of fourteen wedge-shaped segments placed radially.


The exact origins of the current Arch are disputed. It is now generally agreed that it has nothing to do with Nero Claudius Drusus, the conqueror of the Germans. The original Arch of Drusus was erected by the Senate in honour of Drusus following his death in 9 BCE, and spanned the Via Appia. Its exact location is not certain, but this arch no longer exists.
Regarding the current arch, some versions have this arch being constructed as part of a spur added to the Aqua Marcia by Caracalla in 211–216 AD to take water from that aqueduct to Caracalla's new baths. However, it appears more likely that the arch pre-dated the aqueduct and that the aqueduct was conveniently routed over the top of the arch.
Only the central part of this arch is now standing, but it was originally triple, or at least with projections on each side, although never finished. It is built of travertine, faced with marble, and on each side of the archway are columns of Numidian marble with white marble bases.  The archway is 7.21 metres high. The Aqua Antoniniana, the branch of the Aqua Marcia, ran over this arch, but the brick-faced concrete that is visible on the top seems to belong to a later period. As a number of the features of the arch, such as the pediment and the free-standing columns are Trajanic features, it is very probable that the arch is what remains of the Arch of Trajan.
The Einsiedeln Itinerary written in the 9th century refers to a Arcus Recordationis situated near the Baths of Caracalla; this may be a reference to the original Arch of Drusus.


It is a quadrifrons triumphal arch, surmounted by an unusual octagonal cupola, and was erected (entirely in marble) by Gaius Calpurnius Celsus, quinquennial duumvir of the city, to commemorate the victories of Lucius Verus, junior colleague and adoptive brother of the Emperor Marcus Aurelius, over the Parthians in the Roman–Parthian War of 161–66.
The monument was actually erected in 165, and cannot be dated later, because the Emperor is referred to with the title Armenicus, but not with the titles of Medicus and Parthicus, which were conferred on him in 166.
The patron deities of the city, Apollo and Minerva appear on the two front pediments, in bigae drawn by griffons and sphinxes. Other interpretations take the figures in the bigae as representing Lucius Verus and the goddess Roma, respectively.
The four niches placed on the northeast and southwest faces of the arch are now empty, but they must have contained the statues of the Emperor and Lucius Verus, which were recovered during excavations in the nineteenth century.
The arch has been partially buried in the course of the centuries.
Immediately after the Italian conquest, it received conservation and restoration work from the Italian administration (1914–1918), while the zone around the arch was reorganized by the Italian architect Florestano Di Fausto in the thirties of last century. It was partially hit during WW2, but only with minor damages.
As of 2017, the Arch is suffering from poor maintenance and damage from visitors. Its original features and details have suffered considerable damage due to acid rain.


The Arch of Reunification, officially the Monument to the Three-Point Charter for National Reunification, is a sculptural arch located south of Pyongyang, the capital of North Korea. It was opened in August 2001 to commemorate Korean reunification proposals put forward by Kim Il-sung.
The concrete arch straddles the multi-laned Reunification Highway leading from Pyongyang to the DMZ. It consists of two Korean women in traditional dress (Chosŏn-ot), symbolizing the North and the South, leaning forward to jointly uphold a sphere bearing a map of a reunified Korea. The sphere is the emblem of the Three Charters; the Three Principles of National Reunification; the Plan of Establishing the Democratic Federal Republic of Korea and the Ten Point Program of the Great Unity of the Whole Nation. The original plan was to have a 55-metre pillar with three branches to represent Koreans in the north, the south, and overseas.
The plinth of the structure is engraved with messages of support for reunification and peace from various individuals, organizations, and nations.
The arch appeared on a postage stamp in 2002.


The arch was built between 114 and 117.
In Lombard times, it was incorporated into the southern sector of the city walls and became known as Porta Aurea ("Golden Gate"). The church of Sant'Ilario, now housing the Videomuseum of the Arch, was built nearby. The arch was studied by Sebastiano Serlio in Renaissance times and drawn by Giovanni Battista Piranesi in the 18th century.
It was restored several times due to aging and earthquakes: under Pope Urban VIII, then in 1661, 1713 (after the marble architrave crumbled) and 1792. In 1850, on the occasion of Pope Pius IX's visit to Benevento, it was isolated through demolition of the adjoining buildings.


