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


The originality of this collection resides not only in the variety of artists represented but also in curiosity the Magnins had for the provincial schools. With Burgundian origins, Jeanne and Maurice involved themselves with art from their region as well as from Franche-Comté. Among some of the artists found at the museum, we can name Jean Bardin, Bénigne Gagneraux, Jean-François Gilles Colson and Jean-Claude Naigeon.


WikiWeb_Musée des beaux-arts de Chambéry_3

The collections are mainly focused on classical Italian painting from the 14th to 18th centuries.
They include an outstanding altarpiece of the Trinity by Bartolo di Fredi, a Sienese artist of the fourteenth century.
There is also a good presentation of trends in Mannerism, the school of Caravaggio and Baroque.
Art from Florence predominates, including the triptych of the Passion by Domenico di Michelino and the famous Portrait of a young man by Paolo Uccello, as well as several works by Santi di Tito and Ghirlandaio. The Venetian, Neapolitan and Bolognese schools are also represented.
The museum has one of the richest collections in France of Italian works from schools such as Venice, Florence, Naples and Siena, which may be explained by the history of Savoy, lying between France and Italy.
There is also a good collection of classical French works and some mountain landscapes of the 19th century.
There is a large open space for temporary exhibitions.


Musala (Bulgarian: Мусала [mosɐˈɫa]); from Arabic through Ottoman Turkish: from Musalla, "near God" or "place for prayer"  is the highest peak in the Rila Mountains, as well as in Bulgaria and the entire Balkan Peninsula, standing at 2,925 metres (9,596 ft).
With a topographic prominence of 2,473 metres (8,114 ft), Musala is also the 6th highest peak by topographic prominence in mainland Europe. Musala is also the 3rd most topographically isolated major peak in Continental Europe.
Musala is situated within the Rila National Park, which is noted for its rich flora, including species such as Macedonian Pine and Bulgarian Fir in the forests on its middle slopes, and fauna; it is one of the easiest places in Europe to see the wallcreeper. All major mountain ranges of Bulgaria can be seen from the top; these include Vitosha to the northwest, Sredna Gora towards the northeast, the Balkan Mountains along most of the northern horizon behind Vitosha and Sredna Gora, the Rhodope Mountains to the southeast, Pirin to the south, Osogovo and Ruy Mountain to the west, and of course, the rest of Rila.
A cosmic ray station was built on the peak in 1960 with cooperation from the Hungarian Academy of Science. The station conducted scientific experiments using a muon telescope. The station was destroyed by an electrical fire on October 29, 1983.
With an average annual temperature of -2.3 °C Musala is the coldest place in Bulgaria and the entire Balkan Peninsula. Temperatures stay below 0 °C for about 8 months each year. Due to this about 45% of the annual precipitation on Musala is snow, and snow cover lasts for about 200 days (more than six months). Three of the main rivers of Bulgaria, the Iskar, Maritsa and Mesta have their sources near Musala.
The next highest peaks in the vicinity of Musala are Malka (Little) Musala (2,902 metres (9,521 ft)) and Irechek (2,852 metres (9,357 ft)).


Museo Casa Enzo Ferrari (also known as Museo Enzo Ferrari) is a museum in Modena focused on the life and work of Enzo Ferrari, the founder of the Ferrari sports car marque. The museum complex includes two separate buildings, a former house and workshop that belonged to Enzo Ferrari's father, and a new building designed by the architectural practice Future Systems.  The new 6,000 square metres (65,000 sq ft) building houses, in a large gallery, a permanent exhibition displaying some of the most noteworthy Ferrari’s automobiles, including rare cars of the 1950s, Formula One race cars and more recent sports cars.
The museum exhibition gallery was substantially renewed and updated in February 2014.
The exhibits feature Ferrari, Alfa Romeo and Maserati cars and also a large video-projection depicting the life of Enzo Ferrari.


Started in 1995, the Mobile Library Program is a reading campaign for the economically disadvantaged children and out-of-school youth of Manila. It aims to impart the value of reading to children through storytelling and book-lending sessions. Six years later, the Mobile Library van was inaugurated through a grant from Ford Foundation Philippines. It is a six-wheeler roving library with over 3,000 children’s books and other learning aids for the benefit of the children of Manila and neighboring cities. In 2011, the van was refurbished through the help of Atty. Ging Gonzalez-Montinola and Pilipinas Hino, Inc.
In line with the Philippine Centennial celebration in 1998, Museo Pambata launched Aklat: Karapatan at Kapangyarihan para sa Kabataan (The Book: The Right and Empowerment of the Youth) or Aklat:KKK. It had two components: the outreach and the in-house programs. Four minilibraries were turned over to the Manila barangays as part of the outreach component, while storytelling sessions became regular Friday and Saturday activities at the Museo Pambata Library and Resource Center.
In 1999, the Office of Manila Mayor Lito Atienza and Museo Pambata launched Sa Aklat Sisikat!, a Manila-wide literacy campaign to promote the habit of reading among children in Manila’s public schools. This innovative pilot campaign addressed the alarming decline in reading abilities and literacy rate in the country, particularly among public schoolchildren.


The museum consists primarily of four parts. Three parts are permanent exhibitions from the collection of Wolf and Mercedes Vostell, as well as from the collection of the Italian art collector Gino Di Maggio, who specifically collected the art of the Fluxus artists. The third part contains temporary exhibitions of changing Conceptual artists. The museum also includes the outdoor exhibition in the nature reserve Los Barruecos. The outdoor exhibition includes the sculptures VOAEX (1976) and in El muerto que tiene Sed (1978).


WikiWeb_Museo de Arte Precolombino, Cusco_2

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


The museum was founded by Provençal poet Frédéric Mistral and opened in 1899. With the help of Jules Charles-Roux and Jeanne de Flandreysy, he established a gallery with statues from the Antiquity found on the grounds of the museum. Mistral had worked to build a Provençal literary revival since the 1850s, but in 1896 he declared that he wished to create a more enduring statement of Provençal tradition by building a "Pantheon of Provence" that would bring together "all the memories of our race." It sought to become "the museum of the region, the complete representation of a pays." Much of the collection focused on the traditional clothing of Arlesienne women, but it collected widely. Originally, labels were in Provençal, well after that language had ceased to dominate the region. In his history of the region, Marseillais business-man, politician and historian Jules Charles-Roux explained the museum's choice of language: "Provençal is the language of a free people. And it is this love of humble people, this profound sense of equality, this respect for the spirit of the people, this magnificent understanding of its greatness that motivated Mistral to build a museum to house all the modest objects of daily life,... a museum for everything that makes up the originality, the flavor of Provençal life."
In 1903, Mistral and the Museon Arlaten organized the first "Fèsto Vierginenco," where 28 young women of Arles pledged to wear the clothing that had become the identifiable "traditional costume" of the city. The event was so popular that in subsequent years it had to be moved to the Roman Theatre.
The museum was closed for repair works in October 25, 2009. Its reopening, initially planned for 2015, was later postponed to winter 2020/21. It reopened on May 19, 2021.


WikiWeb_Museu Nacional de Belas Artes_11

The museum owns approximately 2,000 examples of international prints. Though not extensive in size, the collection is considerably diversified and eclectic, offering a brief panorama of the history of engraving in distinct civilizations. The group of Flemish, Dutch and German prints is of particular importance. Authors in the collection include Pieter de Jode I, Albrecht Dürer, Hans Sebald Beham, Cornelis Visscher, Anthony van Dyck and Rembrandt's famous Hundred Guilder Print. The French school is also well represented. In addition to works by artists such as Jacques Callot and Claude Lorrain, the museum has two albums by Gustave Doré, with woodcuts produced to illustrate newspapers, as well as 80 lithographies by Honoré Daumier, imbued with political and social criticism, published in the 1830s by the historical magazine Le Charivari.
Italian print in the collection is represented by the works of Agostino Carracci, Piranesi, Bartolozzi, Tiepolo and reproduction prints by Giovanni Folo and Raffaello Morghen. Other important engravers represented are Francisco de Goya (Los disparates), William Hogarth and Joseph Mallord William Turner. Modern prints include several works by Pablo Picasso, Joan Miró, Jacques Lipchitz, Marc Chagall, Wassily Kandinsky and Jacques Villon. Another highlight of the collection is the ensemble of more than one hundred 17th- and 18th-century Japanese woodcuts (ukiyo-e) by artists such as Utamaro and Hiroshige.


Many works of important representatives of the Late Gothic Ulm School are presented in the museum. A chronology of the region's International Gothic period has been demonstrated, supported by valuable exhibits beginning with Meister Hartmann and Hans Multscher to Martin Schaffner, Michel Erhart, Hans Schüchlin, Jörg Stocker, Niklaus Weckmann, Bartholomäus Zeitblom to Daniel Mauch. The Late Gothic cultural landscape of Upper Swabia and the Allgäu is illustrated by the works of Bernhard Strigel and others, which allows valuable direct style studies and comparisons.
Representative works of artists of the 20th and 21st centuries also belong to the Ulm collection, among them Paul Klee, Ernst Ludwig Kirchner, August Macke and Franz Marc. A highlight is the superb international Kurt Fried Collection. Amongst publisher Kurt Fried's 1959 to 1981 private collection the visitor will find works by Frank Stella, Mark Rothko, Roy Lichtenstein, Günther Uecker, Yves Klein, Daniel Spoerri, Josef Albers, Max Bill and Gerhard Richter.
The museum presents a variety of exhibitions in order to make the complicated relations among Ulm's Late Gothic artists come to light. The focus of research is on the Ulm families of artists around Hans Multscher, Jörg Syrlin the Elder, Jörg Syrlin the Younger, Michel Erhart, Gregor Erhart and Daniel Mauch.
Since 14 November 1999 there has been a new presentation in the extension building on the subject of European and American Art after 1945. In addition, 20th-century graphic art and modernity are presented in temporary exhibitions.


The house was designed in 1672 by Adriaan Dortsman, the famous Dutch architect known for having created the Ronde Lutherse Kerk. There are four sculptures on top of the house, representing Ceres, Mars, Minerva and Vulcan. The interior of the house has been renovated, and appears reminiscent of its look in the 18th-century, with wood paneling and stucco work. The upstairs features several paintings of Roman sports figures and a bedroom that is decorated with a Romanticism period painting of Italy. The house also has fake bedroom doors: the 18th-century owners desired to have symmetry in the interior design so they painted the real bedroom doors to match the walls and fake doors to appear real in a location where one would assume a door would be.


