After considering sites in downtown Salt Lake City, Vineyard, and Provo, a soccer-specific stadium for Real Salt Lake was approved for the city of Sandy, a suburb of Salt Lake City, in late 2005; however, funding for the stadium was hard to come by. A vote in January 2006 struck down a funding proposal for the stadium, and the project was declared "dead" by owner Dave Checketts on January 29, putting the team's future in doubt. Parties from cities such as Rochester, New York, and St Louis, Missouri, expressed interest in purchasing the franchise and moving it, and Checketts announced that the team would likely be sold and moved out of the Salt Lake area by the end of the 2007 season.
In response to the rejection of the stadium plan, local construction company Anderson Geneva offered the club 30 acres (12 ha) of land on which to build the stadium just east of Interstate 15 in Sandy for free, at an estimated loss on the price of the land at US$10 million. The move prompted the club to make a new proposal to the Utah State Senate on February 2, 2006, in which 15% of the hotel taxes collected in Salt Lake County between July 2007 and 2017, equaling about US$2 million a year, would be diverted to the project. The bill was passed by the Senate, allowing for the club to announce the commencement of building what was then known as "RSL Stadium".
The groundbreaking of the stadium took place on August 12, 2006, featuring elected leaders of the state of Utah, as well as team officials and the rosters of both Real Salt Lake and Spanish club Real Madrid, who were due to play each other in a Xango Cup match a few days after the fact.
On September 28, 2008, it was announced that the naming rights to the stadium were sold to international mining company Rio Tinto, owners of local mining operation Kennecott Utah Copper. A 15-year deal was set into place, worth between $1.5 million and $2 million per year.
The stadium opened on October 9, 2008, in a Major League Soccer match between Real Salt Lake and the New York Red Bulls.


On September 20, 2008, it was announced that the naming rights to the stadium would be awarded to international mining company Rio Tinto, the owners of the local Kennecott Utah Copper mining company and its Bingham Canyon Mine on the west side of the Salt Lake Valley. A 10-year naming deal was signed, valued at around $1.5 million to $2 million a year.
Other major sponsors within the stadium include Maverik, America First Credit Union, Vivint, Budweiser, and Zions Bank.


Rizal Park's history began in 1820 when the Paseo de Luneta was completed just south of the walls of Manila on a marshy patch of land next to the beach during the Spanish rule.  Prior to the park, the marshy land was the location of a small town called Nuevo Barrio ("New Town" or Bagumbayan in Tagalog) that dates back to 1601. The town and its churches, being close to the walled city, were strategically used as cover by the British during their attack. The Spanish authorities anticipated the danger posed by the settlements that immediately surrounded Intramuros in terms of external attacks, yet Church officials advocated for these villages to remain. Because of the part they played during the British Invasion, they were cleared after the short rule of the British from 1762 to 1764. The church of Bagumbayan originally enshrined the Black Nazarene. Because of the order to destroy the village and its church, the image was then transferred to San Nicolas de Tolentino inside Intramuros, with a copy then translated to Quiapo Church. This has since been commemorated by the Traslación of the relic every January 9, which is more commonly known as the Feast of the Black Nazarene. This is why the processions of January 9 have begun there in the park beginning in 2007. After the clearing of the Bagumbayan settlement, the area later became known as Bagumbayan Field where the Cuartel la Luneta (Luneta Barracks), a Spanish Military Hospital (which was destroyed by one of the earthquakes of Manila), and a moat-surrounded outwork of the walled city of Manila, known as the Luneta (lunette) because of its crescent shape.
West of Bagumbayan Field was the Paseo de la Luneta (Plaza of the Lunette) named after the fortification, not because of the shape of the plaza which was a long 100-by-300-meter (330 ft × 980 ft) rectangle ended by two semicircles. It was also named Paseo de Alfonso XII (Plaza of Alfonso XII), after Alfonso XII, King of Spain during his reign from 1874 to 1885. Paseo de la Luneta was the center of social activity for the people of Manila in the early evening hours.  This plaza was arranged with paths and lawns and surrounded by a wide driveway called "La Calzada" (The Road) where carriages circulate.
During the Spanish period from 1823 to 1897 most especially in the latter part, the place became notorious for public executions.  A total of 158 political enemies of Spain were executed in the park. On February 17, 1872, three Filipino priests, Mariano Gomez, José Burgos, and Jacinto Zamora, collectively known as Gomburza, were executed by garrote, accused of subversion arising from the 1872 Cavite mutiny.