All incoming students (freshmen and transferees), as parts of their initiation rites into the university, known as the Thomasian Welcome Walk are required to pass through under the Arch. Candidates for graduation, on the other hand, also pass through under the Arch during a parade after their Baccalaureate Mass. This tradition started in June 2002. Fireworks display ends the passage and signals the party afterwards. The parade, either of freshmen or graduating seniors, is done per college/faculty in random order.
There is an old superstition that while studying at the university, one should not pass under the arch outwards until they graduate. If done so, an event will happen that will bar their graduation from the university.


The honorary triumphal arch, originally a city gate, was erected as a symbol of the victory at Actium. As the main inscription proclaims, it was paid for by the wife of Lepidus, Salvia Postuma Sergia. Both of their names are carved in the stone along with Lucius Sergius and Gaius Sergius, the honoree's father and uncle respectively. In its original form, statues of the two elders flanked Lepidus on both sides on the top of the arch. On either side of the inscription, a frieze  depicts cupids, garlands and bucrania.
This small arch with pairs of crenelated Corinthian columns and winged victories in the spandrels, was built on the facade of a gate (Porta Aurea) in the walls, so the part, visible from the town-side, was decorated. The decoration is late hellenistic, with major Asia Minor influences. The low relief on the frieze represents a scene with a war chariot drawn by horses.
This arch has attracted the attention of many artists, including Michelangelo and Piranesi.


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The Archaeological Museum of Ancient Corinth contains an extensive collection of artefacts originally found in Ancient Corinth. The archaeological findings exhibited in the galleries convey the history of various items of sculptures and inscriptions from different time periods and findings.


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The gallery "Corinth, a powerful city-state", contains findings originally from the Geometric, Archaic, Classical and Hellenistic City of Corinth. The exhibition is composed of two areas:
The first section contains the twin Kouroi, which were confiscated from traffickers of antiquities at Klenia in Corinth. It also consists of findings located from the Tenea cemetery, along with objects from significant agglomerations and sanctuaries of the city-state
The second part of the exhibition includes objects and audiovisual material which convey Corinth's distinctive cultural character. These items provide a more realistic approach on Corinth's commercial activity, artistic achievements, domestic life, cult beliefs, burial practices and military events, all important aspects which established the fundamentals of this Greek city.
After 2012, the exhibition experienced reconstruction specifically to the east and south sections of the museum and then became accessible to the public in 2016.


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The gallery includes a collection of statues, sculptures, Greek and Latin inscriptions as well as findings that serve as proof of the presence of the Judaic community in the Roman city.


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The Archaeological Museum of Thasos is a museum located in Limenas on the island of Thasos, Eastern Macedonia, Greece. It occupies a house that was built in 1934 and recently extended. Storerooms and workshops have already been organised, and nowadays is fully operational: the shop, the official functions room, the old wing, the prehistoric collection, and the new section.
The exhibits consist in collections of sculpture, pottery, and architectural remains from the Neolithic to the Roman period on Thasos. The most important exhibits from the early period are a clay amphora from the Neolithic settlement and a Cycladic plate decorated with a representation of the hero Bellerophon on the winged Pegasus spearing the three-headed Chimaera (7th century BC).
Two of the sculptures of the Archaic period are outstanding: an impressive three-and-a-half-metre kouros, a statue of a young naked man carrying a goat (600 bc), which was found at Pythion; and a bust of Pegasus (500 bc). Of the exhibits from the Classical period, particularly noteworthy are a head of Dionysos of the 4th century BC, which belonged to the larger-than-life-size statue of the god that graced the large exedra of one of the two choregic monuments in the Temple of Dionysos, and a statue of Comedy.
From the Hellenistic and Roman period there are a statue of a Muse wearing a peplos, also from the Temple of Dionysos (3rd century BC), a small statue of Aphrodite with a dolphin and a cupid (3rd century BC), a head of Alexander, and a statue of the Roman emperor Hadrian, armed for battle. The latter was found in the ancient agora of Thasos. There are also portrait busts of Claudius, Julius Caesar, and Lucius Caesar, and clay figurines dating from the Archaic to the Hellenistic period.


A small loop trail follows an old coal mine tram road for hiking. The trail passes along a rock ledge and through a forest.
Hunting is permitted on over 100 acres (40 ha) of the park. The most common game species are squirrels, turkeys and white-tailed deer. The hunting of groundhogs is not permitted. Hunters are expected to follow the rules and regulations of the Pennsylvania State Game Commission.
Some of the parkland was stripped off in the past by strip mining. This land is currently undergoing a reclamation process and there are plans to use the reclaimed land for recreation and to build athletic fields.