The Museum der Phantasie (aka. Buchheim-Museum) is a museum in Bernried am Starnberger See. Named after Lothar-Günther Buchheim, whose art collection it holds, it was opened to the public on 23 May 2001.
The building, designed by the architectural firm Behnisch, Behnisch & Partner, was completed in October 1999. It encompasses around 4,000 square meters and is designed to resemble a ship, with a jetty-like balcony extending out over the Starnberger See. In the surrounding park various sculptures are displayed.
Before the museum was built there were many differences of opinion about the location. Buchheim's requested location in Feldafing, on the grounds of the Villa Maffei, was rejected in a vote by residents.
The museum holds Buchheim's collection of expressionist art, with works by Erich Heckel, Emil Nolde, Ernst Ludwig Kirchner, Max Pechstein, and so forth. It also displays examples of folk art, African art, and Asian art which Buchheim collected during his travels. Paintings and drawings by Buchheim himself are also on display.


It was founded in 1904, as a civic institution, to bring together the ethnographic collections of the city of Frankfurt.  In 1908 the museum moved into the Palais Thurn und Taxis in the city centre.  In 1925 the city acquired the collections of the Institute of Cultural Morphology (today the Frobenius Institute), founded by the ethnologist Leo Frobenius. He relocated to Frankfurt along with the institute and become an honorary professor of the University of Frankfurt.  In 1934 he became the director of the museum.  The roles of museum director and institute director continued to be occupied by the same person (including Frobenius's successors) until 1966, when the university became state-run, since when the museum has again been run by the city.
Significant parts of the collection were lost when the Palais was destroyed by bombs in World War II.  However, some items had already been evacuated from the Palais – these survived the war, and in 1973 they were put on display in an old villa on the banks of the Main, where they have been ever since.  The Museum of World Cultures therefore counts as one of the earliest museums on what is now the Museumsufer.
The museum has expanded since 1973 and now occupies three adjacent buildings on the Schaumainkai – nos. 29 (the main building), 35 (the original villa), and 37 ("Gallery 37"), which were acquired and/or rebuilt in the 1980s.  The collections include over 65,000 objects from Oceania, Australia, Southeast Asia, the Americas, Africa and Europe. Gallery 37 hosts exhibitions of contemporary works by Indian, African, Oceanian and Indonesian artists.
In 2010, plans were announced for a new phase of construction to further expand the museum.
The directors of the Museum der Weltkulturen are:
1904–1919: Bernhard Hagen
1919–1935: Johannes Lehmann, Interimsdirektor
1935–1938: Leo Frobenius
1938–1939: Adolf E. Jensen, Interimsdirektor
1940–1945: Karin Hissink
1946–1965: Adolf E. Jensen
1965–1966: Carl August Schmitz
1966–1971: Herrmann Niggemeyer
1972–1983: Heinz Kelm
1984–1985: Johanna Agthe, Interimsdirektorin
1985–1998: Franz Josef Thiel
1998–2000: Johanna Agthe, Interimsdirektorin
2000–2008: Anette Rein
2008–2010: Christine Stelzig
2010–2015: Clementine Deliss
2015–2019: Eva Raabe, kommissarische Direktorin
since 1 October 2019: Eva Raabe


WikiWeb_Museum für Kunst und Gewerbe Hamburg_2

These include:
Historic keyboard instruments: harpsichords, spinets, virginals, clavichords, fortepianos and square pianos.
Faience and porcelain: most of the major 17th- and 18th-century porcelain manufacturers are represented.
Islam: the centrepiece is a collection of 71 tile fragments from the mausoleum of Buyan Kuli Chan (1348–1368) in Bukhara, Uzbekistan.  The Islam section also includes pottery, carpets and books.
Early 16th-century carpet from Lüne Abbey, displayed only once a year for a few days between Easter and Pentecost.
Furniture by Henry van de Velde and Paul Gauguin.
Japanese tea house and accompanying ceremony.
Art Nouveau: an ensemble of Art Nouveau furniture and exhibits, the "Paris Room", much of it acquired at the world's fair in Paris in 1900.  Including two greater-than-lifesized white sculptures from 1907, faience sculptures of girls by Richard Luksch, and the Swan Carpet (1897) by Otto Eckmann.
The Modern, 1914–1945: Expressionist works, including animal sculptures by Richard Haizmann, a maplewood sculpture of a woman by Ernst Heckel, works by Karl Schmidt-Rottluff and Ewald Mataré, and everyday objects in Bauhaus style.
Other collections include Baroque figurines; items from the Far East; design; book art; graphic art; photography; and antique pottery, weaponry and statues


WikiWeb_Museum for Architectural Drawing_3

Designed by the Moscow office SPEECH Tchoban & Kuznetsov, the Museum for Architectural Drawing, completed in 2013, is a four-storey solid corpus with a glass floor stacked on top. The profile of the four floors is reminiscent of casually piled up blocks. Its closed surface is detailed with strong magnified fragments of architectonic sketches in relief form. The line drawings (original drawings by Pietro Gonzaga and Angelo Toselli were used) and the colour of the cast concrete refer to the purpose of the building as a place for exhibiting architectural drawings. The museum shop and library are on the ground floor. Cabinets have been created on the first and second floor for temporary exhibitions. The museum depository is on the third floor. Windows have been avoided on these three floors to provide optimal conditions for the conservation of drawings. The Trust’s office is situated on the glazed top floor.  200 of the 450 available square metres, including the ticket desk and library, are used for exhibition space.


Museum founder John Rice Irwin, a descendant of the region's early settlers (his ancestor, James Rice, built the Rice Gristmill that now stands at Norris Dam State Park), was born at his grandparents' farm along Bull Run Creek in Knox County, Tennessee in 1930.  His family eventually relocated to the Big Valley area of Union County, but were forced to move when the Tennessee Valley Authority acquired their land for the construction of Norris Lake.  His family spent several years in the Gamble Valley community (now part of Oak Ridge), but were forced to move again in the early 1940s when their land was needed for the Manhattan Project.  Irwin was always fascinated by his community's elders, and gathered much of his knowledge of old tools and Appalachian agrarian life from spending time on his grandparents' farm.  Irwin eventually graduated from Lincoln Memorial University and the University of Tennessee, and spent several years as a businessman and educator, including a stint as superintendent of Anderson County public schools.
At an auction of an old local farm in 1962, Irwin noticed that many of the buyers would forever be removing the items from their historical context.  Deciding that the items' true value lay in the history of their usage, Irwin purchased several items, including a horse-shoeing box that had been fished out of the Clinch River in the aftermath of the legendary Big Barren Creek Flood of 1916.  Shortly thereafter, he acquired his first log structure—the General Bunch House—and moved it from its original location in the county's remote New River section.  Irwin spent his weekends seeking out remote communities around the region in search of pioneer relics, which he displayed in his yard and garage.  In 1969, he officially opened the Museum of Appalachia and began charging a nominal admission fee.
In 1977, one of the museum's cabins—the Patterson cabin (also from the New River area)—was used in the television series Young Dan'l Boone, and has since been renamed the "Dan'l Boone Cabin" (although it has no real relation to the famous explorer).  Articles in Parade and Reader's Digest and an appearance by Irwin on the Today Show in the mid-1980s greatly boosted attendance. In the 1980s, Alex Haley visited the museum, and immediately decided to move to East Tennessee (he bought the farm across the street from the museum). Haley was inspired by the museum's Steve Parkey exhibit, and made plans to write a novel about this African-American blacksmith from Southern Appalachia. Haley brought many celebrities to the museum, including Oprah Winfrey, Jane Fonda, Brooke Shields, Lou Gossett Jr., Quincy Jones, and more.
Several episodes of WBIR-TV's documentary program The Heartland Series were taped at the museum, including episodes titled "1791," "Just Another Day," "The Music Tale," "The Toggins," "Frontier Music, Frontier Foods," and "Gift for Jacob." The final show of the series was taped at the museum on August 8, 2009 before an audience estimated at 10,000 people, one of the largest crowds in the museum's history.
Recently, the museum was featured in "American Pickers" and "Antiques Roadshow."
In May 2003, the museum was converted from private ownership to a non-profit foundation operating under the direction of a board of directors. The museum attracts about 100,000 visitors annually. It currently maintains over 250,000 artifacts.


The Museum of Art Collections (Romanian: Muzeului Colecțiilor de Artă) is a branch of the National Museum of Art of Romania and is situated in Bucharest. It is located on Calea Victoriei no.111 at the corner of Calea Griviței, in Romanit Palace, the first section of which was built in 1822.
The museum contains 44 collections donated to the Romanian State beginning with 1927 by the families of: Hurmuz Aznavorian, Dumitru and Maria Ştefănescu, Josefina, and Eugen Taru, Emanoil Romulus Anca and Ortansa Dinulescu Anca, Garabet Avakian, Mircea Petrescu and Artemiza Petrescu, Sandu Lieblich, Sică Alexandrescu, Clara and Anatol E. Baconsky, Sorin Schächter, Céline Emilian, Marcu Beza – Hortensia and Vasile Beza, Alexandra and Barbu Slătineanu, Béatrice and Hrandt Avakian.
The collection includes various pieces from Asia and the Middle East, and several pieces by Western European artists (including one drawing by Vincent van Gogh, but the heart of the collection consists of work of late 19th- and 20th-century Romanian artists, including Theodor Aman, Nicolae Grigorescu, Ioan Andreescu, Nicolae Tonitza, Gheorghe Petrașcu, Theodor Pallady, Lucian Grigorescu, Iosif Iser, Camil Ressu, Francisc Șirato, Alexandru Ciucurencu, Dimitrie Ghiață, and Corneliu Baba. The museum lapidarium hosts stone carved items of old Romanian art, among which a few pieces extracted from Văcărești Monastery, demolished in 1986 at Nicolae Ceaușescu's order.
The museum officially reopened in June 2013.


WikiWeb_Museum of Contemporary Art Cleveland_19

The Museum of Contemporary Art Cleveland, in its nature as a non-collecting museum, isn't restricted to traditional gallery programming, exhibitions or storage. In the early stages of its existence, The New Gallery has attracted works by artists in the likes of Christo, Andy Warhol, Robert Rauschenberg, Jasper Johns and Roy Lichtenstein. Today, the moCa offers an exhibition schedule that refreshes three times each year.


