WikiWeb_Book of Mormon Historic Publication Site_2

During December 1993 the LDS Church's First Presidency announced the visitors' center would close sometime the following year to allow the building to be restored, and the visitors' center improved. On November 20, 1994 the center was closed, to allow final research to be completed and work to begin on the restoration.
Prior to the building's closure, and during the restoration, extensive historical and archaeological research was completed. As the archaeological investigations were underway in the building, it was found that much of the original plaster and woodwork remained, along with original floors and windows. The layout of the building was discovered by looking at wear patterns left in the original wooden floor. Ink smudges were also discovered on the walls of the third floor, and are believed to date to the period when the building was occupied by Grandin.
On the exterior of the building, non-original Italianate style decoration, such as architrave moldings, were removed. Old layers of paint were also removed, and it was found that originally the brick had been painted in a red glaze with painted mortar joints; this gave the building a uniform, crisp look. A similar red glaze with white mortar joints was painted on the building during the restoration. Older additions were removed from the rear of the building, and a new addition, to be part of the visitors' center, was constructed in their place.
On March 26, 1998, the anniversary of when the Book of Mormon went on sale, Gordon B. Hinckley president of the LDS Church, dedicated the restored building and adjoining visitors' center. The building is open free of charge, for daily tours given by church missionaries. Grandin's press was replicated at the Crandall Historical Printing Museum in Provo, Utah.


The Boone family owned the plantation until fourteen years after descendant John Boone's death, when his widow Sarah Gibbes Boone sold the property in 1811 to Thomas A. Vardell for $12,000. Shortly after, Henry and John Horlbeck bought the property, including slaves. They used a number of the enslaved workers, formerly in the fields, to make bricks. During the early 19th century, Charleston's landowners built and expanded their houses in town and along the Ashley River.
While the Horlbeck brothers have received credit for "building" many houses and public spaces in downtown Charleston using the brick from their plantations, enslaved workers had made the bricks and others accomplished the actual construction under the watch of the Horlbecks and their overseers. The work of talented enslaved people, with self-taught and acquired skills, including carpentry, mathematics, and geometry, were central to the construction and appearance of many Charleston-area structures. By 1850, these laborers produced 4 million bricks, by hand, per year. The fingerprints of these workers are still visible in the bricks of many of these historic sites.
The Horlbeck family planted the allée, the Avenue of Oaks that leads up to the plantation house. Enslaved gardeners and field laborers planted each oak in 1843, using hand tools. Similarly, the Horlbecks directed their workers to plant pecan trees on the plantation to cultivate a commodity crop. By the end of the century, Boone Hall was one of the leading producers of pecans in the United States.
When Henry Horlbeck died in 1837, several of his children settled his estate by transferring their interests in Boone Hall to four of his sons—Henry, Daniel, Edward, and John Horlbeck. The sale occurred on October 1, 1842, and described the plantation as having a "Wooden Dwelling House[,] Brick Stables[,] Barns[,] Brick Kilns[,] and buildings" on 1442 acres "commonly called and known by the name of Boone Hall."


The house at Boone Hall Plantation is modern, built during the first half of the 20th century. Thomas Stone commissioned architect William Harmon Beers to design a larger, modern residence in the Colonial Revival style. It was constructed by builder Cambridge M. Trott in 1936. Built on the gently sloping banks of Horlbeck Creek, the south-facing residence is a two-and-half story building that incorporates materials from the plantation's old farm structures, as well as salvaged historic brick recovered from the Laurel Hill Brickyard.
The eight-bay-wide facade is slightly asymmetrical, with its pedimented gable portico at the fourth, fifth and sixth bays. The portico is supported by six massive Tuscan columns, and features a bull's-eye window in the tympanum. On the ground level, the three western bays feature shuttered 9/9 windows, while the two eastern bays are slightly smaller with 6/9 windows. Within the portico are smaller 6/6 windows flanking the paneled entry door with sidelights and fanlight. Second-level window openings are slightly shorter, with a 6/6 sash. An oculus window occupies the space between the second and third bays on the western side of the facade. Above the entry is an iron balcony accessed by French doors. The lateral hipped roof has a medium pitch, with tall brick exterior chimneys at each side elevation. One interior chimney pierces the slate roof.
On the northern, rear facade, a wing of four bays projects from the eastern half of the house. The roof is hipped and has two gabled dormers on all three sides of the wing, indicating a finished attic level. Brick exterior chimneys are located at the rear and east elevations of the wing, which has 6/9 windows at both levels. There are two further projections from the rear wing. A small one-story brick wing on the north elevation, with hipped roof and exterior chimney, was originally used for farm-related storage. At the rear bay of the east elevation is a one-story, one-by-one bay frame wing, with a slate gable roof and exterior brick chimney attached to the house as an office. This small structure predates the main house, and was relocated, attached and re-sided.
Within the ell at the rear of the house, connecting the library at the front of the house with the loggia in the rear wing, is a brick paved terrace enclosed with a serpentine wall. Single and
double French doors, with fanlight, in round-arched surrounds access the terrace from the library, while the west wall of the loggia opens to the terrace with a row of three French doors with sidelights and fanlights in round-arched openings. The mansion has an excavated basement with cement slab flooring, and 5'5" walls of smooth cement on which the brick exterior walls rest. Brick piers lend additional
support to the main structure.


Boone Hall Plantation comprises 738 acres. The landscape includes areas of cultivated, seasonal crop fields, but also includes preserved wetlands, creeks, and ponds.
The most notable feature of the grounds is the grand Avenue of Oaks that was first planted in 1743 and completed by the Horlbeck brothers in 1843. On axis with the front facade of the house, the allée consists of 88 live oak trees and one magnolia, that are evenly spaced. It runs for 3/4 of a mile from the entrance of the plantation to a pair of brick gateposts. The gateposts are topped with ball finals, hung with formal wrought iron gates and, along with a brick serpentine wall, enclose the forecourt of the house. Open lawns at each side of the entry drive are flanked by formal gardens with brick-paved paths, laid among large live oaks and planted with camellias, azaleas and Noisette roses. Visitors arriving to the house in the 19th century by carriage would have driven through the tunnel of oaks, and past the many slave quarters to the left of the road. Their number and small massing would have starkly contrasted to the large, master's house at the end of the drive. Such a vista symbolizes the place as a place of work and production, rather than leisure.
The first slave cabins were likely made of wood. These brick slave cabins date from between 1790 and 1810. Built of brick, the one-story structures are 12 feet by 30 feet with gabled roofs, have either plank or dirt floors, and a simple fireplace with a brick hearth and no mantle at the rear of each house. The cabins were in use well into the 20th century, as they were occupied by sharecroppers through the 1940s. These dwellings were continuously occupied by enslaved workers, then free sharecroppers for nearly 150 years, making them incredibly significant to the history of the site.
On the wide forecourt directly in front of the house are two pergolas, constructed in 1993 as part of the ongoing efforts to enhance the gardens. At the southwest edge of the gardens, within the serpentine wall, is a brick smokehouse dating from 1750. The cylindrical structure has a conical timber roof sheathed in slate.
To the southeast of the main house is the large Cotton Gin house built in the 1850s. The machinery to process cotton is no longer found, and has since been used as a guest house, restaurant and gift shop by subsequent owners. Due to damage by Hurricane Hugo, the building is no longer habitable and is awaiting renovation.


The agricultural operation of Boone Hall Plantation, incorporated filed with South Carolina Secretary of State to do business as Boone Hall Farms. During the spring and summer, BHF cultivates strawberries, and hosts an annual Low Country Strawberry Festival at the peak of each growing season, when guests pick thousands of pounds of strawberries from the U-Pick fields. The Boone Hall Farms farm-to-table program generates produce including tomatoes, squash, cucumbers, watermelons, sweet corn, and other produce for over 35 Low Country businesses and restaurants.
Boone Hall Farms also offers its produce, prepared foods, and fresh seafood and meat at its Roadside Produce Stand located down the road from Boone Hall Plantation.


The slave quarters that remain on the structure are the brick quarters that housed enslaved workers at the property. They have survived in large part because of the durability and quality of the materials they were constructed from. Many structures that house enslaved people were made from wood, and were easily removed from agricultural landscapes when the owner decided they no longer wanted a visual marker of the history of the enslaved on their property. The interpretation of the slave quarters at Boone Hall Plantation is more extensive than that of the main house, and includes many archaeological artifacts uncovered around these houses. The history of the enslaved workers at Boone Hall Plantation are also linked to Gullah culture, interpreted through living history presentations through song and storytelling. The history of the main house is disconnected entirely from the history of the slave quarters, however. While domestic enslaved workers would have cooked, cleaned, and performed many other tasks for the Boone, then Horlbeck families, slavery was illegal in 1935 when the historic house was built. Such limited interpretive exploration may be attributed to the site's lack of a curator, or curatorial staff to do more research and writing for the public's benefit.


The castle was probably built at the end of the 12th century as the family seat for the knight, Lord Fuchs of Rüdesheim, as a square building surrounding a very high, double stepped bergfried, protected by a rampart and moat. In late medieval times, additional living quarters were added. In 1407, the castle was left to the Brömser von Rüdesheim noble family. From 1474 to 1830, it belonged to the Boos von Waldeck noble family.
After the counts of Schönborn-Wiesntheid became owners in 1830, they tore down in 1836 all the buildings apart from the bergfried, which they built even higher, adding Gothic Revival merlons. The next owner, wine merchant Baptist Sturm, transformed the moat to a vaulted wine cellar. His widow erected a Gothic Revival villa, designed by Philipp Hoffmann, and completed in 1872.
The castle has belonged to a winery, Weinkellerei Carl Jung, from 1938. The musical family has arranged chamber music concerts in their residence. Carl's son, Hans Otto Jung, a founding member of the jazz group Hotclub Combo in the 1940s, played there with notable musicians on two Steinway pianos. His son, Edu Jung, also active as a jazz musician, opened the venue also for concerts of the Volkshochschule (VHS, folk high school).
In 2002, Boosenburg became part of the World Heritage Site of the Rhine Gorge.