The popularity of the Archibald Fountain has been attributed to "the interplay of water and sculpture, and also little elements that kids like". Over the years it has also been a chosen spot for photos, buskers, political rallies and just as a meeting place. The fountain is in an open space surrounded by formal flower gardens and has park benches provided nearby that make it a popular location for city workers at lunchtime.
The Archibald Fountain is also known as one of the most homoerotic examples of public art in Australia. For the gay community, from around World War II up until the 1950s, the fountain was a 'beat'. Indeed it was a meeting place for men who wanted to pick up other men for casual and consensual sex. The Australian author, Kylie Tennant also features the Archibald Fountain in her 1967 novel: Tell Morning This, where she acknowledges it as a homosexual rendezvous.


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The Architects and Engineers Building is an office building in downtown Minneapolis, Minnesota, United States, designed by locally notable architects Hewitt and Brown and built by builders Pike and Cook.  The building was influenced by Hewitt and Brown's relationship with designers who were dedicated to the City Beautiful movement.  They intended to save money by grouping their practices in one building, and they also desired "the special advantage of proximity and the facility for making the knowledge and experience of each available to others."  The building was designed with private executive offices, as well as common drafting rooms, libraries, meeting rooms, and clerical facilities.  The building was also intended for use at night by architectural students who would work in association with practicing professionals.
The building is designed with an Italian Renaissance theme, with different window plans on each level.  The names of prominent architects such as Leonardo da Vinci, Filippo Brunelleschi, Sir Christopher Wren, Charles Follen McKim, and Henry Hobson Richardson are painted in gold within the arches between each pair of third-floor windows.
The building is listed on the National Register of Historic Places for local significance in architecture and commerce.  The building is now occupied by Catholic Charities of Saint Paul and Minneapolis.


The exact date of its foundation is unknown but it existed at least after the year 1000 AD. The area around Arco was inhabited already before the Middle Ages, the castle was said to have been built by the citizens and only later becoming the property of the local nobles.
The counts of Arco (from Latin arcus, 'bow'), probably of Italian origin (a presumed kinship with the Bavarian counts of Bogen could not be established), were first mentioned in 1124 deed; they temporarily served as liensmen of the Trent prince-bishops. Though they were raised to comital (Grafen) status by the Hohenstaufen emperor Frederick II in 1221, they had to acknowledge the overlordship of the Meinhardiner princely counts of Tyrol in 1272.
The Counts of Arco were expelled by the Prince-Bishops of Trent in 1349, whereafter the castle fell to the Veronese noble house of Scaliger. Nevertheless, they regained the castle in a local uprising, and in 1413 further strengthened their position by obtaining the status of Imperial immediacy from the hands of Emperor Sigismund in 1413. However, in the long run, they could not prevail against the mighty House of Habsburg, rulers of Tyrol since 1363. Arco Castle was captured in 1579, and the counts had to submit to the Habsburgs in 1614. Their estates were officially seized by Emperor Leopold I in 1680.
The castle was later abandoned after a siege by French troops under General Duke Louis Joseph of Vendôme in the course of the War of the Spanish Succession in 1703. A careful restoration began 1986 and following others in more recent years restorations have found a number of frescoes depicting knights and court ladies of medieval times.


The arch is built at the end of a semicircular ramp, and has two side doors leading to a crypt. In the sanctuary, there are some statues by sculptor Giovanni Prini representing Victories, Saint George and the coat of arms of Genoa. There are also other sculptures by Prini, including a reproduction of the bollettino della Vittoria, the bollettino della Marina and the names of the fallen.
An altar made out of Levanto red marble is located at the centre of the structure. A bronze crucifix on a rosewood cross, which is the work of the sculptor Edoardo De Albertis, hangs above the altar.
The monument rests on four corner pillars and eight ornate pillars, which are decorated with sculptures by Arturo Dazzi and De Albertis. Two large columns are located inside the arch, and they support lunettes sculpted by Prini dedicated to peace and the family.
The exterior of the monument is decorated with allegories sculpted by Dazzi and Mario Maria Martini, which commemorate the 680,000 Italians killed in World War I and the construction of the arch.
Dazzi's frieze develops in several episodes. Gunners and the Alpini are depicted on the north, while the Red Cross and the field mass are depicted on the sides. The artillery and the cavalry are depicted on the south side, while the Battles of the Isonzo and that of the Piave River are depicted on the sides. The Bersaglieri and the sappers are depicted on the west side, and Benito Mussolini is depicted as one of the soldiers. The air force and the navy are depicted on the east side.