The collections cover all the main European artistic movements from the 16th to 20th centuries and are shown in chronological and thematic order. Though it also houses sculptures, drawings (including 13 exceptional watercolour portraits on paper by Lucas Cranach the Elder, on rotating show in a special room devoted to them), engravings, furniture and objets d’art, most of the museum's objects are paintings, notably from the Flemish, Dutch and French schools and by historic and modern artists, with the French school being the most prominently represented, notably the 17th century. Artists represented include :
Flanders, Holland and Germany - Marinus van Reymerswaele, Roelandt Savery, Jacob Jordaens, Bartholomeus van der Helst, Jacob van Loo, Gerard Seghers, David Teniers the Younger, Nicolaes Maes, Melchior d'Hondecoeter and Matthias Withoos
Italy - Giovanni Battista Moroni and Bartolomeo Manfredi.
France -
17th century - Nicolas Poussin, Simon Vouet, the Frères Le Nain (born in the Reims region), Jacques Blanchard, Philippe de Champaigne, Pierre Mignard, Laurent de La Hyre, Sébastien Bourdon, Gaspard Dughet, Charles Le Brun, Jean Jouvenet
18th century - François Desportes, François Boucher, Anne Vallayer-Coster, Jacques-Louis David
19th century - 27 canvases (second only to the Louvre for this artist) by Camille Corot donated by Henri Vasnier and others, Eugène Delacroix, Richard Parkes Bonington, Théodore Chassériau, Jean-François Millet, Théodore Rousseau, Johan Barthold Jongkind, Gustave Courbet, Honoré Daumier, Eugène Boudin, Claude Monet, Camille Pissarro, Alfred Sisley, Pierre-Auguste Renoir, Pierre Puvis de Chavannes, Henri Fantin-Latour, Eugène Carrière, Paul Gauguin, Émile Bernard, Édouard Vuillard
20th century - Pierre Bonnard, Henri Matisse, Raoul Dufy, Albert Marquet, Jean Puy, Louis Marcoussis, Vieira da Silva


WikiWeb_Museum of Folk Architecture and Life, Uzhhorod_0

Museum of Folk Architecture and Life is an open-air museum located in Uzhhorod, Ukraine.  It features over 30 traditional structures collected from villages across Zakarpattia Oblast, the Ukrainian province of which Uzhgorod is the capital.  According to Michael Benanav of The New York Times, "the museum's centerpiece is 16th-century St. Michael's Church, with a roof and onion-domed steeple covered in wooden shingles." Uzhgorod Castle, located nearby, is an imposing fortress that housed the regents of the Habsburgs.
In English, the museum may also be known as Subcarpathian Rus' Museum of Folk Architecture and Customs, Transcarpathian Museum of Folk Architecture and Customs, Uzhhorod Museum of Folk Architecture and Folkways or Uzhhorod Museum of Folk Architecture and Rural Life.


Exhibitions organized by MIA include:
Ferozkoh: Tradition and Continuity in Afghan Art, March 2013 to July 2013.
Steel and Gold – Historic Swords from the MIA collection, May 2013 to December 2013.
Hajj: The Journey through Art, October 2013 to January 2014.
Radiant, January 2014 to March 2014.
Kings & Pawns: Board Board Games from India to Spain, March 2014 to June 2014.
Ceramics of al-Andalus from April 2014 to August 2014.
The Tiger's Dream: Tipu Sultan, September 2014 to February 2015.
Mughal and Safavid Albums, September 2014 to February 2015.
Marvellous Creatures: Animal Fables in Islamic Art, March 2015 to July 2015.
The Hunt: Princely Pursuits in Islamic Lands, September 2015 to January 2016.
Qajar Women: Images of Women in the 19th century Iran, April 2015 to June 2016.
Muhammad Ali: Tribute to a Legend, July 2016 to February 2017.
Imperial Threads: Motifs and artisans from Turkey, Iran and India, March 2017 to January 2018.
Powder and Damask: Islamic Arms and Armour from the Collection of Fadel Al-Mansoori, August 2017 to May 2018.
Syria Matters, November 2018 to April 2019.
Set in Stone: Gems and Jewels from Royal Indian Courts, October 2019 to January 2020.
A Falcon's Eye - Tribute to Sheikh Saoud Al Thani, August 2020 to April 2021.


In the 375-seat Edmond J. Safra Hall, the museum offers a schedule of films, concerts, and panel discussions throughout the year. Past programs have included symposia on the Holocaust, interfaith dialogues, and concerts featuring established and emerging artists.
Over the last few years, the museum has held a day-long symposium on Darfur with policy makers and leaders on human rights; presented performers such as Idan Raichel and David Strathairn; hosted film screenings with actors and directors such as Kirk Douglas, John Turturro, Quentin Tarantino, Claude Lanzmann, and Ed Zwick; explored Justice after the Holocaust with experts like Alan Dershowitz; and hosted the revival of a Yiddish operetta, Die Goldene Kale.


The Museum of Lincolnshire Life is a museum in Lincoln, Lincolnshire, in the UK.  The museum collection is a varied social history that reflects and celebrates the culture of the county of Lincolnshire and its people from 1750 to the present day. Exhibits illustrate commercial, domestic, agricultural, industrial and community life. The story of the Royal Lincolnshire Regiment and Lincolnshire Yeomanry is explained and illustrated by a variety of methods.


WikiWeb_Museum of Military History, Vienna_11

Between 2012 and 2014, the group of halls dedicated to World War I was completely converted, modernised, and redesigned. To enlarge the initial exhibition area from 1,000 to 1,400 m², the room height was reduced and an intermediate platform was introduced, so that the entire exhibition now spreads over three levels. As a result of these measures, some 2,000 items relating to World War I are now accessible to the public, about twice as many as were on display in the previous exhibition.
A series of display cabinets contain the uniforms, weapons, and equipment of the warring powers. At the beginning of the exhibition, the themes focus on the mobilization of the troops in the summer of 1914, the Austrian infantry, followed by the cavalry. Next on display are uniforms and arms of the opposing parties, the Kingdom of Serbia, the Russian Empire, and the Kingdom of Italy, which declared war on Austria-Hungary in 1915. This led to the so-called Italian Front of 1915-1918, to which a separate area is dedicated to in the exhibition. A particular exhibit is the 7-cm M 1899 mountain gun which was positioned around the Ortler summit at an altitude of 3,850 meters, making it Europe's highest gun emplacement. Apart from the weapons, uniforms, and military equipment items, the exhibition also thematizes other related material in separate areas, such as women in war, the k.u.k. military justice system, escape and displacement, deprivation and propaganda, injury and emergency medical services, religion, war captivity, disability and death. Hundreds of digital images and films are presented on flat screens.
Centrepiece of the exhibition is an Austrian M 1916 38 cm siege-howitzer, which could fire shells weighing 750kg over a distance of 15 km and shell-damaged cupolas from the Antwerp and Przemyśl Forts show the effect of bombardments by such heavy artillery. A replicated emplacement system features a series of display cabinets showing the innovations in weapons technology and equipment as of 1916, including the first Austrian steel-helmet built on the basis of the German model. Another particularly noteworthy exhibit is the Phönix 20.01 training and reconnaissance aircraft, prototype of the Austro-Hungarian produced Albatros B.I(Ph), one of 5,200 planes that the Army and the k.u.k. Navy used in World War I. Moreover, a separate area was dedicated to the k.u.k. Kriegspressequartier (k.u.k. war press bureau) and thus to the arts in war, featuring works by war painters such as Albin Egger-Lienz, Wilhelm Thöny, Oswald Roux, Fritz Schwarz-Waldegg, Stephanie Hollenstein, Anton Faistauer, Ludwig Heinrich Jungnickel, Alexander Pock, and Egon Schiele.


WikiWeb_Museum of Shipbuilding and the Fleet_2

The museum exhibition is located in twelve rooms and numbers nearly 3,000 exhibits. Exhibits in the first hall depict items of antiquity and from the time of the Kievan Rus, and describe the beginning of navigation through the Dnipro and Southern Bug rivers, the Black Sea and the Mediterranean Sea. There are pictures of ancient Greek ships, illustrations of a deserved painter V. Bahtov to the "Histories" of Herodotus, archeological finds of antique Olbia, fragments of stony anchors. Exhibits which are devoted to the fleet history of Zaporizhian Cossacks and their heroic combat for access to the Black Sea are of great interest.
The pearl of the museum is the diorama "Building the ships on the Mykolaiv Admiralty in the first quarter of the 19th century" by V. Semernev.
In the hall of the Crimean War (1853–1856) the authentic relics of the past are located: the naval flag of St. Andrew, ship cannons, awards and documents of seamen and veterans of war.
The bust of sailor Ignat Shevchenko (sculptor G. Kovalchuk), who performed a heroic deed during the defense of Sevastopol, also attracts the attention of visitors. The Crimean War was a milestone in the transition from sailing ships to steam ships. Museum exhibits include the model of the first tubular vessel in the Black Sea, the "Novgorod", launched by the Nikolaev Admiralty in 1873 as well as a portrait of the author's draft of the ship, the famous engineer and shipbuilder A. O. Popov.
And on the court, under the expanse of the sky, are the guns from the Black Sea Fleet, covered with glory of combat feats. The best tradition continued in the post-war works of the masters of the ship's business and sailors of the Black Sea. The hall exhibits items of ship's equipment, fragments of shells of ships, maritime communications devices and collection of ship tableware.
The exhibit section "modern civilian fleet – the end of the 1940–1990s." tells about the activities of Europe's largest Black Sea Shipyard, one of the oldest companies in the south of Ukraine -Shipyard named after 61 Communards, and the youngest in the Nikolayev shipyard "Okean".


The Museum of Spirits was opened as the Wine & Spirit Historical Museum in the Grönstedtska palace, in Vasastaden, Stockholm, in 1967, in conjunction with the 50th anniversary of the founding of the state-owned company AB Vin & Sprit.
In the spirit museum, among other things, it is shown by the state of the Absolut Art Collection, a collection of 850 artwork from 1986 onwards for Absolut Vodka of Andy Warhol and 550 other famous artists. This was excluded from the state's sales of Wine & Sprit AB to Pernod in 2008 after a unanimous parliamentary decision, caused by a motion of Leif Pagrotsky. Selection of the art collection is shown in an annual thematic exhibition that is from spring and over the summer. Every autumn is an Absolut-artist in to make a solar setting.
In May 2012, the spirits museum moved to 2,000 square meters of large premises in the Galärskjulen at Djurgården in Stockholm.
In 2014, Petter Nisson, who had previously operated La Gazzetta (described by the New York Times as "one of the most celebrated creative neo-bistros in Paris"), opened a restaurant at the museum.


The main exhibition takes visitors through five main areas: Cosmos, Earth, Anthropocene, Tomorrow, and Us via a number of experiments and experiences. This intricate yet captivating museum mixes science with an innovative design to focus on sustainable cities and an ecological world.
The museum was part of the city's port area renewal for the 2016 Summer Olympics.


WikiWeb_Museum of Underground Prisoners_5

Moshe Barzani and Meir Feinstein were buried on the Mount of Olives. IDF state memorials were placed on their graves after the Six-Day War. The original tombstones were brought to the courtyard of the prison where they stand as monuments to their memory. Menachem Begin, commander of Etzel and Israel's sixth prime minister, requested in his will that he be buried beside them on the Mount of Olives.


Cannibals: Myth & Reality:
This exhibit opened in March 2016, exploring what makes a person a cannibal, how cannibals have been portrayed in popular culture, famous incidents where people resorted to cannibalism to survive, how the human body has been used as medicine, and why some cultures have been falsely labeled as "cannibal".