Bootham Crescent in York, England, was the home of York City football club and York City Knights rugby league club. With a capacity of 8,256, it is near the city centre, just over a mile from York railway station.
York City leased land at Bootham Crescent from York Cricket Club as a replacement for their ground at Fulfordgate on the outskirts of the city. The ground was constructed in four months, and opened on 31 August 1932. In the Second World War, the Popular Stand was converted into an air-raid shelter, and the ground suffered slight damage when a bomb landed on houses along the Shipton Street End. York purchased Bootham Crescent for £4,075 in 1948. Floodlights were fitted at the ground in 1959, and replaced by ones twice as powerful in 1995. A number of improvements were made in the early 1980s, with a gymnasium, offices and a lounge for officials built.
The David Longhurst Stand opened in 1991 after a roof was erected on the Shipton Street End, named after the former York player David Longhurst who died during a match at the ground in 1990. Bootham Crescent hosted Football League matches from 1932 to 2004 and from 2012 to 2016, both spells ending after York were relegated into non-League football. The ground was renamed KitKat Crescent from 2005 to 2010 as part of a sponsorship deal with Nestlé. York City left Bootham Cresent and moved to the York Community Stadium in Huntington in early 2021, and the Bootham Crescent site will be used for housing.
Bootham Crescent comprises four stands: the Main Stand, the Popular Stand, the David Longhurst Stand and the Grosvenor Road End. The ground has held a league representative match, neutral club matches, and schoolboy and youth international matches. Other than football, it has hosted a concert, firework display, American football and rugby league matches and beer festivals. The record attendance of 28,123 was set in March 1938, for an FA Cup match against Huddersfield Town. The highest seasonal average attendance of 10,412 was achieved in 1948–49.


York City F.C. played at Fulfordgate in Fulford, on the southern outskirts of York, from 1922 to 1932. It was difficult for most supporters to reach, being a good distance from the railway station, and the tram service to Fulford only had a single track. Attendances declined in the club's second and third seasons in the Football League, which the directors blamed on Fulfordgate's location. One director, G. W. Halliday, became convinced that the only solution was to move to a new ground. York Cricket Club left Bootham Crescent, their home for around 50 years, for a new ground at Wigginton Road in January 1932. Preliminary discussions and visits to Bootham Crescent took place, and the directors believed that renting the ground would be cheaper than repaying the debts on Fulfordgate. Further, Bootham Crescent was situated near the centre of the city, and the population living within a mile of the site was, at 30,000, 10 times that within a similar radius of Fulfordgate. However, two former directors argued that attendances at many grounds had fallen during the Great Depression, and that the approaches and surrounds to Bootham Crescent were limited.
The directors were unanimous that a change should be made, and a special meeting of the shareholders was held on 26 April 1932. The move to Bootham Crescent on a 21-year lease was approved by 115 votes to 37. The site of York's new home was of an irregular shape and was hemmed in from four sides, with a narrow track to the south, barracks to the west, a school and almhouses to the north and terraced houses to the east. Nonetheless, the grounds of the city's football, cricket and rugby league teams were now within a few hundred yards of each other. The ground was renovated over the summer of 1932; the area was drained and then built to the design of local architects Ward & Leckenby. The Popular Stand was erected on the west side using sections of the terrace cover at Fulfordgate, with the Main Stand built opposite. Terraces were banked up in the wedge-shaped areas behind the goals. After four months of construction, Bootham Crescent was ready for the 1932–33 season, with an initial capacity of over 30,000.
The ground was officially opened on 31 August 1932, when York played Stockport County in a Third Division North match. The club president, Sir John Hunt, marked the occasion by cutting a ribbon of the club's colours of chocolate and cream. In attendance were the Lord Mayor of York, the Sheriff of York, the vice-president of the Football League, the treasurer of the Football Association (FA) and the local Member of Parliament. York player Tom Mitchell scored the first goal at the ground in a 2–2 draw, played before 8,106 supporters. In the first four seasons at Bootham Crescent, attendances were not higher, and were sometimes lower than at Fulfordgate. There were problems with the ground in its early years; the quality of the pitch was questioned, and the Lincolnshire Echo remarked in April 1937 that the pitch was "almost a morass, with extensive pools of water in front of the goals". There was an incident in March 1934 where the referee and linesmen were found unconscious in their dressing room, due to fumes from a faulty heater.


York reached the quarter-final of the 1961–62 League Cup, and in the earlier rounds beat Bristol City, Leicester City, Watford and Bournemouth & Boscombe Athletic at Bootham Crescent. The half-time scoreboard at the Shipton Street End ceased to be used by 1965, but remained as advertising boarding. On 5 May 1969, referee Roy Harper collapsed and died on the pitch during a match against Halifax Town. Seats were installed in the Popular Stand for 1974–75, York's first season in the Second Division. This increased the ground's seating capacity to 2,762, but meant the overall capacity was reduced to 16,529. The floodlights were updated and improved for £20,000, and were officially switched on by former Wolverhampton Wanderers player Derek Dougan for a friendly with Grimsby Town on 1 August 1980. A gymnasium was built at the Grosvenor Road End for £50,000 early in 1981, and to help towards this York received £15,000 from the Sports Council and £20,000 from the Football League Improvement Trust. In the summer of 1983, new offices for the manager, secretary, matchday and lottery manager were built, along with a vice-presidents' lounge. The lounge was officially opened by Jack Dunnett, the chairman of the Football League, prior to a match against Wrexham in November 1983.
By the early 1980s cracks had appeared in the wall built at the back of the Grosvenor Road End. The rear of the terracing was cordoned off, and the capacity of the ground reduced to under 13,500. The Grosvenor Road End was segregated and allocated to away supporters, and fencing was erected for the first time before the FA Cup match against Liverpool in February 1985. All the fencing had been dismantled by the early 2000s. During the 1983–84 and 1984–85 seasons, problems had arisen in handling big crowds, due to the ground having only two of four sides available for entry and exit, and the home supporters funnelling through the car park to the Shipton Street End. Extensive improvements were made in the summer of 1985 for approximately £100,000, and eight new turnstiles were installed at the Shipton Street End. Further, the dressing rooms were refurbished to incorporate new baths and showers, and a new referees' changing room and physiotherapist's treatment room were readied. Hospitality boxes were built into the Main Stand during 1986–87, and video equipment was installed inside the ground. Crash barriers were strengthened, meaning ground safety requirements were met. These improvements meant that shortly before the Taylor Report was published, the ground's capacity was 14,109, including 3,059 seats. However, by September 1989, the capacity had been increased to 14,628.
The ground's major drawback was the lack of covered standing accommodation at the Shipton Street End, but the cost of erecting a stand had been prohibitive. The Shipton Street Roof Appeal was launched in the spring of 1988 to raise money for a stand, and fundraising schemes were put into place. On 8 September 1990, York player David Longhurst collapsed and died from heart failure during a match against Lincoln City at Bootham Crescent. With the approval of his family, the David Longhurst Memorial Fund was launched, and all donations were added to the monies already raised for the roof appeal. The Football Trust contributed half of the £150,000 cost of the stand, and it was constructed in the summer of 1991. The David Longhurst Stand was officially opened on 14 October 1991 in a friendly match against Leeds United, which was watched by a crowd of 4,374.


The ground could accommodate 8,256 supporters, including seating for 3,409, and comprised four stands; the Main Stand, the Popular Stand, the David Longhurst Stand and the Grosvenor Road End.
The Main Stand, which could seat 1,757 spectators, was an all-seated stand which ran around two-thirds of the pitch. It contained the dressing rooms, club offices, ticket offices and hospitality suites, and had a number of supporting pillars. The stand had open corners to either side, the supporters' club located in one corner, and to the rear had windows to either side. At the front was the Family Stand, which offered adjusted rates for children and their carers. Opposite was the Popular Stand, a covered all-seated stand, which had a number of supporting pillars and a television gantry on its roof. It could seat 1,652 spectators.
The northernmost stand of the ground was the David Longhurst Stand, which was a covered terrace for home supporters and had a row of supporting pillars across its front. The stand was originally known as the Shipton Street End, but was renamed following the death of David Longhurst, and has a capacity of 3,062. Opposite was the Grosvenor Road End, an open terrace reserved for away supporters, which held a capacity of 1,785. As well as this, away fans were permitted to use 332 seats of the Popular Stand, in the section closest to the Grosvenor Road End. The toilet facilities for away supporters consisted of open air urinals and Portakabins.
The grass pitch measured 104 by 64 metres (114 by 70 yd). Head groundsman Bryan Foster was presented with a gold watch from the directors in March 1988, in recognition of his long and outstanding service. His successor, Bryan Horner, was voted the Second Division groundsman of the year in 1999. A club shop was situated just inside the car park, which also housed the commercial manager's office. Adjoining this was the social club, known as the 1922 Bar since August 2015, and the players' bar.


Borde Hill Garden is a garden located 1.5 miles (2.4 km) north of Haywards Heath, West Sussex in southern England. It is set in over 200 acres (80 ha) of garden, park and woodlands which has views across the Sussex High Weald.
Borde Hill Garden is planted in “living garden rooms”, each offering a different character and style. It is home to many rare shrubs: from rhododendrons, azaleas and magnolias to roses, as well as numerous trees including one of the largest collections of champion trees in a private property in Britain (82 specimens as of 2013).


Border Village  is a settlement located in South Australia within the locality of Nullarbor on the Eyre Highway at the border with Western Australia.
The settlement, which is 12 km east of Eucla, was named in 1993 by the South Australian Geographical Names Advisory Committee following a suggestion provided by the Royal Automobile Club of Western Australia. The settlement is located about 5 kilometres (3.1 mi) north of the cliff line separating the Nullarbor Plain from the Great Australian Bight.

As of 2004, the settlement offered services to travellers and visitors to Nullarbor including:
Motel, cabin and caravan accommodation, a restaurant which opens from 6.00:00 - 10.12:00, a takeaway service which is open from 6.00:00 - 11.12:00, full garage service and a desalination plant which provides fresh water.
There is a Western Australian agricultural checkpoint at Border Village, and also "Hole 6: Border Kangaroo" of the Nullarbor Links golf course.
The settlement is one of five  that uses the Central Western Standard Time (UTC+08:45). It is also the only place in South Australia where Daylight Saving Time is not in use.


Boreray lies about 66 kilometres (41 miles) west-northwest of North Uist. It covers about 77 hectares (5⁄16 sq mi), and reaches a height of 384 metres (1,260 ft) at Mullach an Eilein.
Boreray is formed of a breccia of gabbro and dolerites.
There are two sea stacks, vertical pillars of rock, just off Boreray. Stac An Armin, 400 metres (1⁄4 mile) to the north, is the taller at 196 metres (643 ft) high, while Stac Lee, 600 m (660 yards) to the west, is 172 metres (564 ft) high.
Boreray is the smallest of the Scottish islands to have a summit over 1,000 feet (300 metres).