Ard na Caithne ([ˈaːɾˠd̪ˠ n̪ˠə ˈkanʲə]; meaning "height of the arbutus/strawberry tree"), sometimes known in English as Smerwick, is a bay and townland in County Kerry in Ireland. One of the principal bays of Corca Dhuibhne, it is located at the foot of an Triúr Deirfiúr and Mount Brandon. Bounded by the villages of Baile an Fheirtéaraigh, Baile na nGall and Ard na Caithne itself, the area is what has been known as the Fíor-Ghaeltacht, or "true Gaeltacht" (an area in which the Irish language is the official and principal language).


The hills of Ardenica can be found in southern Myzeqe in a dominant position. From this position, one can see Krujë, Dajti, Tomorr, the Adriatic Sea, the Karavasta lagoon and the Labëria mountains.


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Ardennes American Cemetery and Memorial is a Second World War American military war grave cemetery, located in the village of Neuville-en-Condroz, near the southeast edge of Neupré, some 20 km (12 mi) south-west of Liège in Belgium. The cemetery, dedicated in 1960, contains 5,329 American war dead and covers 90.5 acres (36.6 ha). It is one of three American war cemeteries in Belgium, the other two being at Flanders Field and Henri-Chapelle and is administered by the American Battle Monuments Commission (ABMC).


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The site of the cemetery was liberated from German control by the U.S. 1st Infantry Division on 8 September 1944. A temporary cemetery was established on the site on 8 February 1945. After the war, the Ardennes site was designated a permanent cemetery, becoming one of 14 permanent cemeteries for American World War II dead on foreign soil. All temporary cemeteries were disestablished by the U.S. Army, and the bodies of those whose next of kin requested permanent burial overseas were moved to one of the fourteen permanent cemeteries.
The American Battle Monuments Commission oversaw the design and construction of the site. Architects Reinhard, Hofmeister & Walquist of New York City were hired to design the cemetery and memorial, while the landscaping was designed by Richard K. Webel of Roslyn, New York. Construction of the cemetery and memorial was completed in 1962.
The Ardennes American Cemetery served as the location of the Central Identification Point for the Graves Registration Service (now known as Mortuary Affairs) of the Army Quartermaster Corps during much of the life of the Service. The Graves Registration Service interred the dead at the Ardennes cemetery in the distinctive grave pattern proposed by the architect and approved by the Commission. When the interment program was completed the cemetery was turned over to the ABMC for maintenance and administration.


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The Ardennes American Cemetery is generally rectangular in shape. Its grave plots are arranged in the form of a Greek cross separated by two broad intersecting paths. At the east end of the traverse path is a bronze figure symbolizing American youth, designed by sculptor C. Paul Jennewein. The cemetery is surrounded on all sides by stands of trees.
An approach drive leads to the memorial, a rectangular structure bearing on its south facade a 5 m (16 ft) high American eagle with three figures symbolizing Justice, Liberty, and Truth and thirteen stars representing the United States. This facade was designed by C. Paul Jennewein. The facade on the far (north) end, which overlooks the burial area, bears the insignia in mosaic of the major United States units which operated in northwest Europe in World War II. Along the outside of the memorial are the "Tablets of the Missing", granite slabs on which are inscribed the names of 462 American missing (15 Navy and 447 Army and Army Air Forces) who gave their lives in the service of their country, but whose remains were never recovered or identified. Within the memorial are a chapel, three large wall maps composed of inlaid marble, marble panels depicting combat and supply activities and other ornamental features.


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Many of the 5,329 people interred at the Ardennes American Cemetery died during Nazi Germany's final major offensive in the west, the Battle of the Bulge. They include some service troops who were fighting as infantry. Others died in the advance to the Rhine and across Germany, and in the strategic bombardment of Europe. Three-fifths of those buried in the cemetery were airmen.
The dead came from almost every state in the Union as well as from Washington, D.C., Canada, Denmark, England, France, Germany, Ireland, the Philippines, and the British West Indies. 777 of the headstones mark the graves of 792 unidentified bodies. Among the headstones are eleven instances in which two brothers are buried side by side. There are also three cases in which two identified airmen are buried in single graves.
The cemetery is closed to future interments, with exceptions made for recently recovered remains of American World War II dead. In 1992, the remains of American war dead were discovered in a forest east of Elsenborn, Belgium. Through DNA testing, one set of remains was identified as Sgt. John T. Puckett of Wichita, Kansas, who had been listed as Missing in Action during the Battle of the Bulge. Puckett's family requested he be interred in the Ardennes cemetery; his burial there took place on 18 June 2005.