The Music Hall regularly plays host to the Royal Scottish National Orchestra, the Scottish Chamber Orchestra and the BBC Scottish Symphony Orchestra, the annual Aberdeen International Youth Festival, and various pop/rock artists. Some notable artists who have performed at the Music Hall include David Bowie, Emeli Sandé, Led Zeppelin, Bullet for My Valentine, Placebo, Morrissey, Iron Maiden and Black Sabbath.


The Muskegon South Pierhead Light or Muskegon Pier Light is a lighthouse located on the channel in the harbor of Muskegon, Michigan.
This site is accessible to the public by walking through the pedestrian walkway between the NOAA and USCG stations. The lighthouse is available for tower tours during the summer months between Memorial Day and Halloween weekends.  Up-to-date hours are available at www.muskegonlights.org


The construction of these Walls is directly linked to the origin of Madrid. They were ordered built by the Córdoban emir Muhammad I (852 - 886) on an unspecified date between the years 860 and 880, according to a text of al-Himyari.  It was in an area not chosen by chance. It was a wide cultivated valley, with easy access to water reserves.  It defended the almudaina or Muslim citadel of Mayrit (first name of the city), located on the site currently occupied by the Royal Palace.
According to Muslim chroniclers of the time, high quality construction and materials were used to build the Walls. The historian Jerónimo de Quintana echoed these accounts in the following text of the 17th century: "very strong of masonry and mortar, raised and thick, twelve feet [almost three and half meters] in width, with large cubes, towers gatehouses and moats".
The mission of the fortified complex was to monitor the path of the Manzanares, which connected the steppes of the Sierra de Guadarrama with Toledo, threatened by the incursions of the Christian kingdoms of the north peninsula. It was governed as a ribat or community, simultaneously both religious and military.
The Walls of Mayrit were integrated within a complex defensive system, which extended through different parts of the Community of Madrid.  These included Talamanca de Jarama, Qal'-at'-Abd-Al-Salam (Alcalá de Henares) and Qal'-at-Jalifa (Villaviciosa de Odón). However, do not think of Mayrit as a core of a large entity, but as one of many entities -so is it that sometimes is difficult to find references to the city in the chronicles-.
In the 10th century, the caliph of Córdoba Abd-ar-Rahman III ordered the reinforcement of the Walls, after suffering several situations of danger from the advance of the Christian King Ramiro II of León in 932. In the year 977, Almanzor chose the fortress of Mayrit as the origin point of his military campaign.
With the Christian conquest of Mayrit in the 9th century, the original walled area was expanded, raising one of wider perimeter, known as the Christian Walls of Madrid. Thus, the Madrilenian core did not lose its defensive function at any time.
The image of the Virgin of Almudena, Spanish: Santa María la Real de la Almudena, lit. 'Saint Mary the Royal of la Almudena', formerly called Spanish: Santa María la Mayor, lit. 'Saint Mary the Great',  was found in 1085 (three centuries after the Christians hid it from  Muslims) in the conquest of the city by King Alfonso VI of León and Castile, in one of the hubs of the Walls, near the gate Puerta de la Vega, and placed in the old mosque, for the worship and devotion of the Court and the people of Madrid.


Now part of The National Trust property of Mussenden Temple and Downhill Demesne, the grounds encompassing Mussenden Temple, and its manor house (Downhill Castle) are open to the public all year, from dawn to dusk. The "Temple" offers views westwards over Downhill Strand towards Magilligan Point and on across to Inishowen in County Donegal; and to the east, Castlerock beach towards Portstewart, Portrush and Fair Head.
The temple obtained a licence to hold civil wedding ceremonies in 2007.
The nearest station is Castlerock railway station.


Mutschellen is the name of a pass in the canton of Aargau in the district of Bremgarten near the border of canton Zurich. Three municipalities, Berikon, Widen, and Rudolfstetten-Friedlisberg, meet directly atop the pass.


The pass Mutschellen connects the Reuss valley in the west with communities of greater Zurich in the east. Due to its very low summit of 551 meters above sea level, Mutschellen is often called the lowest pass of Europe.
Directly on the mountain there are three municipalities: Berikon, Rudolfstetten-Friedlisberg and Widen. These three villages have grown together very closely; only those who know the place are able to say where the municipality borders are. Also considered to be part of the Mutschellen region are the municipalities of Zufikon to the west and Oberwil-Lieli to the southeast.
Mutschellen is actually a glacial moraine, which emerged during an ice age. At this time the Reuss glacier and the Linth glacier went northbound as far as the river Rhine. Even today one can see the traces of these monumental glaciers. The glaciers left huge furrows behind and during their retreat left lakes like the lake of Zurich. The pressure of the two glaciers also created the Mutschellen.


The pass is crossed by a busy road from Bremgarten to Zufikon. The road has been significantly improved over the past ten years, particularly as it winds down into Bremgarten. The pass is also crossed by the Bremgarten-Dietikon-Bahn, a metre gauge light railway that is heavily used by commuters traveling into Zurich for work.
The top of the pass features a large intersection and train station that connects to several bus routes. Connecting travelers with the route that runs along the top of the Mutschellen. The area is also a bustling commercial area with a supermarket, Migros and Denner stores, as well as smaller independent stores.


The Muur van Geraardsbergen has often been a climb in the Tour of Flanders. It has been used since 1950, although not consistently until 1970. The "Muur" was the final climb in 1973 and 1974, before the finish in Meerbeke. An extra stretch to the chapel ('kapel' in Dutch) at the summit was added in 1981 and climb became known as the "Muur-Kapelmuur". It was a regular feature from 1981 until 2011.
From 1988 until 2011 it was the penultimate, and often decisive, climb and always followed by the Bosberg before the finish in Meerbeke. The Muur was removed from the 2012 race. With the finish in Oudenaarde, instead of Meerbeke, it was no longer possible to include it while the race was starting from Bruges. When the start was moved to Antwerp for the 2017 race, the Muur was returned to the course, albeit as the eighth climb of the day, approximately 95km from the finish.


The Muur was climbed in the 1960 Gent–Wevelgem and in 49 editions of Omloop Het Nieuwsblad. Since 2019, the Muur is the penultimate climb in Omloop Het Nieuwsblad.
The Tour de France visited the Muur in 2004 but did not climb the actual Muur of Geraardsbergen.
After omission of the Muur from the Tour of Flanders, it was announced that the climb would be in the 2012 E3 Prijs Vlaanderen, although not in the final.
The Muur was announced as the centerpiece of the final stage of the Eneco Tour for 2012, 2013, 2014. Geraardsbergen and possibly the Muur will be in a stage for the next five years.
The Muur has been used as the start of the Transcontinental Race.
In 2019, it was used as the first climb of the Tour de France


Despite a tourist destination the beach is a bird watching hotspot too. More than thirty species of migratory birds visit here in the winter. Among them Pectoral sandpiper and Caspian plover, sighted here in 2013 were reported for the first time in Kerala. Long, broad shore and rocky formations on the either side of the beach provide a safe place for migration.


Initially, the palace was inhabited by the king's courtiers and later by Józef Antoni Poniatowski, the king's nephew. The cartouche above the main entrance was decorated with his initials JP.
In the 19th century and during the People's Republic of Poland the palace served as a guest house and opened its doors to eminent guests such as Napoleon I and U.S. President Richard Nixon. On September 15, 1958 the first meeting of the ambassadors of the People's Republic of China and the United States took place in the palace, which is considered as the first attempt to establish contacts between the two countries.
The facade is adorned with a huge shell-bowl with sculptures by Jakub Monaldi depicting Zephyr and Flora, while the mild warping of the roof refers to the popular Chinese designs Large parts of the original interior furnishings survived the last world war - including paintings by Jan Bogumił Plersch from 1778 and Antoni Gerżabka as well as stucco decorations and sculptures. Particularly valuable are the Dining Room with views of Rome and Venice and the Bathroom with a plafond by Plersch depicting Zephyr and Flora


The park is noted for its wildlife and some of the rare birds seen only in Florida, such as the roseate spoonbill, frequent the park. Native flora flourishes in the park. There are many species of fish, amphibians, reptiles, and mammals to learn about and enjoy watching as well.
Myakka River State Park has an excellent system of hiking trails. Walking trails crisscross the eastern side of the park.
Six primitive campgrounds are accessible by trail throughout the park: Mossy Hammock, Bee Island, Panther Point, Honore, Oak Grove and Prairie.
Horseback riding and biking is permitted on certain designated trails and roads in the park. This part of the park is dominated by expanses of very low vegetation, fields of palmetto, that make a transition to islands, or hammocks, of tall pine and oak trees.
A good portion of the park is accessible by automobile. Myakka River State Park's main road, a 6.5-mile (10.5 km) drive between the north and south ends, leads visitors to a boardwalk out to the river and a lake that is excellent for bird watching.
The main drive is also popular with cyclists, runners, and skaters. Bicycle traffic can be heavy, especially on weekends and holidays.
A short walk from the main road reveals Myakka's canopy walkway, a novel suspension bridge and tower providing researchers and visitors with views of the forest canopy and a spectacular above-the-treetops view of the entire park.
Picnic areas, canoeing, boat tours, and developed campsites are available. The park even has five cabins that were built not with logs, but with the trunks of native sabal palms.


The surrounding sediment at Myrtos Beach is generally made up of marble material, a metamorphosed limestone.  The beach is made up of round, white cobblestones. The sediment gradually becomes smaller as you approach the shoreline.  Because the slope angle has an abrupt drop near the edge of the shoreline, the wave energy is very high and causes the gradation trends from cobbles to pebbles along the beach.
Longshore drift, along with wave energy, has shaped the shore.  As waves curve along the beach they also pick up the finest bits of marble; this creates sediment plumes that follow the curve of the beach with the direction of the waves giving the water a shade of turquoise.


The Nádasdy Mansion is a neo-gothic style manor house designed by István Linzbauer and Alajos Hauszmann situated on 24 hectares in Nádasdladány, Hungary.  It dates from 1873 to 1876, and belonged to the Nádasdy family.  It was used for the exterior of the vampires' mansion in the Underworld film series.


The other two cities at the time of the announcement that were in the running were the cities of Atlanta and Daytona Beach.


The NRW-Express is a Regional-Express rail service in the German state of North Rhine-Westphalia (NRW), running from Aachen via Cologne, Düsseldorf, Duisburg, Essen, Bochum and Dortmund to Hamm as line RE 1. The line is operated by Abellio Rail NRW.
The service has one of the highest levels of patronage in Germany with about 110,000 passengers per day, mainly commuters and students.