Borgund Stave Church was built sometime between 1180 and 1250 AD with later additions and restorations. Its walls are formed by vertical wooden boards, or staves, hence the name "stave church." The four corner posts are connected to one another by ground sills, resting on a stone foundation. The intervening staves rise from the ground sills; each is tongued and grooved, to interlock with its neighbours and form a sturdy wall.
Borgund is built on a basilica plan, with reduced side aisles, and an added chancel and apse. It has a raised central nave demarcated on four sides by an arcade. An ambulatory runs around this platform and into the chancel and apse, both added in the 14th century. An additional ambulatory, in the form of a porch, runs around the exterior of the building, sheltered under the overhanging shingled roof. The floor plan of this church resembles that of a central plan, double-shelled Greek cross with an apse attached to one end in place of the fourth arm. The entries to the church are in the three arms of the almost-cross.
Structurally, the building has been described as a "cube within a cube", each independent of the other. The inner "cube" is formed by continuous columns that rise from ground level to support the roof. The top of the arcade is formed by arched buttresses, knee jointed to the columns. Above the arcade, the columns are linked by cross-shaped, diagonal trusses, commonly dubbed "Saint Andrew's crosses"; these carry arched supports that offer the visual equivalent of a "second story". While not a functional gallery, this is reminiscent of contemporary second story galleries of large stone churches elsewhere in Europe. Smaller beams running between these upper supporting columns help clamp everything firmly together. The weight of the roof is thus supported by buttresses and columns, preventing downward and outward movement of the stave walls.
The roof beams are supported by steeply angled scissor trusses that form an X shape with a narrow top span and a broader bottom span, tied by a bottom truss to prevent collapse. Additional support is given by a truss that cuts across the X, below the crossing point but above the bottom truss. The roof is steeply pitched, boarded horizontally and clad with shingles. The original outer roof would have been weatherproofed with boards laid lengthwise, rather than shingles. In later years wooden shingles became more common. Scissor beam roof construction is typical of most stave churches.
Borgund has tiered, overhanging roofs, topped with a tower. On the gables of the roof, there are four carved dragon heads, swooping from the carved roof ridge crests, recalling the carved dragon heads found on the prows of Norse ships. Similar gable heads also appear on small bronze house shaped reliquaries common in Norway in this period. Borgund's current dragon heads possibly date from the 18th century, however original dragon heads remaining on earlier structures, such as Lom Stave Church and nearby Urnes Stave Church, the oldest still extant stave church, also in the Sogn district, suggest that there probably would have been similar dragon heads there at one time. Borgund is one of the only churches to still have preserved its ridge crests, carved with openwork vine and vegetal repeating designs. The dragons on top of the church were often used as finials for rain-water drainage away from the gable eaves.
Most of the internal fittings have been removed. There is little in the building, apart from the row of benches that are installed along the wall inside the church in the ambulatory outside of the arcade and raised platform, a soapstone font, an altar (with 17th-century altarpiece), a 16th-century lectern, and a 16th-century cupboard for storing altar vessels. After the Reformation, when the church was converted for Protestant worship, pews, a pulpit and other standard church furnishings were included, however these have been removed since the building has come under the protection of the Fortidsminneforeningen (The Society for the Preservation of Norwegian Ancient Monuments). There would have been more artwork in the building, most likely in the form of statues and crucifixes, as remain in a few other churches, but these are now lost.


The interior of the church is characterized by the twelve free-standing columns that support the nave's elevated central space. On the long side of the church there is a double interval between the second and third pillars, but with a half pillar resting on the lower bracing beam (the pier) which runs in between. The double interval provides free access from the south portal to the church's central compartment, which would otherwise have been obstructed by the middle bar. The top of the poles is finished with grotesque, carved human and animal masks. The tie-bars are secured with braces in the form of Andrew's crosses with a sun - shaped center and carved leaf shapes along the arms. The crosses also reappear as less ornate braces along the church walls. On the north and south sides of the nave, there are a total of eight windows that let in small amounts of light, and at the top of the nave's west gable is a window of more recent date - probably from pre-Reformation times, but a few years after the church was built. On the south wall of the nave, the inauguration crosses are still on the inside of the wall. The interior choir walls have engraved figures and runes that probably date from the Middle Ages.
The medieval interior of the stave church is almost untouched. However, the cross from the Middle Ages was removed after the Reformation. The original wooden floor and the benches that run along the walls of the nave are largely preserved, together with a medieval stone altar and a box-shaped baptismal font in soapstone. The pulpit in the church is from the period 1550–1570 and the altarpiece dates from 1654, while the frame around the tablet is dated to 1620. The painting on the altarpiece shows the crucifixion in the middle, flanked by the Virgin Mary on the left and John the Baptist on the right. In the tympanum field, a white dove hovers on a blue background. Below the picture is an inscription with golden letters on a black background. In the church, a sacrament from the period 1550–1570 in the same style as the pulpit is also preserved. During the restoration of the church, carried out in the early 1870s with architect Christian Christie at the helm, benches and a gallery with seating on the second floor were removed. Several windows, including two large windows that were installed on the north and south sides in the late 17th and early 18th centuries, as well as a ceiling over the chancel, were also removed. The goal was to return the church to pre-Reformation status. Parts of the inside of the church show signs of having been painted, which must have been done after the Reformation; this paint was also removed as part of the restoration.
A local story tells that once upon a time there was a stuffed reindeer inside the church, shot during a mass. The antlers of the animal remained in the church when the animal was removed. Images from the 1990s show that the antlers hung on the lower, east-facing pillars in the church, but how much of the story is true and where the antlers have taken the road in retrospect is not known. A travelogue from 1668 confirms the story, at least to some extent, as it states that the animal was shot during a sermon "when it marched like a wizard in front of the other animal carcasses".


According to Snorri Sturluson's works, Sogn is said to have been Christianized as early as 997, almost two hundred years before the church was founded, but several researchers believe that the population often dwelt on the Norse gods and kept to pagan tradition and faith well into Christian times. In the stave churches, therefore, a number of symbols with a pre-Christian background may have been used to facilitate the transition to Christianity, even though these symbols sometimes went in spite of the Christian faith. At Borgund Stave Church, the four outer dragon heads are perhaps the clearest and most famous of all the symbols, apart from the crosses, and as on the Viking ships, they may have been used to keep away evil spirits that threatened the church building. At the church, the dragon heads are placed on the ridge ridges on the nave and the roof rider's lower roof ledge. They can potentially be seen in the context of launchers in cathedrals such as Notre-Dame in Paris, as some researchers believe that these too are intended to deter evil spirits, but this is a controversial topic for which there is no concrete evidence. Among other things, Bugge places the dragon heads in contrast to, and not in connection with, such figures. Some believe that pagan traditions originating from the dragon elements are an unreliable explanation; Anker refers, among other things, to several preserved reliquaries from both the Nordic countries and the continent that are designed as church buildings with dragon heads on the ridge ridges.
On the lower side panel of the roof rider we find four circular cutouts. The carvings are very weather-beaten tarred and thus difficult to decipher, and there is disagreement about what they symbolize. Some believe they represent the four evangelists, probably rendered as an eagle, an ox, a lion and a human. Art historian Roar Hauglid claims, however, that the carvings show "dragons that extend their heads over to the neighboring field's dragon and bite into it", and points out the similarity to similar carvings at Høre Stave Church.
The church's west portal, the nave's main entrance, is surrounded by a larger carving with dragons biting each other in the neck and tail. At the bottom of the half-columns that flank the front door, on the two inner corners of the carving, we find two dragon heads that spew powerful vine stalks that wind upwards and braid into the dragons above. The carving has strikingly similarities with the west portal of Ål Stave Church, which also has kites in a band braiding pattern, and it follows the usual composition in the Sogn-Valdres portals, a larger group of portals with very clear similarities. As Bugge writes, Christian authority may have come to terms with such pagan and "wild scenes" in the church building because the rift could be interpreted as a struggle between good and evil, in line with Christianity; in Christian medieval art, the dragon was often used as a symbol of the devil himself. Furthermore, Bugge points out that the carvings probably had a protective value, such as the dragon heads on the church roof.


Boris Paichadze Dinamo Arena (Georgian: ბორის პაიჭაძის ეროვნული სტადიონი Boris P’aich’adzis erovnuli st’adioni), formerly known as Boris Paichadze National Stadium, is a stadium in Tbilisi, Georgia, and the home stadium of Dinamo Tbilisi, Georgia national rugby union team and Georgia national football team. With a capacity of 54,139, the stadium is the largest in Georgia. Built in 1976 by the Georgian architect Gia Kurdiani, the Dinamo Arena was named Vladimir Ilyich Lenin Dinamo Stadium after Russian Communist leader but later, in 1995 was renamed to Boris Paichadze National Stadium after the famous Georgian football player Boris Paichadze (1915–1990). Prior to the construction of Boris Paichadze Dinamo Arena, the home stadium of Dinamo Tbilisi was the Central Stadium with an approximate capacity of 35,000 spectators. The demand for a much bigger stadium was increased with the successful performance of Dinamo Tbilisi in the mid 1970s. After the inauguration of the stadium, it became the third-largest in the Soviet Union, with a capacity of 74,354 spectators.


Borkum Great Light (from German: Borkum Großer Leuchtturm, "Borkum greater lighthouse"), also known as Borkum Neuer Light (Neuer Leuchtturm, "new lighthouse"), is an active lighthouse on the island of Borkum, Leer district, state of Lower Saxony, Germany. At a height of 197 feet (60 m) it is the twenty-fourth tallest "traditional lighthouse" in the world, as well as the third tallest brick lighthouse in the world. The lighthouse is located at the west side of the Borkum Island. It is the landfall light for the Ems estuary and the port of Emden, serving also as a day mark.
This lighthouse also bears a directional continuous light at a height of 151 feet (46 m) to three different directions with the colors white, red and green.
The tower was built in the summer of 1879 in a record time of six months, following a fire at the old lighthouse.
The site is open, and the tower is open to the public daily April through October and on Thursday, Friday, and Sunday afternoons November through March.