Ardenwood Historic Farm is a Regional Historic Landmark in Fremont, California. It is managed by the East Bay Regional Park District. The Ardenwood Historic Farm consists of the Ardenwood Station, the former Ohlone village and burial site, a blacksmith shop, an area with farm animals, Patterson House, and a gazebo. The Ardenwood Farm today is a working farm, producing grain and vegetables.


Ardfert was the site of a Celtic Christian monastery reputedly founded in the 6th century by Saint Brendan. Although the Synod of Ráth Breasail in 1111 had put the cathedral for Ciarraige at Ratass Church near Tralee, it was moved to Ardfert by 1117. The Diocese later renamed "Ardfert and Aghadoe", although it is unclear whether Aghadoe "Cathedral" ever operated as a separate diocese.
The site has three medieval church ruins, the main and earliest building being from the 12th century.  Within the adjoining graveyard there are two other churches, Temple Na Hoe dating from the 12th century and Temple Na Griffin dating from the 15th century.  The main church has an ogham stone and a number of early Christian and medieval grave slabs. In the 15th century, a small transept was added and battlements were constructed. During the Reformation in Ireland, the established Church of Ireland became Protestant. The cathedral roof was destroyed during the Irish Rebellion of 1641,  but the south transept was re-roofed and extended later in the 17th century. From 1663 the diocese was united with the Diocese of Limerick and the former cathedral became a parish church. In 1871, when a new Church of Ireland church was opened, the cathedral's roof was again removed.  After the 1871 disestablishment of the Church of Ireland, its disused historic sites, such as Ardfert Cathedral, were transferred to the Board of Public Works, now the Office of Public Works. Part of the transept has been restored, and houses the entrance and a gift shop.


Featuring castellated embellishments, the building overlooks Barnageera Beach, the Irish Sea and Balbriggan. The castle consists of two storeys over a basement, which extends under the south lawns. When occupied, the ground and first floors were the living accommodation while the west and east wings were servants quarters and estate offices. The basement was the service floor, the kitchen and stores. The castle has now been restored and is open to visitors.
Ardgillan Demesne is open to visitors, with a mix of woodlands and large grass open spaces. The park contains a walled herb garden, rose garden, Victorian conservatory or glasshouse, tea rooms and an ice house. A children's playground was built in 2006.


The ground floor rooms and kitchens of the Castle are open to visitors for guided tours. Tea rooms are located off the main reception area and are open during the Castle opening times. Upstairs, the former bedrooms are used for classes and exhibitions, including a permanent exhibition of the "Down Survey" colour maps and text. Rooms are also available for small group meetings and workshops.
In 2005 the estate was host to a number of open-air concerts in the summer time. Pop artists who have played here include Moby, REM, Meat Loaf and Status Quo. No more concerts have been held at the venue since and it still remains to be seen if Fingal County Council plans to host any in the future.


The marina has approximately 80 berths and can be used by local and visiting yachts. It is just south of the entrance to Strangford Lough, and yachts are able to berth if they need to wait for a favourable tide to get into the Lough. It is also used as a stopover point for yachts travelling up or down the Irish Sea coast. The Marina is a chain fixed pontoon and is open 24 hours a day all year round. It provides good shelter for boats and is separated from the fishing harbour to the south by an outcrop of rocks.


The oldest part of the church is the tower, dating from about 1200. The tower originally belonged to an earlier church building from the 12th century, the nave and choir of which was replaced with the current building circa 1250. The sculptured choir portal originally also belonged to the earlier church.
The interior of the church was heavily remodelled in a Neo-Medieval style between 1900–1902 after plans by architect and artist Axel Haig (known in Swedish as Axel Hermann Hägg, 1835–1921). The dominant wall paintings are consequently designed by Haig. A few stained glass windows remain but were complemented by modern replicas during the renovation.
The furnishings of the church are still largely medieval: an altarpiece from the early 14th century, a triumphal cross and baptismal font, both from the middle of the 13th century, and a carved wooden Madonna from circa 1500 are all in their original milieu. The organ is an elaborate Gothic Revival piece, made for the renovation in 1902 and inspired by medieval French organs.
Ardre church belongs to the Church of Sweden and lies within the Diocese of Visby.


Ardross Castle was a c.14th century castle that was located in Elie and Earlsferry, Fife, Scotland, near the sea.