Today's NRW-Express replaced existing express services on individual sections of the route after the regionalisation of transport in Germany. A number of stations previously served by long-distance trains, such as Düsseldorf-Benrath and Wattenscheid came to be served by regional services only. The NRW-Express was first classified as Regionalschnellbahn ("regional fast train") RSB 1, then as StadtExpress ("city express") SE 1 and eventually as Regional-Express RE 1, when it was also given the name of NRW-Express.
The service originally operated on the Aachen–Bielefeld route and was composed of class 110 locomotives hauling six partly modernised Silberling carriages. If necessary, trains had an additional carriage. From the mid-90s, the trains were formed of non air-conditioned double-deck carriages and class 111 locomotives. Shortly later control cars were added, so that push–pull operations could be introduced. From 1998, air-conditioned double-deck carriages were introduced, but only after Expo 2000 in Hanover were all services of the NRW-Express operated with new air-conditioned carriages equipped to operate at 160 km/h. The sets were now mostly hauled by class 146 locomotives, which had originally been supplied for the Expo.
The class 145 locomotives, with their AC engines, had performed well on services at Expo 2000, so their introduction on the NRW-Express services was hoped to improve on-time running with their better acceleration. A passenger version of class 145, which has a top speed of 140 km/h (87 mph), was ordered as class 146 with a top speed of 160 km/h (99 mph) in the autumn of 2001 and was first used for the NRW-Express services.
RE 1 provided travel times that were very competitive with long-distance trains through North Rhine-Westphalia and had good connections in Bielefeld to Hanover, so the train on weekends was heavily used by long-distance travellers to Hamburg and Berlin as part of the so-called Wochenend-Ticket-Rennstrecke ("weekend-ticket race track"). This attractiveness became a problem since the trains were often overcrowded. An extension of the trains with an additional carriage failed to overcome this problem because the trains still used single-deck carriages and some platforms were too short for the extra carriage. At the time double-deck carriages were in short supply and their increased weight caused travel times to be extended (only during a few timetable periods were services formed with six double-deck carriages). The high loadings often meant that the scheduled stopping times were insufficient, so delays were created. Delays to long-distance trains also had a strong influence on the punctuality of the NRW-Express. The situation was aggravated several times when DB Regio tried to change the timetable by shortening the turnaround time in Bielefeld from 70 to 10 minutes to save a train set. These trials were always given up after a few weeks at the most.
With the timetable change in December 2002, the route was cut back from Bielefeld to Hamm. On the section that was eliminated, the NRW-Express was replaced by the newly created Westfalen-Express (RE 6) from Düsseldorf via Duisburg, Essen, Bochum, Dortmund, Hamm and Bielefeld to Minden. On the last section from Dortmund, the NRW-Express, however, now stopped only in Kamen, except every second hour it stopped at all five stations on the section. As a result of the shortening of the route of the trains, punctuality was significantly improved, although in the past most lost time could be made up between Hamm and Bielefeld. RE 1 therefore remains one of the lines in North Rhine-Westphalia that is most vulnerable to delay.
A bomb plot on the train in 2006 failed due to faulty construction.
From the timetable change in December 2010, services were extended to run every two hours between Hamm and Paderborn. In the off-peak, services have stopped east of Dortmund only at Dortmund-Scharnhorst, Dortmund-Kurl, Kamen-Methler and Nordbögge since 2010. The first morning service to Paderborn stopped at all stations between Hamm and Paderborn.
A sixth carriage was gradually introduced on each train between March 2011 and September 2011. This increased the capacity from 602 to 735 seats per train.
The section between Hamm and Paderborn was dropped in December 2016.


The NRW-Express is complemented by other rail passenger services. A large portion of it runs parallel to S-Bahn lines. The following Regional-Express services run every hour along part of its route:
between Essen and Düsseldorf, the Rhein-Haard-Express RE 2,
between Hamm and Dortmund and between Duisburg and Düsseldorf, the Rhein-Emscher-Express RE 3,
between Duisburg and Cologne, the Rhein-Express RE 5,
between Hamm and Düsseldorf, the Rhein-Weser-Express RE 6,
between Cologne and Aachen, the Rhein-Sieg-Express RE 9,
between Hamm and Düsseldorf, the Rhein-Hellweg-Express RE 11,
between Duisburg and Düsseldorf, the Rhein-IJssel-Express RE 19.
Additional services operate during the peaks between Aachen and Cologne Messe/Deutz five minutes before the regular services in order to overcome overcrowding.
The NRW-Express is linked in Aachen, Cologne, Düsseldorf, Duisburg, Essen, Bochum, Dortmund, Hamm and Paderborn with the whole transport network of North Rhine-Westphalia. It also has direct connections at these stations with long-distance passenger services.


In Islam, Moses' burial place is also considered to be unknown. However, local Muslim tradition places the "Tomb of Moses" at the maqam (Muslim shrine) of Nabi Musa ("Prophet Moses"). It is not known when this tradition has first emerged. The Jerusalem-Jericho road was one of the primary routes used by Mediterranean Arabs to make a pilgrimage to Mecca. The site where the shrine stands since the 13th century is located at what would be have marked the end of the first day's march in that direction. Originally, it was simply a point from which pilgrims could rest, look across the Jordan Valley, catch a glimpse of Mount Nebo where (as suggested by the Hebrew Bible) the tomb of Moses used to be, and worship it from this spot.
It seems that by the time when Mamluk sultan Baibars visited the site in 1269 while returning from his hajj, "there must have been some association", since he set about building an extensive shrine. Murphy-O'Connor considers that gradually, the lookout point for Moses' distant gravesite beyond the Jordan was confused with Moses' tomb itself, laying the ground for the cultic importance Nabi Musa was to acquire in the Sunni Arab reverence of saints (walis). According to Uri M. Kupferschmidt, it appears to have become a fixed point in the local Muslim calendar from the time of Saladin. In any case, tradition holds that the spot where the shrine now stands was shown to Saladin in a dream, which prompted him to built a mosque at the site, later expanded by Baibars.
The Arab geographer Mujir al-Din from Jerusalem, writing in the 1490s, admits that the tradition has only a weak chance of authenticity, but that Nabi Musa still is the most popular among several sites with similar claims.
The Taiyabi and Dawoodi Bohra Isma'ili sects also believe in this tradition.


The church erected above John the Baptist's tomb was superseded by a Crusader-built church in 1160. It was transformed into a mosque by Saladin in 1187, although some sources say it was converted by the Mamluks in 1261. Nabi Yahya refers to John the Baptist in the Arabic language.
In 1870, the  French explorer Victor Guérin visited the place, and noted:
At the western extremity of the monument rises a Musulman sanctuary crowned by a little cupola pierced with narrow windows, which admit a feeble light into the crypt which it covers. This crypt probably belongs to the ancient basilica, which was replaced by the edifice now itself in ruins. Descent is managed by a staircase of fifteen steps; then, after crossing a landing once closed by a monolithic door, you go down two steps, and find yourself in a crypt formerly paved with small slabs of marble in different colours, forming a sort of mosaic. Here lies the door of which I have just spoken: mouldings divide it into compartments; it is provided with hinges worked in the thickness of the block which composes the stone. This crypt, of small extent, contains a sepulchral chamber divided into three parallel arched loculi, with cut stones regularly worked between them. They are only seen by introducing a light across three small openings in the wall of the chamber. According to an ancient tradition, one of these compartments is the tomb of St. John the Baptist, and the others those of the prophets Obadiah and Elisha.
— Guérin, 1875
Later, in the 1870s, the Palestine Exploration Fund excavated the place, which it described in its Survey of Western Palestine as "a mere shell, the greater part of the roof and aisle piers gone, and over the crypt a modern kubbeh has been built. The interior length is 158 feet, the breadth 74 feet; the west wall is 10 feet thick, the north wall 8 feet, the south wall 4 feet. There were six bays, of which the second from the east is larger, probably once supporting a dome. On the east are three apses to nave and aisles, the central apse is 30 feet in diameter, equal to the width of the nave. The piers had four columns attached, one each side; on the west was a doorway and two windows; on the south four windows remain, and on the north three."


Nachlaot (Hebrew: נחלאות, also Naḥlaʾoth) is a cluster of 23 courtyard neighborhoods in central Jerusalem  known for its narrow, winding lanes, old-style housing, hidden courtyards and many small synagogues.
Neighborhoods in Nachlaot (plural of nachala, lit. "homestead") include Batei Broide, Batei Goral, Batei Minsk, Batei Munkacs, Batei Rand, Bet Ya'acov, Even Yisrael (built in 1875 it is the oldest of the group), Knesset Yisrael, Mahane Yehuda, Mazkeret Moshe, Mishkenot Yisrael, Nahalat Ahim, Nahalat Zion, Neve Bezalel, Neve Shalom, Ohel Moshe, Shevet Ahim, Shevet Zedek, Sukkat Shalom, Zikhron Tuvya, Zikhron Ya'acov, and Zikhron Yosef.


Nagarjuna Sagar Dam is a masonry dam across the Krishna River at Nagarjuna Sagar which straddles the border between Nalgonda district in Telangana and Palnadu district in Andhra Pradesh. The dam provides irrigation water to the Nalgonda, Suryapet, Krishna, NTR, Bapatla,
Eluru, Palnadu, Khammam, West Godavari, Guntur, and Prakasam districts along with electricity generation.
Constructed between 1955 and 1967, the dam created a water reservoir with gross storage capacity of 11.472 billion cubic metres (405.1×10⁹ cu ft), its effective capacity is 6.92 cubic kms or 244.41 Tmcft. The dam is 490 feet (150 m) tall from its deepest foundation and 0.99 miles (1.6 km) long with 26 flood gates which are 42 feet (13 m) wide and 45 feet (14 m) tall. It is jointly operated by Andhra Pradesh and Telangana.
Nagarjuna Sagar Dam was the earliest in a series of large infrastructure projects termed as "modern temples" initiated for achieving the Green Revolution in India. It is also one of the earliest multi-purpose irrigation and hydroelectric projects in India.


The potential of the Ōi River valley for hydroelectric power development was realized by the Meiji government at the start of the twentieth century. The Ōi River was characterized by a high volume of flow and a fast current. Its mountainous upper reaches and tributaries were areas of steep valleys and abundant rainfall, and were sparsely populated. In 1906, a joint venture company, the Anglo-Japanese Hydroelectric Company (日英水力電気, Nichiei Suiroku Denki) was established, and began studies and design work on plans to exploit the potential of the Ōi River and Fuji River in Shizuoka Prefecture. The British interests were bought out by 1921, and the company was renamed Hayakawa Electric (早川電力, Hayakawa Denryoku). By the mid-1950s, several dams had been completed on the upper reaches of the Ōi River and its tributaries.
In September 1954, a typhoon caused flooding in the downstream reaches of the Ōi River, leading to plans being drawn by the central government in Tokyo for a new dam, which was justified as a "multipurpose" dam to provide industrial water, agricultural water  in addition to flood control. Work was delayed due to lack of budget in the 1960s, with the construction of the Tōkaidō Shinkansen and Tōmei Expressway, but was given additional impetus due to the "Tanabata Flood" of July 1974 which flooded most of downtown Shizuoka.
Construction work began on the Nagashima Dam in 1972 and was completed by 2002 by a consortium of the Maeda Corporation, Shimizu Corporation and the Takenaka Corporation. Work was facilitated by the proximity of the dam to the Ōigawa Railway.