Its constructing was donated by Möxämmätsadíq Bornayıv and realized by project of Pyotr Ivanovich Romanov in 1872. The architectural style is national romance eclecticism. The minaret was built in 1895. Believed, that the project of the minaret was elaborated by Fyodor Nikolayevich Malinovsky. The mosque has a minaret over the door, one hall, it is one-storied and is made of red bricks. The interior is designed in the medieval Tatar and Russian traditions. In 1930-1994 Bornay Mosque was out of service due to the Soviet authorities and in 1994 it was returned to the believers.


Summer: Sunday and Monday 1PM - 5PM and Tuesday - Saturday 10AM - 5PM. Wednesday - Saturday also open 7PM - 10PM.
Winter: Wednesdays and weekends,  11AM - 4PM, Saturday 10PM - 11PM


The Bornstedt Crown Estate is a former royal estate and, today, a tourist attraction in the Potsdam borough of Bornstedt. It belongs to the ensemble of palaces and gardens of Sanssouci Park, which is a UNESCO World Heritage Site along with other parks and palaces in the area.
The estate - the former seat of Crown Princess Victoria - is now completely restored and open to the public. It occupies a picturesque location on the shore of the Lake Bornstedt, just 400 metres away from Sanssouci Palace. Its history goes back to 1350.
The Bornstedt Crown Estate is not far from Potsdam city centre. Throughout the year, traditional festivities, markets, and major events take place here. On a tour of the Brandenburg Factory, visitors will learn about more than 21 trades such as pottery and candle making; there is also on-site goldsmith. A barber's shop, bookstore, weaver's and florist complement the wide variety of trades.
Today, a variety of events take place here that are open to the public. Special events include: the historical Christmas market, the drilling and recruiting exercises of the Potsdam Giants, re-enactors wearing the uniforms of Frederick II's Grand Grenadiers, an art market, a farmers' market, beer market, British Days, Crown Estate Spectacular, concerts, plays, exhibitions of the United Buddy Bears - The Minis and even sporting events like the Palaces Marathon, that starts and finishes at the Bornstedt Crown Estate.


Borodinsky Bridge (Russian: Бороди́нский мост) is a steel plate girder bridge that spans Moskva River, connecting Dorogomilovo District and Kievsky Rail Terminal with the centre of  Moscow, Russia (two kilometers due west from the Kremlin). The bridge was built in 1911–1912 as deck arch bridge by N.I. Oskolkov, M.I. Schekotov (structural engineering) and Roman Klein (architectural design). In 2001, the bridge was reconstructed, replacing arches and deck with a plate girder structure.


First Borodinsky Bridge had too low capacity to handle traffic to Kievsky Rail Terminal. In 1909 the city ran a public contest for the new bridge. Oskolkov, Schekotov and Klein won the contest and began construction in 1911.
The bridge, as built in 1912, was 250 meters long, with three spans of 40.9 - 45.5 - 40.9 meters. Each span consisted of 12 arches (spacing between arched 2.1 meters). Concrete deck had an 18.5 meter wide roadway and two pedestrian walkways, each 3.5 meters wide.


In 1952, it was rebuilt by Yury Werner. The pillars, arches and deck were extended, widening the bridge to 42.6 meters total width. New arches above embankments (26.0 meter main spans) separated bridge and embankment traffic. Total length reached 352 meters (including western ramp of 106 meters). Tram tracks were removed in 1979.


Borreby Castle is owned by and managed as a modern agricultural estate with a large production of biomass for power stations on Zealand. There is public access free of charge to the outer courtyard and park with views of the historical buildings. The castle is also open for tours on prior notification.
It is also used as a cultural venue. Borreby Art Gallery is based in the former courthouse as well as some former stables. Borreby Theatre with a capacity of 450 spectators is currently under construction in a former barn, and other buildings will house a restaurant and café.


In 1854, work at Borsippa was conducted under the direction of Henry Creswicke Rawlinson, with most of the actual digging done by his subordinates. Rawlinson personally uncovered the foundation prisms from Nebuchadnezzar II's restoration on the Nabu temple. Between 1879 and 1881 the site was excavated by Hormuzd Rassam for the British Museum.
He concentrated primarily on E-zida, the temple of Nabu. In 1902, Robert Koldewey worked at Borsippa during his main effort at Babylon also mainly on the Nabu temple.
Since 1980, the Austrian team from the Leopold-Franzens-Universität Innsbruck led by Helga Piesl-Trenkwalder and Wilfred Allinger-Csollich excavated for sixteen seasons at the site. Early work
concentrated on the large ziggurat E-ur-imin-an-ki and later on the Nabu temple. Excavations can currently not be carried out due to political events. The elaboration of the results of excavations within the project "Comparative studies of Borsippa - Babylon" are conducted.
Many legal administrative and astronomical texts on cuneiform tablets have originated at Borsippa and have turned up on the black market. Archives began to be published in the 1980s. An inscription of Nebuchadnezzar II, the "Borsippa inscription," tells how he restored the temple of Nabu, "the temple of the seven spheres," with "bricks of noble lapis lazuli." that must have been covered with a rich blue glaze, surely a memorable sight. The Austrian archeologists have determined that Nebuchadnezzar's ziggurat encased the ruins of a smaller tower from the second millennium BC. When it was completed it reached a height of 70 meters, in seven terraces; even in ruin it still stands a striking 52 meters over the perfectly flat plain. Some tablets have been recovered, but archeologists still hope to uncover a temple archive of cuneiform tablets, of which there were some copies in ancient Assyrian libraries. An inscribed foundation stone has been recovered, which details Nebuchadnezzar's plan to have the Borsippa ziggurat built on the same design as that at Babylon, of which only the foundation survives. Nebuchadnezzar declared that Nabu's tower would reach the skies, another inscription states. The reconstruction under the patronage of Bel-Marduk is summarized on a cylinder in Akkadian of Antiochus I, an example of the region's remarkable cultural continuity.


MacGibbon and Ross attributed the building of the tower to Amie mac Ruari, wife of John of Islay, and dated it to between 1344 and 1363. It was occupied by the Macdonalds of Benbecula until the early 17th century.


The ruined rubble-built three-storey tower measures 18.9 metres (62 ft) by 11.3 metres (37 ft 1 in), and 9 metres (29 ft 6 in) high. The walls average 2.75 metres (9 ft) thick, although they narrow internally at the first- and second-storey level. The north wall has almost entirely collapsed. The tower had at least two timber floors above the basement. Its entrance was through a projecting wing in the center of the south wall which opened into the first storey.
Archaeological investigations in 2018 have revealed that the tower was built in three distinct phases. The first was a structure with narrow masonry walls in a formal style with regular courses and sandstone quoins. Next, the eastern side of the castle was reinforced with very wide walls of a moderately formal style with large stones and intermittent coursing, forming an outer skin without windows to the existing structure. Later much the same was done on the western side although in an informal manner without coursing. The western wall had many windows.


Harry Pickstone, an Englishman with experience of growing fruit in California, convinced Rhodes that a commercial nursery was needed to propagate new varieties of fruit trees for the industry.  Rhodes financed his first venture, the Pioneer Fruit Growing Company.
Rhodes's political career had seen him rise to Prime Minister of the Cape Colony. When he was implicated in the Jameson Raid, an unsuccessful attempt to overthrow the Boer Republic in the Transvaal, he was left with little option but to resign. In 1896 Rhodes decided to invest further in fruit farming.  Pickstone advised him to buy old wine farms in the Groot Drakenstein, Wellington and Stellenbosch areas.
In March 1897 Rhodes secured the first of more than 20 farms, including Boschendal and Rhone. Twelve young managers were appointed, many of whom had been trained  in California. Under Pickstone's tutelage they transformed the farms, introducing modern methods of pruning, grafting and irrigation, and training farm workers in the new skills.  They planted 200 000 deciduous fruit trees - pears, apricots, plums and peaches.
In its new incarnation as Boschendal - The Estate, the former "Rhodes Fruit Farms" continues to be a major source of employment for local communities.


The vineyards at Boschendal cover 2.54 km² between Groot Drakenstein and Simonsberg, and include substantial plantings of Chardonnay and Sauvignon blanc, together with recent plantings of Cabernet Sauvignon, Merlot and Shiraz. The winery is noted particularly for its complex white wines.
When Anglo American took ownership of Rhodes Fruit Farms and Boschendal in 1969 one of the key projects was the re-establishment of a range of wines under the Boschendal brand. In 1978, Achim van Arnim took charge as Cellarmaster, vowing to restore pre-eminence for the Estate's produce.
It was then that "Blanc de Noir"  ( white from black) was created — a "blush" white wine made from red grapes, an innovation that sets Boschendal Wines apart.


The first church was built as a mission church by the Franciscans in 1669. Originally, it served the Dumagat people of Lanatin and Linotan in the mountains of modern-day Rizal province. The Jesuits eventually took over the mission and the church in 1741. It was turned over to secular priests in 1768 when the Jesuits were expelled from the Philippines and other Spanish realms.
In 1880, an earthquake caused significant damage to the church. Owing to the dwindling population in the area, the damaged portions of the church were not rebuilt.
In 1930, the Americans planned to build a dam in the surrounding area, and the remaining inhabitants were ordered to resettle elsewhere. The project was eventually abandoned due to a discovered fault in the region, yet people did not return until the time of the Japanese Occupation. Whatever remained of the structure was subsequently razed to the ground by the Japanese, leaving only the lower portion of the original façade intact.
As the area was eventually resettled, administration of the parish was taken over by the Camillian Order in 1986, who helped organize rebuilding of the church. The restoration was completed in 1995, preserving the ruins of the façade, with the new portions built as close as possible to the simple, sparse architecture of the original.


The decision to build a bridge across the Bosphorus was taken in 1957 by Prime Minister Adnan Menderes. For the structural engineering work, a contract was signed with the British firm Freeman Fox & Partners in 1968. The bridge was designed by the British civil engineers Gilbert Roberts, William Brown and Michael Parsons, who also designed the Humber Bridge, Severn Bridge, and Forth Road Bridge. Construction started in February 1970 and ceremonies were attended by President Cevdet Sunay and Prime Minister Süleyman Demirel. The bridge was built by the Turkish firm Enka Construction & Industry Co. along with the co-contractors Cleveland Bridge & Engineering Company (England) and Hochtief AG (Germany).
The bridge was completed on 30 October 1973, one day after the 50th anniversary of the founding of the Republic of Turkey, and opened by President Fahri Korutürk and Prime Minister Naim Talu. The cost of the bridge was US$200 million ($1.22 billion in 2021 dollars).
Upon the bridge's opening, much was made of its being the first bridge between Europe and Asia since the pontoon bridge of Xerxes in 480 BC. That bridge, however, spanned the Hellespont (Dardanelles), some distance away from the Bosphorus, and was the second bridge after the above-mentioned bridge built by Emperor Darius I The Great across the Bosphorus in 513 BC.