Ardrossan Castle is situated on the west coast of Scotland in the town of Ardrossan, Ayrshire. The castle, defended by a moat, stands on a ridge above the town. There is a keep dating from the fifteenth century, and a vaulted range containing a kitchen and cellars.  In a deep passageway there is a well. Part of the keep remains up to the corbels of the parapet, but it is in ruins. The original castle, owned by Clan Barclay, was partly destroyed during the Wars of Scottish Independence. This event, in which the English garrison were slaughtered, became known as "Wallace's Larder," a name which is still applied to the remaining vaults. Rebuilt by Clan Montgomery in the 15th century, Ardrossan later fell into disuse and was partially demolished by the soldiers of Oliver Cromwell in the 17th century who used the stones to help construct the Ayr Citadel.


Ardstinchar Castle was built by Hugh Kennedy of Ardstinchar, originally a Dominican friar who left his monastery to travel to France, where he took part in the Hundred Years' War as a mercenary and led troops for Joan of Arc at the Siege of Orléans (1428–1429). He probably inherited the land from his brother, Alexander, who died without issue, and held it by 1429. With another brother, Thomas, he combined estates to form the Barony of Ardstinchar, but retained a liferent on his own land until his death in 1454. His descendants lived in Ardstinchar Castle for more than a century. Mary, Queen of Scots stayed at the castle on 8 August 1563.  She is likely to have strolled and admired the view on the half turret walkway which still remains today.
A long-standing family feud between the Cassillis and the Kennedy Clan, which started in Hugh Kennedy's era, ended in 1601 with the murder of the last baron of Bargany and Ardstinchar. Jean Stewart, the widow of Bargany, who had been a lady in waiting to Anne of Denmark, stayed on at Ardstinchar and resisted an attempt to evict her in 1603. She died in 1605. The family fortunes were lost, and the estate was bought by Sir John Hamilton of Letterick, son of the 1st Marquis of Hamilton. By 1770, the castle had fallen into disrepair and was quarried to provide stone for the construction of a three-arch bridge over the River Stinchar, as well as several houses and an inn in Ballantrae, now the King's Arms Hotel.


As part of the United States Department of Defense (DoD) Advanced Research Projects Agency (ARPA) missile defense program, ARPA had sought a means to try to detect incoming missiles while they traveled through the ionosphere. The Arecibo Telescope was funded as a means to study Earth's ionosphere for this purpose, and serving a dual-use as a general-purpose radio telescope. Construction of the telescope and its supporting facilities were started in mid-1950s, with the telescope operational by 1963. The telescope and supporting observatory were formally opened as the Arecibo Ionospheric Observatory on November 1, 1963.
Ownership of the observatory transferred from the DoD to the National Science Foundation on October 1, 1969. NSF named Cornell University to manage the observatory's functions. By September 1971, NSF renamed the observatory as the National Astronomy and Ionosphere Center (NAIC) and had made it a federally funded research and development center (FFRDC). NASA began contributing towards funding of the observatory alongside NSF as to support its planetary radar mission.
In the early 2000s, NASA started to reduce their contribution to the Arecibo Observatory, putting more pressure on NSF to continue to fund the facility.  In 2006, NSF made its first possible suggestion of significantly reducing its funding towards Arecibo and potentially decommissioning the observatory. Academics and politicians lobbied to increase funding bookmarked for Arecibo to stave off its closure, and NASA recommitted funding in 2011 for study of near-earth objects. However to further cut losses, in 2011 NSF delisted Arecibo as a FFRDC, removed Cornell as the site operator, and replaced them with a collaborative team led by SRI International, which allowed the observatory to be able to offer its facilities to a wider range of projects.
Damage to the telescope from Hurricane Maria in 2017 led NSF again to consider the possibility of decommissioning the observatory as the costs of maintaining it had become too great. A consortium led by the University of Central Florida (UCF) stepped forward to offer to manage the observatory and cover a significant portion of the operations and maintenance costs, and in 2018, NSF made UCF's consortium the new site operators.
After an auxiliary and main cable failure on the telescope in August and November 2020, respectively, the NSF announced the decision that they would decommission the telescope through controlled demolition, but that the other facilities on the observatory would remain operational in the future. However, before the safe decommission of the telescope could occur, remaining support cables from one tower rapidly failed in the morning of December 1, 2020, causing the instrument platform to crash through the dish, shearing off the tops of the support towers, and partially damaging some of the other buildings, though there were no injuries. NSF has stated that it is still their intention to continue to have the other observatory facilities operational as soon as possible and are looking at plans to rebuild a new telescope instrument in its place.


Arenós Reservoir is a reservoir in Puebla de Arenoso and Montanejos, Castellón, Land of Valencia, Spain.