The Nagashima Dam is a hollow core concrete gravity dam with central spillways. It is not equipped with any hydroelectric generation capability. It is now operated and maintained by the Ministry of Land, Infrastructure, Transport and Tourism.
In order to avoid silting problems as was experienced with the Senzu Dam, the Nagashima Dam is equipped with a large secondary check dam upstream, the first in Japan to be constructed with the cemented sand and gravel method. This dam reduces the current, causing most of the sand and silt to settle before it reaches the main Nagashima Dam. Under normal conditions, this check dam is completely underwater and cannot be seen from the surface.


The temple is one of the prominent Shiva temples in Kumbakonam. The temple shows early Chola art in its best form particularly in the form of human figures. The sanctum is of padabandha-padmaka type stands on padmopana.  The lotus leaves of the padmopano are carved with vitality.  In its iconographic scheme the Ardhanari, Brahma and Dakshinamoorthy in the niches of the outer wall are featured.  The other sculptures on the walls almost life-size reflect either the donors to the temples or contemporary princesses and princes.  The epic scenes are in low relief on the plinth below the pilasters of the walls of the sanctum, recalling the wood work.
The Devi shrine is an independent structure situated in the outer prakaram(outer precincts of a temple), detached from the axial unit, though it faces south, a feature common to Saiva Devin shrines.  The complex of Nataraja shrine is in the form of a chariot on wheel drawn by horses as in the case of Airavatesvara Temple at Darasuram and Sarangapani Temple in Kumbakonam. Similar architecture of halls (Mandapas) simulating a chariot drawn by elephant or horses is found in Sarangapani temple at Kumbakonam, Mela Kadambur Amirthakadeswarar Temple, Sikharagiriswara Temple, Kudumiyamalai, Vriddhagiriswarar Temple, Vriddhachalam and Thyagaraja Temple, Tiruvarur.
According to historian Harle, the temple is counted among the four early extant temples of the Chola Empire, with the other three being Koranganatha Temple in Tiruchirappalli district, Moovar Koil in Pudukottai district, and Brahmapureeswarar temple in Thanjavur district. These temples follow the Pallava architecture which are relatively small in size. They all have a fair-sized porch, locally called ardhamandapa attached to the sanctum, both of which are slightly below the ground level in a pit kind of structure. The structures are also predominantly built of stone.
During Rajendra Chola's Ganges expedition, the victorious chola army brought a beautiful Vinayagar statue as a war trophy to the chola empire. The Vinayagar statue was kept at this temple and was aptly named as Gangai Vinayagar. Currently, the Vinayagar is present in the ardha mandapam, in front of the sanctum of Nageswarar. The Vinayagar seems to be in the Pala style.


The Nagoya City Art Museum (名古屋市美術館, Nagoya-shi Bijutsukan) is located in the city of Nagoya in central Japan.
The museum building itself was constructed by Kisho Kurokawa, one of the leading Japanese architects, from 1983 to 1987.
Works by the surrealist Kansuke Yamamoto, Sean Scully, and Alexander Calder belong to its permanent collection. Artists such as Hakuyō Fuchikami, Nakaji Yasui and Jean-Michel Othoniel have exhibited their works there.


Nahal Alexander (Hebrew: נחל אלכסנדר) is a river in Israel that flows from the western side of the Samaria mountain belt in the West Bank to the Mediterranean Sea, north of Netanya. The length of the river is about 45 km. Several small streams flow into Nahal Alexander: Nablus, Te'enim, Ometz, Bahan, and Avihail. Most of the river is located in the Hefer Valley.


The area of the basin and its tributaries is about 200 square kilometers, including the Taninim, Ada, Barkan, Alona and Mishmarot streams. Nahal Taninim is the cleanest of Israel's coastal rivers. Three waterways meet in Nahal Taninim: the natural stream, a Roman aqueduct extending from the Zabrin springs to Caesarea, and Mifale Menashe, the waterworks that collect surface runoff water and springwater, routing it into the subterranean water table.


In 1600, Kuroda Nagamasa, a daimyō of the Fukuoka-Han, created Nakasu to connect between current Chūō-ku and Hakata-ku by building two bridges over the rivers at the sandbank: Higashi Nakajima Bridge and Nishi Nakajima Bridge (currently Shōwa Street). Present day of Nakasu has 18 bridges in total: 7 of them are built at the side of the Chūō-ku, and 11 at the side of the Hakata-ku. Nakasu previously featured Tamaya, a department store of long standing, and movie theatres, although the center of commerce has moved to the Tenjin and Daimyō districts in Chūō-ku.
After the establishment of a shopping complex, the Canal City Hakata at neighbouring Sumiyoshi district in 1996, the areas of Tenjin, Nakasu, and Hakata Station, all of which are located in the middle of the place between the Tenjin district and Canal City Hakata, were unified. The redevelopment of unification with adjacent Kawabata district is also in progress. On March 29, 2002, the Nakasu Special Investigators, a squad of the Fukuoka Prefectural Police, was formed to prevent crime. A huge commercial complex, the "gate's" was opened in 2006, at the site the Tamaya was located.


Viewed from the entrance gate, which is facing west, it is in curved shape, and appears like the backside of an elephant and hence the style is termed gajapristha (back of an elephant). To add to this epithet, a large sized elephant sculpture, a monolithic sculpture, is carved next to the ratha. The ratha is classified under the vasara style. This monolithic structure, along with the other Pancha Rathas, opposite to the Arjuna Ratha, was built out of a single rock outcrop of granite. It is an apsidal (horseshoe-shaped) dvitala (two tiered) free standing structure, entirely of Dravidian architecture. It is built on the same base, at the end of the three rathas of Dharmaraja, Bhima and Arjuna, but facing south. There are no idols to worship inside the ratha. The walls of this ratha also have features arranged in a sequence to delineate the "projections and recesses created by pairs of shallow pilasters." The niches on the interior walls of the ratha have carved images of gods and demi-gods. The roof (in the form of the back of an elephant) terminates as a pyramid or finial or shikara, which is carved with motifs. The unusual architecture of this ratha is said to be an innovation of the architect.


The national park is located in Changlang district of the northeastern state of Arunachal Pradesh, near the international border with Myanmar. It spans an area of 1,985 km² (766 sq mi) including a buffer zone of 177 km² (68 sq mi) and a core area of 1,808 km² (698 sq mi). It is located between the Dapha bum range of the Mishmi Hills and the Patkai range with a wide elevation range between 200 and 4,571 m (656 and 14,997 ft). It is crossed from east to west by the Noa Dihing River that originates at the Chaukan Pass, located on the Indo-Myanmar border. The land cover changes with increasing elevation from tropical evergreen forest to temperate broadleaf and mixed forest. Secondary forests cover  345.47 km² (133.39 sq mi); seasonal snow occurs at above 2,700 m (8,900 ft) between December and March. Additionally, the park has extensive bamboo forests. The area falls under both the Palearctic and Indo Malayan biogeographic areas resulting in a diverse species assemblage.


The Nampa Historic District is a 3-acre (1.2 ha) historic district in Nampa, Idaho that was listed on the National Register of Historic Places in 1983.  The listing included 10 contributing buildings.

Its National Register nomination described:
The district is historically significant for its association with Nampa's commercial development during the period 1905 through 1920, a major period of growth during which Nampa's main street, First Street South, gained a full complement of two-story brick business blocks.
It includes part or all of the 1200 and 1300 blocks of S. 1st St. in Nampa, and it includes work by architects Tourtellotte & Hummel.  Tourtellotte & Hummel designed the one-story Nampa Department Store (1919) in the 1300 block, also the two-story Nampa Department Store at 1307 First Street South (1910).


The ascent of Nanda Devi necessitated fifty years of arduous exploration in search of a passage into the Sanctuary. The outlet is the Rishi Gorge, a deep, narrow canyon which is very difficult to traverse safely, and is the biggest hindrance to entering the Sanctuary; any other route involves difficult passes, the lowest of which is 5,180 m (16,990 ft). Hugh Ruttledge attempted to reach the peak three times in the 1930s and failed each time. In a letter to The Times he wrote that 'Nanda Devi imposes on her votaries an admission test as yet beyond their skill and endurance', adding that gaining entry to the Nanda Devi Sanctuary alone was more difficult than reaching the North Pole.
In 1934, the British explorers Eric Shipton and H. W. Tilman, with three Sherpa companions, Angtharkay, Pasang and Kusang, finally discovered a way through the Rishi Gorge into the Sanctuary.
When the mountain was later climbed in 1936 by a British-American expedition, it became the highest peak climbed by man until the 1950 ascent of Annapurna, 8,091 metres (26,545 ft). (However, higher non-summit elevations had already been reached by the British on Mount Everest in the 1920s, and it is possible that George Mallory reached Everest's summit in 1924.) It also involved steeper and more sustained terrain than had been previously attempted at such a high altitude. The expedition climbed the south ridge, also known as the Coxcomb Ridge, which leads relatively directly to the main summit. The summit pair were H. W. Tilman and Noel Odell; Charles Houston was to be in place of Tilman, but he contracted severe food poisoning. Noted mountaineer and mountain writer H. Adams Carter was also on the expedition, which was notable for its small scale and lightweight ethic: it included only seven climbers, and used no fixed ropes, nor any Sherpa support above 6,200 m (20,300 ft). Eric Shipton, who was not involved in the climb itself, called it "the finest mountaineering achievement ever performed in the Himalaya."
After abortive attempts by Indian expeditions in 1957 and 1961, the second ascent of Nanda Devi was accomplished by an Indian team led by N. Kumar in 1964, following the Coxcomb route.