The castle was first mentioned in 1346 owned by Joannes van den Bossche who gave his name to the castle. The oldest part of the Bossenstein Castle is the keep which dates from the 14th century. The castle was owned by the Van Berchem family. In 1655, the castle was extended. In 1906, the Bossenstein Castle was extensively restored. Nowadays it is owned by a golf and polo club.


Boston City Hall is the seat of city government of Boston, Massachusetts. It includes the offices of the mayor of Boston and the Boston City Council. The current hall was built in 1968 to assume the functions of the Old City Hall.
It is a controversial and prominent example of Brutalist architecture, part of the modernist movement. It was designed by the architecture firms Kallmann McKinnell & Knowles and Campbell, Aldrich & Nulty, with LeMessurier Consultants as engineers.
Together with the surrounding plaza, City Hall is part of the Government Center complex. This project constituted a major urban redesign effort in the 1960s, as Boston demolished an area of substandard housing and businesses.
The building has been subject to widespread public condemnation, and is sometimes called one of the world's ugliest buildings. Calls for the structure to be demolished have been regularly made even before construction was finished. Architects and critics considered it to be excellent work, with one poll finding that professional architects describe Boston City Hall as one of the ten proudest achievements of American architecture.


Boston City Hall was designed by Gerhard Kallmann, a Columbia University professor, and Michael McKinnell, a Columbia graduate student, (who co-founded Kallmann McKinnell & Knowles). In 1962 they won an international, two-stage design competition for the building. Their design, selected from 256 entries by a jury of prominent architects and businessmen, departed from the more conventional designs of most of the other entries (typified by pure geometrical forms clad with sleek curtain walls) to introduce an articulated structure that expressed the internal functions of the buildings in rugged, cantilevered concrete forms. While hovering over the broad brick plaza, the City Hall was designed to create an open and accessible place for the city's government, with the most heavily used public activities all located on the lower levels directly connected to the plaza. The major civic spaces, including the Council chamber, library, and Mayor's office, were one level up, and the administrative offices were housed above these, behind the repetitive brackets of the top floors.
At a time when monumentality was typically considered an appropriate attribute for governmental architecture, the architects sought to create a bold statement of modern civic democracy, placed within the historic city of Boston. While the architects looked to precedents by Le Corbusier, especially the monastery of Sainte Marie de La Tourette, with its cantilevered upper floors, exposed concrete structure, and a similar interpretation of public and private spaces, they also drew from the example of Medieval and Renaissance Italian town halls and public spaces, as well as from the bold granite structures of 19th-century Boston (including Alexander Parris' Quincy Market immediately to the east).
Many of the elements in the design have been seen as abstractions of classical design elements, such as the coffers and the architrave above the concrete columns. Kallmann, McKinnell, and Knowles collaborated with two other Boston architectural firms and one engineering firm to form the "Architects and Engineers for the Boston City Hall" as the entity responsible for construction, which took place from 1963 to 1968.
The architects designed City Hall as divided into three sections, aesthetically and also by use. The lowest portion of the building, the brick-faced base, which is partially built into a hillside, consists of four levels of the departments of city government, where the public has wide access. The brick largely transfers over to the exterior of this section, and it is joined by materials such as quarry tile inside. The use of these terra cotta products relates to the building's location on one of the original slopes of Boston, expressed in the open, brick-paved plaza, and also to historic Boston's brick architecture, seen in the adjoining Sears Crescent block and the Blackstone Block buildings across Congress Street.
The intermediate portion of City Hall houses the public elected officials: the Mayor, the City Council members, and the Council Chamber. The large scale and the protrusion of these interior spaces on the outside, instead of being buried deep within the building, reveal the important public functions to the passers-by and are intended to create a visual and symbolic connection between the city and its government.  The effect is of a small city of concrete-sheltered structures cantilevered above the plaza: large forms that house important civic activities. The cantilevers are supported by exterior columns, spaced alternately at 14-foot-4-inch (4.37 m) and 28-foot-8-inch (8.74 m), which are steel-reinforced.
The upper stories contain the city's office space, which are used by civil servants not visited frequently by the public, such as the administrative and planning departments. The bureaucratic nature is reflected in the standardized window patterns, separated by pre-cast concrete fins, with an open office plan typical of modern office buildings. (The subsequent enclosure of much of this space into separate offices contributed to the ventilation problems of those floors.)
The top of the brick base was designed as an elevated courtyard melding the fourth floor of the city hall with the plaza. Security concerns caused city officials in recent years to block access to the courtyard and the outdoor stairways to Congress Street and the plaza. The courtyard is occasionally opened up for events (such as the celebration of the Boston Celtics championship in 1986). After the September 11 attacks in 2001, security was further increased. The north entrance, facing the plaza, was barricaded with jersey barriers and bicycle racks. All visitors entering the front and the back entrances must pass through metal detectors.
City Hall was constructed by using mainly cast-in-place and precast Portland cement concrete and some masonry. About half of the concrete used in the building was precast (roughly 22,000 separate components), and the other half was poured-in-place concrete. All of the concrete in the structure, except that of the columns, is mixed with a light, coarse rock. While the majority of the building is created using concrete, precast and poured-in-place concrete are distinguishable by their different colors and textures. For example, cast-in-place elements are coarse and grainy textured because the concrete was poured into fir wood frames to mold it, and precast elements, such as trusses and supports, were set in steel molds to gain smooth, clean surfaces. This distinction also originates from the different types of cement used: the exterior poured-in-place pieces are of type I cement, a lightly colored cement, while the exterior precast components use type II cement, a dark-colored cement. The base of the building is dark with brick, Welsh quarry tiles, mahogany walls, and darker concrete. As the building ascends, the overall color lightens, as lighter concrete is used.


The public response to Boston City Hall continues to be sharply divided. Arguments for and against continued use of the structure provoke strong counter-arguments from politicians, local press, design professionals, and the general public. City Hall was given two stars by the Michelin Green Guide, which said that the building "has been one of Boston's controversial architectural statements since its completion in 1968." The building's 50th anniversary in 2019 prompted both positive and negative commentary. In the 2021 Boston mayoral election, candidates for mayor Andrea Campbell, John Barros, and Kim Janey voiced negative opinions on it, Annissa Essaibi George was neutral on it, while Michelle Wu voiced positive opinions on it.


While assessment of the building's architecture has been influenced by the vagaries of changing architectural style, the building at the time was acclaimed by some architects as well as by the professional association, American Institute of Architects, which gave the building its Honor Award in 1969.
Representative of the contemporary praise was the opinion of The New York Times critic Ada Louise Huxtable, who wrote that "in this focal building Boston sought, and got, excellence." Historian Walter Muir Whitehill wrote that
"it is as fine a building for its time and place as Boston has ever produced. Traditionalists who long for a revival of Bulfinch simply do not realize that one does not achieve a handsome monster either by enlarging, or endlessly multiplying, the attractive elements of smaller structures."
Architect, educator, and writer Donlyn Lyndon wrote in The Boston Globe, "Boston City Hall carries an authority that results from the clarity, articulation, and intensity of imagination with which it has been formed." Architectural historian Douglass Shand-Tucci, author of Built in Boston: City and Suburb, 1800–2000, called City Hall "one of America's foremost landmarks" and "arguably the great building of twentieth-century Boston." In the AIA Guide to Boston, Susan and Michael Southworth wrote that "the award-winning City Hall had established its architect's reputation and inspired similar buildings across the nation."
Stylistically, City Hall is considered by some to be a leading example of Brutalist architecture.  It is listed among the "Greatest Buildings" by Great Buildings Online, an affiliate of Architecture Week. Additionally, in a 1976 Bicentennial poll of historians and architects regarding the United States' greatest buildings, sponsored by the American Institute of Architects, Boston City Hall received the sixth-most mentions.
When Boston's Mayor Menino stirred controversy in 2010 with a discussion of selling City Hall (see below), opponents of the proposal expressed praise of the building for its influence, design originality, and symbolism as a marker of Boston's rebirth in the 1960s. Supporters of the building applied to the Boston Landmarks Commission for its designation as a landmark, with supporting signatures and letters from architecture critic Jane Holtz Kay, Friends of the Public Garden President Henry Lee, and others. The Boston Globe published editorials recognizing the building's importance. Architecture critic Ada Louise Huxtable wrote an article published in The Wall Street Journal in which she contrasted the poor treatment of Boston City Hall with Yale University's recent sympathetic restoration of its similarly challenging Brutalist landmark, the Art and Architecture Building by architect Paul Rudolph.  In 2009 a major exhibition of the original design drawings for City Hall, now part of the archive of Historic New England, was mounted at the Wentworth Institute of Technology. In 2015, Boston Globe columnist Dante Ramos wrote that "if we see the enduring value in Heroic-era architecture, we can also hope for a measure of boldness — and recognize the downside of being too timid." A 2019 essay by Anthony Flint argued that City Hall is "an elegant, successful work of architecture." In 2019, a commemorative pin was produced in honor of the building's 50th anniversary.  In an essay written during the anniversary year, architect Aaron Betsky wrote that City Hall "is one of the last concrete examples of government willing to fight for what it thinks is right, which is, or should be, or common good."


Boston Light was automated in 1998, but is still staffed by resident Coast Guard keeper, Sally Snowman, who is assisted by Auxiliarist watchstanders from the Coast Guard Auxiliary. However, these personnel are mostly used to act as interpretive tour guides for visitors.
Its light, flashing white every 10 seconds, shines through the only second-order Fresnel lens still in use in Massachusetts (of only four total), and is visible from a distance of 27 nautical miles (50 km; 31 mi). Although it is still an important navigation mark, its importance has been decreased over the last century by the use of Boston Harbor's North Channel for most large vessels entering the harbor, which is marked by Graves Light.
Guided tours of the island and lighthouse are available, by prior arrangement, with access on the ferry Columbia Point in the morning or afternoon, or by private boat in the middle of the day. They are also available through the National Park Service, twice daily on summer weekends.
The lighthouse underwent major renovations in 2014 and was covered with scaffolding. It reopened to visitors in 2015.


Construction of the causeway, known locally as ‘The Cob’, linking Penrhyn Isa on the Merioneth shore with the small rocky island called Ynys Towyn (where Britannia Terrace now stands in Porthmadog) near the Caernarfonshire shore, started in 1807 and was completed in 1811 during which time large quantities of stone was quarried and extracted from both ends. The embankment, which was the final stage of the Traeth Mawr land reclamation scheme, was 24 feet (7.3 m) wide at the top (where the railway now runs), 180 feet (55 m) wide at the base, 21 feet (6.4 m) deep and about 1 mile (1.6 km) in length. The quarrying created both the Britannia Terrace site at Porthmadog and the railway workshops site at Boston Lodge.
The site at Boston Lodge first held barracks for many of the 150 men working from the Merioneth side on the embankment construction, together with stables and smithies for the horses and wagons used to carry the stone.  Later with the coming of the horsedrawn Festiniog Railway, the stables and smithies were brought back into use from 1836 onwards and there has been almost continuous development of the site for railway purposes since that time.


In the years from 1847 to 1851 the works was considerably developed by the construction of ferrous and non-ferrous foundries, a pattern making shop, a blacksmith's shop, a carpenter's shop, and an engine house in which a steam engine provided power for machinery in a sawmill, pattern shop and machine shops. In the 1870s further construction provided a paint shop, joiner's shop and erecting shop in which in 1879 and 1885 the double Fairlie engines Merddin Emrys and Livingston Thompson were built. Prior to 1915 the works employed about 30 men. During World War I most of the works was used as a munitions factory (largely staffed by women) from 17 September 1915 until early in 1919. The fortunes of the railway and its works declined from the mid-1920s with total closure from March 1947 to September 1954.


In the aerial photograph at right, at the end of the embankment (this end being called locally 'Pen Cob') is the junction into the railway works yard. To the forefront of the works site is the large white building that is Nos: 1 and 2 Boston Lodge Cottages. Next to which, on the right, is the original 'Penrhyn Isa Cottage/Boston Lodge' now the works offices. All the rest in that area is railway works and storage buildings.
Below the railway is the A487 road and in front of that is the 1836 tollgate cottage. Prior to the coming of the Ffestiniog Railway, the road was on the top of the embankment, but in 1836 the present carriageway was constructed on the landward side at the lower level. This lower road was less than 18 feet (5.5 m) wide and quite narrow for a major road. In 2002 it was widened to over 22 feet (6.7 m) with, in addition, a separate cycleway and footpath on the landward side.


The manor house is a Grade I listed Jacobean manor house on the west-side of  Boston Manor Road, Brentford, in the London Borough of Hounslow, England. Set in 20 acres (8.1 ha) of parkland, it is Hounslow's only building of the Jacobean period. It is situated in beautiful grounds which gently slope down to the nearby River Brent, from which Brentford gets its name. The house has thick walls of red brick and stands three storeys high. The windows are set into stone architraves and a stone cornice between the second and third storeys of the house. It has three gables on the longer sides and two on the shorter with stone coping. The rainwater downpipe headers which collect from the roof gutters are each embossed with dates. The three on the original part of the house are dated 1662, this being the date that building began. Another is 1670, which was when the third gable was added, and 1915 for when improvements were made to the drainage system.
It was traditional with grand houses of this time to consider the front side of the house to be that side which looks out over an elegantly landscaped garden.  However, during the ownership of James Clitherow (IV),  the central ground floor window on the east side was converted into a doorway and a porch was added. It is fashioned from pale grit stone which  has weathered to an almost light golden colour, with Elizabethan detail, and topped with a low ornamental balustrade. Considering its design and apparent age, it is thought to have been salvaged from another building.
Going through this porch and the new front doorway one comes into the entrance hall. It extends to the west side of the house and the former front door. Halfway between, however, is a wooden divide or screen which was added around the 19c, and the east half was given a new ceiling.
On the immediate left of the hall is the dining room. It is not very large and is painted in a bright yellow which was both popular and expensive when it was in fashion. It has a number of prints and paintings hanging on the walls of local scenes from times gone by.
Once back in the hallway and walking through the screen, there is to the left-hand side a door to the library, which is about the same size as the dining room. It has some interesting features.  Unfortunately the room now remains locked and cannot be seen by visitors due to the dangerous condition of the wall on that side of the house. Beyond the library door is the west side door to the garden.
The west side of the hall also has a mostly original left hand winding Jacobean staircase.
The angle of ascent (or rake) of the stairs is more gentle than in modern buildings, with both a lower ‘rise’ to the next tread and deeper ‘run’ to the next step. The treads are bullnosed and obediently creak to each and every footfall a visitor may place upon them.
Square carved oak newel posts support the ends of banisters with carved tapered balusters running between. The opposite side of the stairs are mirrored with a  Trompe d'œil balustrade. For this period in England, this is an extremely  rare example of this technique and so is now been preserved behind transparent sheets. The design has striking similarities to those at Hatfield House.
A 19c addition to the top of the newel posts are small plaster or composition castings of lions which are  sitting on their  haunches, with their bodies erect and both forepaws raised from the ground (i.e.,  holding  ‘sejant erect attitude’), Each animal hold a shield bearing the arms of  a different  Clitherow member. These may have been added for the visit of King William IV and Queen Adelaide; for although the Clitherow's were commoners they could nevertheless trace their family tree back to the reign of Henry V.
The two landings give a fine view over the garden with its cedar trees planted in 1754.
With the commanding view that the house provides to the south and south west, one can almost imagine a little over a hundred years before that, when the then King Charles I could have been pacing from window to window with his loyal supporter Sir Edward Spencer, watching Prince Rupert's  troops engaging  with the Parliamentarians during the Battle of Brentford. Apart from local folklore though, there is nothing to support this as having happened. It is almost equally disappointing to discover, that despite the historically rich ambience that follows one about from room to room, only one ghost has chosen to remain in residence. It is said to be that of the unquiet spirit of young master John Clitherow, who drowned at an untimely and early age.
After the second flight of stairs one arrives at the second floor. To the right
it the door to a small anteroom on the west side of the house. Next to this is the state bedroom with a splendid Jacobean decorated plaster ceiling in high relief. The central panel depicts a female figure representing ‘Hope’  with her cross-anchor, below is the word in Latin. This symbol pre-dates Christianity: Which hope we have as an anchor of the soul, both sure and stedfast, and which entereth into that within the veil; Hebrews 6:19 (KJV). Despite this, Dame Mary Reade died childless.
From here and though the doorway to the east side is the state drawing room; so called because this is where the ladies would withdraw after dinner, leaving the menfolk to smoke and sample the cellar. This is the room that Boston Manor House is so famous for. It is large, with a high  and magnificent Jacobean ceiling, some with elements designed by the 17th-century Dutch artist Marcus Gheeraerts, and engraved by Galle. In one corner is recorded the date of building, and Mary Reade's initials in another. An equally ornate chimney- piece over the mantel is based on a print by the Flemish-born engraver  Abraham de Bruyn which depicts Abraham about to sacrifice Isaac on the Mount of Moriah. All of these high relief mouldings are all acknowledged to be excellent examples of the Jacobean period.
On the wall along the final top flight of stairs can be seen some 18th-century wallpaper, which was  discovered  during restoration work. While it has become distressed with time, it is considered to be among the best examples which have survived into present times.
Like most houses that have served as homes, it has when needs prevail,  been improved and modernised, by the Clitherow family. The original windows were replaced by box-sash and unfolding wooden panels or screens. These would be unfurled across the windows at dusk to keep in the heat, as well as keeping the house more secure. Central heating was also installed, as was gas for the kitchens.
The wall have been hung with hand-printed flock wallpaper.  Much of the furniture in the house has been lent by the Gunnersbury Park Museum.
The art collection includes an oil on canvas of Christopher Clitherow by Godfrey Kneller; oils of Syon House and Isleworth by James Isaiah Lewis; an oil of James Clitherow (1766–1841) by Henry William Pickersgill; and an oil of James Clitherow (1731–1805) by George Romney.


Two London Buses serve the area; the 195 and the E8. The area's local London Underground station is Boston Manor, served by Piccadilly line trains.
Its post town is TW8 BRENTFORD, in the TW postcode area.
The M4 motorway overpass runs through  Boston Manor Park.


The Boston Opera House was originally designed as the B.F. Keith Memorial Theatre, a lavish movie theater in the Keith-Albee chain. The Keith's Memorial was one of his most elaborate designs of the prominent theater architect Thomas W. Lamb. It was dedicated to the vaudeville pioneer B.F. Keith. On October 23, 1928, just before the theater opened, the Radio-Keith-Orpheum (RKO) company was formed and became the owner of the theater. The theater opened on October 29, 1928, presenting first-run films along with live vaudeville. By 1929, the theater had converted to showing only films and remained a leading Boston movie showcase through the 1950s. It became known as RKO Keith's, and bore signage that said both "B.F. Keith's" and "RKO Keith's" (see the 1938 photo shown at right).
In 1965 the Sack Theaters company acquired the theater and renamed it the Savoy Theater. Sack later added a second smaller cinema in the theater's stage space, separated from the original auditorium by a masonry wall built across the proscenium.
In 1980, after closing as a movie house, the theater became the home of opera director Sarah Caldwell's Opera Company of Boston and was renamed the Boston Opera House. The theater was acquired and renovated by the opera company with the help of Boston arts patron Susan Timken. After a decade of opera productions at the house, Caldwell's company collapsed due to financial troubles in 1991. Having previously produced opera since 1958 in rented theaters, the company was not financially prepared to cope with the substantial costs of upkeep for the large theater which had previously been poorly maintained for decades. The company's failure left the theater dark and without funds to maintain it.
Unheated, the building fell prey to extensive water damage, severely damaging the electrical system and the decorative plaster interior of the auditorium.  The company's costumes, collected for decades and stored under the damaged roof, were lost. In 1996, the former opera company relinquished ownership of the building.
Mayor Thomas Menino, with the aid of Senator Edward Kennedy (whose father, Joseph, was the first owner), helped to get the theater landmark status in 1999 through the Boston Landmarks Commission. After a series of failed or delayed development proposals, the Clear Channel Company agreed to renovate the theater. The need to enlarge the trapezoidal stage house into the street between buildings provoked a multi-year court fight with the neighboring Tremont on the Commons condominium building, whose concerns with fire safety were eventually overcome with the persuasion of Mayor Menino.
The Boston opera community welcomed the efforts of Mayor Menino and Clear Channel to refurbish the Opera House and the damaged interior was restored in a $38 million renovation. It reopened on July 16, 2004, with the Broadway production of The Lion King. Clear Channel kept the historic theater busy and active with long runs of touring Broadway musicals and pop concerts. While its agreement with city included a clause that opera be produced at least two weeks a year, no opera company has yet returned to make the Opera House its home.
The current owner of the theater is Boston Opera House Ventures, LLC, a partnership of local Boston businessmen Don Law and David Mugar. Its primary tenants are Broadway Across America, Boston Uprising and the Boston Ballet. Home to Boston Ballet's annual production of The Nutcracker since 2005, the theater became the company's permanent home in 2009.