Aitken, Bill. (reprinted 1994). The Nanda Devi Affair, Penguin Books India. ISBN 0-14-024045-4.
Kohli, M.S. & Conboy, K. (2003). Spies in the Himalayas: Secret Missions and Perilous Climbs, University Press of Kansas. ISBN 0-7006-1223-8.
Jose, Vinod (2010). River Deep, Mountain High, The Caravan Magazine.
Malhotra, Ashok (2011) Nude Besides the Lake, Createspace ISBN 978-1463529390
Roskelley, John. (2000).  Nanda Devi: The Tragic Expedition, The Mountaineers Books. ISBN 0-89886-739-8 .
Sanan, Deepak. (1995) Nandadevi – Restoring Glory – New Age International (Wiley Eastern Ltd), New Delhi. ISBN 81-224-0752-8.
Shipton, E., Tilman, H.W. & Houston, C. (Reprinted 2000). Nanda Devi:Exploration and Ascent, The Mountaineers Books. ISBN 0-89886-721-5.
Sircar, J. (1979) Himalayan Handbook, (private pub., Calcutta).
Takeda, Peter. (2006) An Eye at the Top of the World: The Terrifying Legacy of the Cold War's Most Daring C.I.A. Operation, Thunder's Mouth Press. ISBN 1-56025-845-4.
Thomson, Hugh (2004) Nanda Devi: A Journey to the Last Sanctuary, Weidenfeld & Nicolson ISBN 0-297-60753-7
Tilman, H. W., The Ascent of Nanda Devi, Cambridge University Press. 1937.


Ex Chief Minister of West Bengal Buddhadeb Bhattacharjee has a long relation with Nandan. In 1980 he laid the foundation stone of the theatre. After losing the 1982 assembly election from Cossipore, he did not come to Nandan till 1987, when he changed constituency to Jadavpur and after winning the election.
After becoming the Chief Minister of West Bengal in 2001, he started visiting the auditorium more frequently. Till 1995 he did not have own room here. Then he got a 300 sqft carpeted room on Nandan's second floor. Here he often used to meet personalities like Sunil Gangopadhyay, Soumitra Chatterjee etc. and proofread his writings on Manik Bandopadhyay or Jibanananda Das.
After being defeated at the 2011 assembly elections of West Bengal by the Trinamool congress candidate Manish Gupta, Bhattacharjee stopped coming here. According to a report published in The Telegraph in July 2011, two months after West Bengal's assembly elections, Bhattacharjee almost stopped visiting his favourite evening spot.


The pedestrian mall, and East Nanjing Road, ends at People's Park, formerly the Shanghai Race Course. Opposite the park are some of Shanghai's prestigious historic hotels, including Park Hotel. West Nanjing Road begins here, and features a number of upmarket malls including Plaza 66, Jing An Kerry Centre and HKRI Taikoo Hui, office buildings, the Shanghai Exhibition Centre, and shops. This area also previously featured a number of large mansions and estates, most of which are today either demolished or used by the government.
West Nanjing Road, near Jing'an Temple, was built in 1860 as Bubbling Well Road (靜安寺路), an extra-settlement road outside the concession proper. It was once one of Shanghai's premier residential areas, but has witnessed constant development over the past ten years. This area is now host to several five star hotels, upscale shopping centers, restaurants and prime office buildings. Recently, the area has benefited from the construction of Subway Line 7, connecting with Line 2 at Jing'an Temple station. Many luxury goods, fashion and sport brand boutiques are located on West Nanjing Road.
In December, Starbucks opened a 30,000 square feet (2,800 m2) Starbucks Reserve Roastery at HKRI Taikoo Hui on Nanjing Road West, the largest Starbucks branch in the world. It features its own roasting facility and Shanghai specific offerings including nitro draft lattes and alcoholic drinks.


Tourists and guests often celebrate various holidays at Nanjing Road, such as the Chinese New Year, New Year's Eve, Christmas and Easter. Some parts of the buildings and shopping malls seen in front of Nanjing Road may host a fireworks display over the street.


The museum houses a rare collection of archaeological and historic artifacts, bronze idols, ancient ornaments, a temple chariot and ivory carvings. Indian epics of Mahabharata and Ramayana are depicted in the museum, using Japanese shadow-play leather.


The town hall was one of the few elements of the city's baroque-era architecture to be rebuilt following the Second World War. It is now surrounded largely by Soviet-era Stalinist designs and Khrushchyovka. In 2021 a €7 million renovation project at the Narva Town Hall started. The building will return to its original function as the seat of Narva's city government and will also accommodate a tourist information centre and restaurant.


Inscriptions in caves 3, 11, 12, 13, 14, 15, 19 and 20 are legible. Other inscriptions note the names Bhattapalika, Gautamiputra Satkarni, Vashishthiputra Pulumavi of the Satavahanas, two of the Western Satraps, Ushavadata and his wife Dakshamitra, and the Yavana (Indo-Greek) Dhammadeva.
Since the caves were inhabited by the Mahayana as well as the Hinayana sects of Buddhism, one can see a nice confluence of structural and carvings.


Nasseef house has 106 rooms, including artworks in some of the rooms. Besides works on wood, others on tiles can be seen as well as Arabic calligraphy. The design style is said to be Ottoman Turkish. This rather describes more the period during which it was built than relationship to designs popular in the Umayyad and Abbasids cultural centers at this time such as Baghdad, Cordoba and Damascus . The style is thought to be more related to stylistic elements found along the Red Sea, Egypt and maybe the Levant at that time.
The house has an irregular plan of rectangular rooms arranged around a central hall. The main entrance to the house is from the north, while there is a second entrance from the west, that was used by the women. After climbing a flight of stairs onto a small platform in front of the house, one enters into a large entry hall (dihliz) that opens to the central hall. To the left and right of the entrance hall, there are somewhat smaller rooms, that occupy the northern corners of the house. The west entrance opens straight into the central hall, while several smaller rooms are arranged around a small corridor, that connects to the central hall on the east. Similar a group of rooms occupies the southwest corner of the building. Directly opposite the main entrance hall is a large stairway system. Both the entrance hall in the north and the stairway in the south jut out from the facade as large risalits. Two large bay windows (rawashin), traditional in Jeddah, occupy the front facade above each other, connecting the two levels above the main door with their large wooden structure. There is a second smaller stairway in the southeast corner of the house that may have had more of a service function as further up the kitchen lies in this part of the house.
The layout of the main rooms such as the entry hall in the north with the two smaller corner rooms to its east and west, the central hall and the large stairway are all traced to the floors above. On the fourth floor, there is a large terrace on the outlines of the entry hall, while the rooms to the left and right are built as lofty structures with large windows that are covered with wood lattice from the outside. The terrace itself is screened from view by a wall with many windows. The other parts of this level have normal rooms. The fourth-floor rooms except in the southeastern part are covered by flat roofs in different levels, some usable as terraces. On the fifth floor, the kitchen resides above the main stairway in the middle of the southern part of the building. A light pavilion-like structure rises above the building on the middle eastern part, thus giving the Nasseef house seven floors (depending on how you count some of the intermediate or offset floors). This was used for resting and sleeping in, making the most of cooling breezes at this height.
A motive of grouping elements in threes is found often in the house. This may be a group of three windows or a central doorway with a window or niche on each side. Most official rooms have a symmetrical design with niches on the walls that may correspond to windows or doors on opposite walls. Doors though are more often not arranged in the middle of a wall but rather near corners. The main stairway is fairly wide and the steps are very flat. This is said to have enabled camels to carry provisions to the kitchen on the fifth floor. Even if animals were used to carry heavy loads upstairs, one may consider it easier to direct a donkey around the turns of the stairway. There are two cisterns for water on the ground floor and latrines are provided for each level, while a domed shower can be found on the third floor. Pipes feed the waste water to underground septic tanks.
People used to recognize Nasseef house as "The House with the Tree" because it was the only house in Balad that had one. Obviously, growing a tree was not an easy task because of the scarcity of water. The tree grows on a little square on the north of the house and is a neem tree (Azadirachta indica).  This may well be the oldest tree in Jeddah.
A model of the Nasseef House may be viewed in the Jeddah Regional Museum of Archaeology and Ethnography.


The Chidambaram temple legend is contained in the 12th-century text Chidambara-mahatmya. The central episode states that Shiva visits sages in the mythical Pine Forest in the form of a dancer mendicant (Bhikshatana) accompanied by Mohini, Vishnu in his avatar as a beautiful woman. Mohini triggers lustful interest of the sages, while Shiva performs Tandava dance that triggers the carnal interest of the wives of these sages. The sages ultimately realise how superficial their austerities have been. The episode becomes widely known. Two sages named Patanjali (also called Sesha-bodied in the south for his connection to Vishnu) and Vyaghrapada (also called Tiger-footed sage) want to see the repeat performance of this "dance of bliss" in the Thaillai forest, Chidambaram. They set up a Shivalinga, pray, meditate and wait. Their asceticism impresses Shiva who appeared before them in Chidambaram and performed "the dance" against "the wall, in the blessed hall of consciousness". This is how this temple started, according to the mahatmya embedded in the Tamil Sthalapurana. According to Kulke, the late medieval text Chidambaramahatmya may reflect a process of Sanskritisation, where these North Indian named sages with Vedic links became incorporated into regional temple mythology.
According to another Hindu legend, Mahalingaswamy at Thiruvidaimarudur is the centre of all Shiva temples in the region and the Saptha Vigraha moorthis (seven prime deities in all Shiva temples) are located at seven cardinal points around the temple, located in various parts of the state. The seven deities are Nataraja in Chidambaram Nataraja Temple at Chidambaram, Chandikeswarar temple at Tirucheingalur, Vinayagar in Vellai Vinayagar Temple at Thiruvalanchuzhi, Muruga in Swamimalai Murugan Temple at Swamimalai, Bhairava in Sattainathar Temple at Sirkali, Navagraha in Sooriyanar Temple at Suryanar Kovil, Dakshinamoorthy in Apatsahayesvarar Temple at Alangudi.
The temple, also called Perumpatrapuliyur in this context, is one of the Nava Puliyur Temples worshipped by Patanjali and Vyaghrapada. The other temples are Thirupathiripuliyur, Erukathampuliyur, Omampuliyur, Sirupuliyur, Atthippuliyur, Thaplampuliyur, Perumpuliyur and Kanattampuliyur.


The road is maintained by the National Park Service and has been designated an All-American Road. Commercial traffic is prohibited along the entire route, and the speed limit is 50 miles per hour (80 km/h), except north of Leiper's Fork, Tennessee, and Ridgeland, Mississippi, where the speed limit is reduced to 40 miles per hour (64 km/h). The total area of the Parkway is 51,746.50 acres (209.4 km²), of which 51,680.64 acres (209.1 km²) are federal, and 65.86 acres (0.3 km²) are non-federal.
The Parkway is headquartered in Tupelo and has nine district offices: Leipers Fork, Meriwether Lewis, Cherokee, Tupelo, Dancy, Kosciusko, Ridgeland, Port Gibson, and Natchez. The Parkway also manages two battlefields: Brices Cross Roads National Battlefield Site and Tupelo National Battlefield.