During the warmer seasons, the 4 acres (16,000 m²) pond is the home of a great many ducks, as well as of one or more swans. A popular tourist attraction is the Swan Boats, which began operating in 1877. For a small fee, tourists can sit on a boat ornamented with a white swan at the rear. The boat is then pedaled around the pond by a tour guide sitting within the swan.
The current pair of swans are mute swans named Romeo and Juliet after the Shakespearian couple, however, it was found that both are female.
Being no more than three feet deep at its deepest point, the pond easily freezes during the colder months. In 1879, the Boston City Council passed an order to maintain the pond for skating during the winter; today, there is an official skating rink maintained at Frog Pond on the Common, instead.
The pond represented a significant health concern shortly after it was constructed, as it was fed by a combination of salt water from the Charles River, sewer water, and fresh water from Frog Pond in the Common. As a result, there was often a thick slime present in the pond, and an accompanying stench. Consequently, the caretakers of the garden drain and clean the pond annually.


Permanent flower plantings in the garden include numerous varieties of roses, bulbs, and flowering shrubs. The beds flanking the central pathway are replanted on a rotating schedule throughout the year, with different flowers for each season from mid-spring through early autumn. Plantings are supplied from 14 greenhouses the city operates at Franklin Park for the purpose.
The Public Garden is planted with a wide assortment of native and introduced trees; prominent among these are the weeping willows around the shore of the lagoon and the European and American elms that line the garden's pathways, along with horse chestnuts, dawn redwoods, European beeches, ginkgo trees, and one California redwood. Other notable trees include:
Beech trees
European beech
Purple beech
Weeping European beech
River birch
Castor aralia
Western catalpa
Kwanzan cherry
Kentucky coffee tree
Tea crab
Bald Cypress
Elm trees
American elm
Belgian elm
Camperdown elm
English elm
Rock elm
Scotch elm
Horsechestnut
Japanese larch
Linden trees
Common linden
Littleleaf linden
Star magnolia
Maidenhair tree
Maple trees
Norway maple
Red maple
Silver maple
Oak trees
Burr oak
English oak
Pin oak
Pagoda trees
Pagoda tree
Weeping pagoda
Redwood trees
Dawn redwood
Giant redwood
Silk tree
Silverbell
Japanese stewartia
Japanese tree lilac
Tulip tree
Tupelo
Yellowwood
Weeping willow


The house has a symmetrical facade crowned with an arched attic, and is decorated in the Art Nouveau style with elements of classicism and irrationalism. The first floor is decorated with banded rustication. The second and third floors have large windows and balconies with delicate iron-cast railings. The cornice is crowned with parapet established between decorative pedestals.


Botallack was a submarine mine with tunnels extending under the sea, in places for half a mile. Over its recorded lifetime the mine produced around 14,500 tonnes of tin, 20,000 tonnes of copper, and 1,500 tonnes of arsenic.  An estimated 1.5 million tonnes of  waste would have been dug up with the minerals. It is unclear how far back mining activity goes in this location. Early records date from the 1500s. Some archaeological evidence points to mining here in the Roman era or even as far back as the Bronze Age.
Henry Boynes was captain of the mine in the early 18th-century and opened a ″deep adit level,″ which was driven to the Corpus Christi lode in the higher mine. The first steam-engine was put to work at Carnyorth Moor (later part of the Botallack sett) in either 1795 or about 1810, depending on the source. In the first half of the 19th-century, the average price of Botallack tin was £64 4s a ton. The abolition of tin duty of 4s per 120 lbs to the Duke of Cornwall in 1838 helped to keep the mine operating despite a decline in the price of tin to £45 per ton. In the 1860s a new diagonal shaft was dug. A visit by the Prince and Princess of Wales in 1865, when they descended the shaft, created a mini-boom in tourism, causing the mine operators to charge visitors a guinea per person.
An increasing supply of tin – initially from Malaysia, Banka Island, and Sumatra, and in the 1870s onwards from Australia – along with a fall in demand for tinplate in the American market, caused the price of tin to fall, causing many Cornish mines to close. The managers decided in January 1883 to stop the Botallack and Crowns engines, because the number of men employed below ground was not sufficient to meet the costs of keeping the engines going. On 2 October 1883 the recently renewed setts, which extended over 2 miles (3.2 km) – comprising Wheal Cock, the Crowns, Carnyorth and Higher Mine – were put up for auction as a ″going concern.″  It included four pumping and three winding engines, two steam stamps, plus other appliances. At the auction it was stated that the mine ″... only needs from £20,000 to £25,000 to be put in good working order, ...″ There were no bids for the mine.
The following shafts were working in 1884,
Botallack engine-shaft, 220 fathoms (1,320 ft; 400 m) deep and worked with a 30 inches (760 mm) cylinder
Crowns engine-shaft, 130 fathoms (780 ft; 240 m) deep and worked with a 36 inches (910 mm) cylinder
Wheal Cock engine-shaft, 160 fathoms (960 ft; 290 m) deep and worked with a 30 inches (760 mm) cylinder
Carnyorth engine-shaft, 130 fathoms (780 ft; 240 m) deep and worked with a 30 inches (760 mm) cylinder
Wheal Cock skip-shaft, 170 fathoms (1,020 ft; 310 m) deep
Botallack skip-shaft, 205 fathoms (1,230 ft; 375 m) deep
Carnyorth skip-shaft, 124 fathoms (744 ft; 227 m) deep
Wheal Hazzard skip-shaft, 100 fathoms (600 ft; 180 m) deep
Chy Cornish skip-shaft, 100 fathoms (600 ft; 180 m) deep
Pearce's skip-shaft, 130 fathoms (780 ft; 240 m) deep
Bullion skip-shaft, 185 fathoms (1,110 ft; 338 m) deep
Durloe skip-shaft, 70 fathoms (420 ft; 130 m) deep
Rodd's skip-shaft, 60 fathoms (360 ft; 110 m) deep
Boscawen diagonal-shaft, about 500 fathoms (3,000 ft; 910 m) long, perpendicular depth 240 fathoms (1,440 ft; 440 m) and 300 fathoms (1,800 ft; 550 m) under the sea
Approximately 10 other shafts varying in depth from a few fathoms to 50 fathoms (300 ft; 91 m) deep.
Other engines,
Botallack stamping-engine, 30 inches (760 mm) cylinder
Carnyorth stamping-engine, 24 inches (610 mm) cylinder
Carn whim, 27 inches (690 mm) cylinder
Davy's whim (Botallack), 26.5 inches (670 mm) cylinder
Carnyorth, 22 inches (560 mm) cylinder
saw-mill, 14 inches (360 mm) cylinder
air-compressor, 14 inches (360 mm) cylinder.
A total of 265 were employed and the monthly wage was approximately £800 per month.
The average monthly yield of the mine was about 19 tons of tin, 3 tons of copper and 4 tons of arsenic.
The mine closed in 1895 as a result of falling tin and copper prices.
The mining developments around Botallack form part of the St Just mining district's successful inclusion in the Cornwall and West Devon Mining Landscape World Heritage Site, which was inscribed in July 2006.


The gardens' most notable feature is the Palm House conservatory. The foundation stone was laid by the Marquess of Donegall in 1839 and work was completed in 1840. It is one of the earliest examples of a curvilinear cast iron glasshouses in the world. Designed by Charles Lanyon and built by Richard Turner, Belfast's Palm House predates the glasshouses at Kew and the Irish National Botanic Gardens at Glasnevin, both of which Turner went on to build. The Palm House consists of two wings, the cool wing and the tropical wing. Lanyon altered his original plans to increase the height of the latter wing's dome, allowing for much taller plants. In the past these have included an 11 metre tall globe spear lily. The lily, which is native to Australia, finally bloomed in March 2005 after a 23-year wait. The Palm House also features a 400-year-old Xanthorrhoea.


Concerts and music festivals are held at the Stranmillis Embankment end of the gardens. From 2002 to 2006 the Tennents ViTal festival was held in the gardens. Performers included Kings of Leon, Franz Ferdinand, The Coral, The Streets and The White Stripes. In 2006 Snow Patrol, The Raconteurs, Editors and Kaiser Chiefs played at the festival.
On 26 August 1997 U2 played their first Belfast concert in over a decade as part of the PopMart Tour. 40,000 fans attended, with thousands more lining the perimeter fence and watching from rooftops on Ridgeway Street. Local band Ash and Howard B were the support acts.
Celine Dion was due to perform in the Botanic Gardens on 29 May 1999 during her Let's Talk About Love World Tour, however the show was cancelled along with her performance in Dublin on 27 May 1999.


WikiWeb_Botanical Garden and Eco-Park, Sitakunda_0

Sitakunda Botanical Garden and Eco Park is a park located in Sitakunda Upazila of Chittagong District in south-eastern Bangladesh. It is a beautiful place where you can find peace among the sound of birds chirping. A perfect destination to travel with friends and family and enjoy the nature within. The Sohosrodhara Jhorna is the most popular attraction in this park.


WikiWeb_Botanical Garden and Zoo of Asunción_0

The Botanical Garden and Zoo of Asunción (Jardín Botánico y Zoológico de Asunción) is a botanical garden and zoo located in Asunción, capital of the Republic of Paraguay.
The Botanical Garden and Zoo is one of the principal open spaces of the city of Asunción, set in natural forest covering 110 hectares (270 acres) to the north of the city. The zoo is home to nearly seventy species of wildlife including birds, mammals and reptiles, mostly representing the fauna of South America. The botanical garden is home to native species, exhibiting, in particular, the variety and beauty of its lush trees.


The Botanical Garden of Mérida (Spanish: Centro Jardín Botánico de Mérida) is a botanical garden in the city of Mérida in Venezuela. It was founded in 1991 by the University of the Andes, which is based in Mérida, in order to promote conservation and research in relation to the fauna and flora of the Venezuelan Andes.  The garden was opened to the public on December 8, 2002.-

It occupies an area of 44 hectares, donated by the University for its development. It is divided into zones according to the type of flora encountered. Most of the area is occupied by a forest of native pines.
The most important collection of the garden consists of bromelias, which are present in more than 100 species and 600 individuals: it is the largest collection of bromelias in Venezuela and South America.


The entrance pavilion to the botanical garden was designed by Lorenzo Castro and Ana Elvira Vélez. The garden includes a butterfly house, cactus garden, exhibition spaces, library, and pond. A plan to create an additional pavilion was rejected and a competition for local architects was devised to come up with a new structure for the park.
The winners of the project designed the Orchideorama. This structure was jointly designed by Plan B Architects and JPRCR Architects. The structure is 65-feet high. It is a wood meshwork canopy  with ten hexagonal flower-tree structures that collect rainwater and shelter an orchid collection and butterfly reserves.


The Botanischer Garten Bielefeld (4 hectares) is a municipal botanical garden located beside the southeast edge of the Teutoburger Wald at Am Kahlenberg 16, Bielefeld, North Rhine-Westphalia, Germany. It is open daily without charge.
The garden was established in 1912 on one hectare. It was enlarged in 1914–1915 with the installation of the alpine garden containing about 500 different plant species, and in 1925-1927 enlarged again by a further 2.5 hectares to the west for its rhododendron collection. By 1952 it contained about 3000 species.
Today the garden contains about 2500 plant varieties. Its highlights include a rhododendron and azalea collection, alpine garden, medicinal and herb garden, heather garden, flora of the Buchenwald region, and a half-timbered house dating from 1823.


The garden was established in 1822 as the Romberg family's English landscape park around their mooted castle Brünninghausen (Schloss Brünninghausen). It followed remodeling the house from 1817 in Classicist style, designed by August Reinking. The owner, Gisbert von Romberg I and his family commissioned a new garden concept around the house, carried out between 1817 and 1824 in English landscape garden style. It was designed, beginning in 1818, by Maximilian Friedrich Weyhe, who was court gardener in Düsseldorf. He had worked with Reinking before. The design is extant, held by the Abteilung Westfalen of the Landesarchiv NRW. Weyhe visited the site twice per year to inspect the work, to determine trails and the lake with an island, a bridge and the Bastei which remains. The leading gardener was Jakob Greiß, who later became director of the municipal gardens in Cologne. The building within the park were designed by architect Adolf von Vagedes, who continued Reinking's after his death in 1819, and te Stroet.
The property is located in the south of the city, adjacent to the zoo. In 1926, it was acquired by the city, which transferred its botanical garden from close to the inner city to the larger property. With city planning director Richard Nose, it was enhanced by a small herb garden.
The park was badly damaged by bombing in 1944 during World War II, and the castle was destroyed. In 1945, shortly before the end of the war, officers of the Gestapo murdered almost 300 people in the Rombergpark and the nearby forest Stadtwald Bittermark. The victims were mostly forced labourers and prisoners of war from several European countries, as well as previously imprisoned opponents of the Nazi regime. These events are commemorated today at the Mahnmal Bittermark, and by a memorial plaque at the park, which is planted with white roses, alluding to the Weiße Rose resistance to the Nazis.
Beginning in 1950, director Gerd Krüssmann rebuilt the park as an arboretum, adding some 4500 species. Four greenhouses were built in 1958, with an integrated cafe. A garden of medicinal plants was added in 1985.
Today the garden contains a historic English landscape park with monuments, an arboretum containing thousands of species of woody plants, including some of the largest trees of some species in North Rhine-Westphalia, a terrace with palm trees, and four greenhouses with a total area of 1000 m² for cactus and succulents, ferns, tropical plants, and camellias, jasmine, and lemons. A large lake is home for fish, turtles and water fowl. A smaller lake is surrounded by water cypress. The lakes are fed by "red" creeks rich in iron minerals. A linden alley was planted in 1888. The blooming of rhododendrons is an annual attraction.
The greenhouses with the cafe, and the park as a whole are listed monuments.


Botany Bay is a bay in Broadstairs facing the north sea, Kent, England.
Botany Bay is the northernmost of seven bays in Broadstairs. It features chalk cliffs and a sea stack and is a popular tourist location. Bathing is reportedly safe for swimming, surfing, and kayaking, and lifeguards are on duty.


Botany Bay is a popular film location, having been used by productions such as BBC's D- Day: The Last Heroes, Tamil action drama Thaandavam, Sky Atlantic comedy Hunderby, BBC drama True Love as well as music videos for Bat For Lashes, Bebe Black, Shawn Mendes' song "There's Nothing Holdin' Me Back", and commercials for Land Rover, Sainsburys and Natwest and photoshoots for many fashion editorials.  "Dress Code" an episode from the web series, The Mute Series, was also shot there.
Other bays in the area are Kingsgate Bay, Joss Bay, Stone Bay, Viking Bay, Louisa Bay and Dumpton Bay.


Rebuilding of the pagoda started on the same day that the country gained independence from the UK: 4 January 1948. Part of the excavation process, a relic chamber was discovered. The chamber in size 20' x 20' and 6 in height gradually decreasing in size towards the top and appearing like a huge pot placed up-sided down to cover completely what lay inside.
In the very center of this treasure vault was discovered a wonderful stone casket in the shape of a pagoda with a diameter of 23 ins, and 39 ins, high. Encircling this stone casket were figures of nats carved out of laterite and evidently placed there to act as sentinels. The casket was immersed in mud as water had trickled into the vault during the many centuries it had been there. With this pagoda-shaped stone casket within the relic chamber were found various kinds of treasures: precious stones, ornaments, jewellery, terracotta plaques and images of gold, silver, brass and stone. The total number of these images recovered from within and without the relic chamber was seven hundred. The terracotta plaques, some of them in a fair state of preservation, depict Buddhist scenes.
One of the terracotta plaques excavated from the relic chamber bears an image of the Buddha and though affected by age and moisture it is exceptionally important. On the reverse side are inscribed characters which are very close to the ancient Brahmani script which came from Southern India. It is a precious evidence of ancient times and has been deciphered by U Lu Pe Win, Superintendent Archaeologist, Government of the Union of Burma, who points out that the initial word "e" from "evam vadi" shows that the script is in the manner of the ancient Mons. This is proof of the belief that the people who erected the Pagoda in ancient times were the Mons.
When this cone or stone layer was removed there was found inside another stone layer of similar shape but with a brilliant gold coating and this was more representative of a pagoda in shape while its exquisite workmanship and brilliance inspired feelings of deep religious fervor in the crowd present. Some mud had penetrated even here and the sides of the base were covered with this and when it was washed and sifted precious stones and gold and jewellery were discovered round the base. This second stone casket was then removed and inside was found a small pagoda of pure gold standing on a silver salver or base and beside this golden pagoda was a carved stone image 4½ ins. high of very ancient workmanship.
When the gold Pagoda was lifted up, a tiny gold cylinder of 3⁄4 inch (19 mm) length with a diameter of 5⁄12 inch (11 mm). was found and in this tiny cylinder were found two small body relics each the size of a mustard seed and what is believed to be a Sacred Hair of the Buddha. This hair was coiled round and fastened with a little lacquer on which were traces of gold plaster.


The tower consists of three proportional sections with the total height of 30 m, which makes it the tallest clock tower in Bulgaria. Distinctive features are its baroque elements and frescoes decorating the corrugated cornices. It contains similar architectural elements to those of the Plovdiv and Koprivshtitsa houses of the National Revival period, and a pointed cube reminiscent of the forms of Islamic architecture. It is decorated with blue frescoes. The building materials included stones from a quarry near the village of Bozhenitsa and timber from the Vrachesh area.
The lower section of the tower is square, reaching a height of 11 m. It has stone masonry with a door, which leads inside for servicing and winding the clock mechanism. The middle section is narrowed and its edges are outlined by half-columns, ending with cornices, and the walls are slightly wave-shaped, which adds elegance to the building. The upper section rises over the cornice and the cornice narrows even further. It has a hexagonal shape and houses the clock and the bell. In 1870 a weather-cock was placed on its very top. From the entrance of the tower to its last section, there are spiral-shaped wooden stairs, which lead to the clock mechanism.


The museum offers exhibition areas, as well a conference hall equipped for presentations, art exhibitions, concerts, discussions, public lectures and celebrations. The museum develops collection, research, education and popularization activities, and takes part in the organization of events from the cultural calendar of Botevgrad Municipality.
As of 2018, the museum collection contains more than 15 thousand items, including documents, original photographs, personal belongings, armament, old printed literature, numismatic and heraldic artifacts, and art works. These are distributed in three departments: Archaeology, History of Bulgarian lands in 15-20th century, and Art and History of 20th century. Affiliate to the Museum is the cloister school in the village of Bozhenitsa, Botevgrad Municipality.


Bothwell Castle is a large medieval castle, sited on a high, steep bank, above a bend in  the River Clyde in South Lanarkshire, Scotland. It is located between Bothwell and Uddingston, about 10 miles (16 km) south-east of Glasgow. Construction of the castle was begun in the 13th century by the ancestors of Clan Murray, to guard a strategic crossing point of the Clyde. Bothwell played a key role in Scotland's Wars of Independence, changing hands several times.
The huge cylindrical donjon was built in the 13th century, but before the rest of the castle was completed it was severely damaged in a series of sieges. Rebuilding in the early 15th century enlarged the castle, but it was abandoned by the 18th century. The present ruin is rectangular, with the remains of the donjon to the west, and the later Great Hall to the east. The courtyard is enclosed by long curtain walls, with round towers at the south-east and south-west corners. The castle was described by Scottish archaeologist William Douglas Simpson as one of the "foremost secular structures of the Middle Ages in Scotland".


King David I granted the barony of Bothwell to David Olifard (or Olifant), Justiciar of Lothian, in the mid 12th century. The lands passed to his descendants including his daughter who had married William de Moravia son of William son of Freskin, who was deceased by 1226 circa. Then by 1252 the barony became the property of their son Walter de Moravia, or Walter of Moray He began construction of the castle, but by the start of the Wars of Scottish Independence in 1296, only the main donjon, the prison tower, and the short connecting curtain wall were completed. Foundations of the remainder were probably in place, and would have been defended by a wooden palisade.