The gentle sloping and curving alignment of the current route closely follows the original foot passage. Its design harkens back to the way the original interweaving trails aligned as an ancient salt-lick-to-grazing-pasture migratory route of the American bison and other game that moved between grazing the pastures of central and western Mississippi and the salt and other mineral surface deposits of the Cumberland Plateau. The route generally traverses the tops of the low hills and ridges of the watershed divides from northeast to southwest.
Native Americans, following the "traces" of bison and other game, further improved this walking trail for foot-borne commerce between major villages located in central Mississippi and middle Tennessee.  The route is locally circuitous; however, by traversing this route the bison, and later humans, avoided the endless, energy-taxing climbing and descending of the many hills along the way.  Also avoided was the danger to a herd (or groups of human travelers) of being caught en-masse at the bottom of a hollow or valley if attacked by predators.  The nature of the route, to this day, affords good all-around visibility for those who travel it.  At all times the road is on the high ground of the ridge dividing the watersheds and provides a view to either see or catch the scent of danger, from a distance great enough to afford the time to flee to safety, if necessary.
By the time of European exploration and settlement, the route had become well known and established as the fastest means of communication between the Cumberland Plateau, the Mississippi River, and the Gulf of Mexico settlements of Pensacola, Mobile, and New Orleans.  In the early post-American Revolutionary War period of America's (south) westward expansion, the Trace was the return route for American flat-boat commerce between the territories of the upper and lower Ohio, Tennessee, and Cumberland River valleys. The Americans constructed flat-boats, loaded their commerce therein, and drifted upon those rivers, one-way south-southwestward to New Orleans, Louisiana.  They would then sell their goods (including the salvageable logs of the flat-boats and including enslaved people), and return home via the Trace (for the middle section of their return trip), to as far away as Pittsburgh, Pennsylvania.
Improved communications (steam boats, stagecoach lines, and railroads) and the development of ports along the rivers named above (e.g., Natchez; Memphis, Tennessee; Paducah, Kentucky; Nashville, Tennessee; and Louisville, Kentucky) made the route obsolete as a means of passenger and freight commerce. As a result, no major population centers were born or developed along the Trace, because of its alignment, between its termini Nashville and Natchez. The two cities of note, near or on the Trace's alignment (Jackson, Mississippi  and Tupelo, Mississippi), developed only as a result of their alignment along axes of communication different from the Trace.
Thus the Trace and its alignment are today almost entirely undeveloped and unspoiled along its whole route. Many sections of the original footpath are visible today for observing and hiking the Parkway's right-of-way.
The Natchez Trace National Scenic Trail includes five sections of hiking and horse riding trails.


WikiWeb_National Archaeological Museum, Bulgaria_2

Prehistory Hall - located at the lower floor of the northern wing. It displays a collection of items dating from between 1,600,000 BC and 1,600 BC. The collection is chronologically displayed and includes various findings from caves around Bulgaria, tools of the earliest humans who inhabited its modern territory, drawings, simple pottery, ritual items and many others.
It subdivides into an Early, Middle and Late Paleolithic collection, Neolithic collection, Chalcolithic collection, and Bronze Age.
Treasury - located in the eastern wing and displays grave inventory and other treasures from the late Bronze Age to late Antiquity. Two of the most well-known Bulgarian treasures are located here: the Valchitran and Lukovit Treasures.
Main Hall - located at the first floor of the main building. Hosts a collection of diverse items ranging from ancient Thrace, Greece and Rome to the late Middle Ages.
Medieval Section - located at the second floor of the main building. Includes a gallery of medieval books, woodwork, drawings, metal objects and other items characteristic of the era.
Temporary Exhibitions - the hall is located at the second floor of the main building.


Because the NAL has a focus on the book as art and object, it has a large collection of artist's books housed primarily in Special Collections. The collection contains items documenting the history of artist's books, including the early livres d'artistes as well as contemporary and experimental book objects. The NAL artists' book collection is one of its greatest strengths, and includes the first artists' book Ambroise Vollard published. The collection also contains books created by artists such as Sol Lewitt, Ed Ruscha, Édouard Manet, and David Hockney. This section of the collections experienced a boom in the 1980s and 1990s, when many contemporary works were collected by artists of various levels of popularity by former Chief Librarian Jan an der Wateren.
Although the collection of artist's books has slowed to allow funds to be used more broadly among the collections, there is still considerable collecting done of individual book objects. Artists represented in the collection also have information files in the library, which include ephemera and information about the artists and their works, even when individual works have not been collected, and some artists' information files have been created even when the library has not been able to collect any works by a particular artist.


WikiWeb_National Center of Stage Costume_1

It is located in the old district of Moulins, Allier Departments of France. Situated on the left side of Allier River, it faces the town and its historic quarter.
The museum includes the historic building, which had been partially destroyed during World War II and was restored by François Voinchet, Architect of Historic Monuments for the museum. Villars, named for the native military officer, Marshal Villars (1653–1734), was built during the reign of Louis XV. The 18th century historical monument was used as a cavalry barracks. The interior of the museum was designed by Jean-Michel Wilmotte and Jacques Brudin. A new 1,730 square metres (18,600 sq ft) building, was built for conservation of the centre's collection.


WikiWeb_National Center of Stage Costume_5

Several stage companies and theatres, including the Comédie Française and Paris Opera, send their costumes to the museum after their final show. At the museum they are available to be exhibited and preserved. They are also available to researchers and students for study.


WikiWeb_National Christmas Tree (United States)_6

The lighting ceremony was first televised in 1946, although it reached few homes because the broadcast was limited and television was in its infancy. The two Oriental spruce trees were again found to be damaged by the decorations. Federal officials raised the suggestion that the trees be replaced with artificial trees, but this was actively opposed by the live Christmas tree industry and the idea was dropped. Television coverage expanded for the 1947 ceremony, with both NBC and the DuMont Television Network televising the event. Television coverage continued to expand in the following years. In 1948, the tree included many more white bulbs in addition to the traditional red and green ones so that the tree would look better on TV. It was also topped by a star-shaped tree-topper consisting of eight flashing bulbs. That year, for the first time since 1938, the "Singing Tree" returned.
From 1948 to 1951, President Truman spent Christmas at his home in Independence, Missouri, and lit the National Community Christmas Tree by remote control. Declining public attendance after four years of the president's absence led organizers in January 1952 to plead for Truman's presence at the next ceremony. Truman agreed to stay at the White House for Christmas 1952 and personally lit the tree. Even though the Korean War was raging during Christmas in 1950, 1951, and 1952, crowds were still permitted on the White House grounds.  The lone exception was in 1950, when crowds were kept outside the fences due to renovations going on at the White House.


WikiWeb_National City Christian Church_1

The congregation that eventually became the National City Christian Church was organized in 1843. James Turner Barclay (1807-1874), a physician and pioneering Stone-Campbell Movement missionary, helped to organize the congregation. Prior to the erection of this building the congregation was known as Vermont Avenue Christian Church, previous building is now the home of Mt. Olivet Lutheran Church.
In the 1950s and 1960s, the church had a congregation of some 800 regular Sunday worshipers. Attendance declined over time, however; in 2011, Sunday attendance was about 125, with mostly older congregants.
In 2004, the church's senior pastor, the Rev. Alvin O. Jackson, resigned following a heated acrimonious dispute. The ouster of Jackson followed the resignation or firings of some two dozen church staffers, and the development of a deep intra-congregational dispute. Jackson was replaced as senior pastor by the Rev. Stephen Gentle, "a soft-spoken pastor of a Florida church."
Subsequently, the church's chief financial officer, Jason Todd Reynolds, was discovered to have embezzled $850,000 in church funds from 2003 to 2008. In 2011, Reynolds was convicted of 12 fraud-related charges. He was sentenced to eight years in prison. The losses from Reynolds' embezzlement scheme caused serious damage to the church's financial health.
The 2011 Virginia earthquake caused structural damage to the church building, causing financial troubles for the church.


The National Conservation Centre, formerly the Midland Railway Goods Warehouse, is located in Liverpool, Merseyside, England.  It stands in a block surrounded by Victoria Street, Crosshall Street, Whitechapel, and Peter Street.  After it closed as a warehouse it was converted into a conservation centre for National Museums Liverpool in the 1990s.  Initially its exhibition area was open to the public, but this closed in 2010.  The centre is recorded in the National Heritage List for England as a designated Grade II listed building.


Many exhibits are loaned to museums in the UK and artifacts have been loaned to exhibitions in Germany, Portugal, Switzerland and Belgium. The museum has worked in partnership with UEFA to create the UEFA Jubilee Exhibition, which opened in the European Parliament in Brussels, before moving to the National Football Museum. The museum also worked with UEFA to create the world's first exhibition dedicated to women's football, to coincide with the UEFA Euro 2005 Women's Championship. To mark the 2006 FIFA World Cup the museum worked with partners to develop exhibitions in Hong Kong and Germany. A special exhibition "Saved for the Nation: The Story of the FA Cup" which featured the oldest surviving FA Cup trophy, used during FA Cup Finals between 1896 and 1910, was launched in May 2006.
The museum's temporary exhibitions programme has also included "One for All: All for One", a photographic exhibition highlighting the work of Philip Colvin, documenting the experiences and challenges of disabled Crystal Palace supporter Samuel Burch as he travelled across the country in support of his team); and "The Greater Game: Football and The First World War", exploring the role football played at home and at the front during the war years, and explores the myths and reality of famous stories from the conflict, including a previously unseen diary detailing the events of the famous Christmas Truce of 1914, as well as lost footage from the front and of wartime football.
Saved for the Nation: The Story of the FA Cup - May 2006
One for All: All for One - March 2007 to June 2007
The Greater Game: Football and The First World War - December 2014
Out of Play: Technology in Football - May 2015
Ferenc Puskás: The World's Greatest Goalscorer - September 2015
Pitch to Pixel: The World of Football Gaming - October 2015 to June 2016
1966 World Cup Exhibition - June 2016 to April 2017
Pelé: Art Life Football - May 2017 to March 2018
The Game: Thirty Years Through the Lens of Stuart Roy Clarke - March 2018 - March 2019
Strip! How Football Got Shirty - 22 November 2019 - 7 June 2020


WikiWeb_National Gallery for Foreign Art_3

Halls One, Two and Three hold exhibitions of Indian art. Hall One is centered on Indian miniature. The collection includes works with traditional motives, paintings from the Mogol era and the Delhi Sultanate and the art schools of Rajasthan and Pahara. Hall Two contains religious sculptures from 320-550 AD. The figures represent Hindu gods like Vishnu, Ganesha, Brahma, Shiva and Krishna. Hall Three holds an exhibition of very rare 16th century sculptures of Christian saints from Goa, influenced by Indian tradition.


WikiWeb_National Gallery for Foreign Art_5

The African art collection in Hall Five is composed mainly of sculptures with a religious cult function. Masks are also present. Many of the items belong to local cultures of Benin and Ghana, and some Dogon statues and masks are also presented.