Rochester Castle stands on the east bank of the River Medway in Rochester, Kent, South East England. The 12th-century keep or stone tower, which is the castle's most prominent feature, is one of the best preserved in England or France.
Situated on the River Medway and Watling Street, Rochester served as a strategically important royal castle. During the late medieval period it helped protect England's south-east coast from invasion. The first castle at Rochester was founded in the aftermath of the Norman Conquest. It was given to Bishop Odo, probably by his half-brother William the Conqueror. During the Rebellion of 1088 over the succession to the English throne, Odo supported Robert Curthose, the Conqueror's eldest son, against William Rufus. It was during this conflict that the castle first saw military action; the city and castle were besieged after Odo made Rochester a headquarters for the rebellion. After the garrison capitulated, this first castle was abandoned.
Between 1087 and 1089, Rufus asked Gundulf, Bishop of Rochester, to build a new stone castle at Rochester. He established the current extent of the castle. Though much altered through the centuries, some parts of Gundulf's work survive. In 1127 King Henry I granted the castle to the Archbishop of Canterbury in perpetuity. William de Corbeil built the massive keep that still dominates the castle today. Throughout the 12th century the castle remained in the custody of the archbishops.
During the First Barons' War (1215–1217) in King John's reign, baronial forces captured the castle from Archbishop Stephen Langton and held it against the king, who then besieged it. The Barnwell chronicler remarked "Our age has not known a siege so hard pressed nor so strongly resisted". After resisting for just over seven weeks, the garrison surrendered. The castle had been greatly damaged, with breaches in the outer walls and one corner of the keep collapsed, and hunger eventually forced the defenders' hand. The castle did not stay under John's control for long: in 1216 it was captured by the French Prince Louis, who was the new leader of the baronial faction. John died and was succeeded by his son King Henry III in 1216; the next year, the war ended and the castle was taken under direct royal control.
Rochester was besieged for the third time in 1264 during the Second Barons' War (1264–1267). The castle's royal constable, Roger de Leybourne, held Rochester in support of Henry III. Rebel armies led by Simon de Montfort and Gilbert de Clare entered the city and set about trying to capture the castle. Again the castle's defenders resisted, this time with a different outcome. After a week, the rebel armies raised the siege in the face of relief from Henry himself. The garrison did not surrender, and the castle suffered extensive damage that was not repaired until the following century. The castle saw military action for the last time in 1381 when it was captured and ransacked during the Peasants' Revolt. As Rochester Castle fell out of use its materials were reused elsewhere and custodianship relinquished by the Crown. The castle and its grounds were opened to the public in the 1870s as a park. At various points during the 19th and 20th centuries repairs were carried out. The castle is protected as a Grade I listed building and Scheduled Monument. Today the ruins are in the guardianship of English Heritage and open to the public.


The Royal Albert Bridge is a railway bridge which spans the River Tamar in England between Plymouth, Devon and Saltash, Cornwall. Its unique design consists of two 455-foot (138.7 m) lenticular iron trusses 100 feet (30.5 m) above the water, with conventional plate-girder approach spans. This gives it a total length of 2,187.5 feet (666.8 m). It carries the Cornish Main Line railway in and out of Cornwall. It is adjacent to the Tamar Bridge which opened in 1962 to carry the A38 road.
The Royal Albert Bridge was designed by Isambard Kingdom Brunel. Surveying started in 1848 and construction commenced in 1854. The first main span was positioned in 1857 and the completed bridge was opened by Prince Albert on 2 May 1859. Brunel died later that year and his name was then placed above the portals at either end of the bridge as a memorial. During the 20th century the approach spans were replaced, and the main spans strengthened. It has attracted sightseers since its construction and has appeared in many paintings, photographs, guidebooks, postage stamps and on the UK £2 coin. Anniversary celebrations took place in 1959 and 2009.


The Royal Albert Dock is a complex of dock buildings and warehouses in Liverpool, England. Designed by Jesse Hartley and Philip Hardwick, it was opened in 1846, and was the first structure in Britain to be built from cast iron, brick and stone, with no structural wood. As a result, it was the first non-combustible warehouse system in the world. It was known simply as the Albert Dock until 2018, when it was granted a royal charter and had the honorific "Royal" added to its name.
At the time of its construction the dock was considered to be revolutionary in its design because ships were loaded and unloaded directly from or to the warehouses. Two years after it opened it was modified to feature the world's first hydraulic cranes. Due to its open yet secure design, the dock became a popular store for valuable cargoes such as brandy, cotton, tea, silk, tobacco, ivory and sugar. However, despite its advanced design, the rapid development of shipping technology meant that, within 50 years, larger and more open docks were required, although the Albert Dock remained a valuable store for cargo.
During the Second World War, the dock was requisitioned by the Admiralty serving as a base for ships of the British Atlantic Fleet. The complex was damaged during air raids on Liverpool, notably during the May Blitz of 1941. In the aftermath of the war, the financial problems of the owners and the general decline of docking in the city meant that the future of the Albert Dock was uncertain. Numerous plans were developed for the re-use of the buildings but none came to fruition and in 1972 the dock was finally closed. Having lain derelict for nearly ten years, the redevelopment of the dock began in 1981, when the Merseyside Development Corporation was set up, with the Albert Dock being officially re-opened in 1984.
Today the Royal Albert Dock is a major tourist attraction in the city and the most visited multi-use attraction in the United Kingdom, outside London. The docking complex and warehouses also comprise the largest single collection of Grade I listed buildings anywhere in the UK.


The Royal National Park is a protected national park that is located in Sutherland Shire in the Australian state of New South Wales, just south of Sydney.
The 151-square-kilometre (58 sq mi) national park is about 29 kilometres (18 mi) south of the Sydney central business district near the localities of Loftus, Otford and Waterfall.
It is the second oldest national park after Yellowstone in the US, established in 1872 but it was the first to use the national park title. It was founded by Sir John Robertson, Acting Premier of New South Wales, and formally proclaimed on 26 April 1879. Its original name was just National Park, but it was renamed in 1955 after Elizabeth II, Queen of Australia passed by in the train during her 1954 tour.
The park was added to the Australian National Heritage List in December 2006.


In a zone generally up to 10-25m away from running water grows a distinct vegetation community often containing many rare or threatened species only found along several streams in the world. Common vegetation growing in this zone include Blackbutt (Eucalyptus pilularis), Sydney red gum (Angophora costata), water gums (Tristaniopsis laurina), bottlebrush (Melaleuca sp.), tea trees (Leptospermum sp.), woolsia (Woollsia pungens), Epacris  sp., heath banksia (Banksia ericifolia), Pittosporum undulatum, pine leafed geebungs (Persoonia pinifolia), willow leaved hakea (Hakea salicifolia), Lomandra fluviatilis, bulrushes (Typha orientalis / dominigensis), rushes (Juncus sp.), reeds (Phragmites australis) and tree ferns (Cyathea and Dicksonia sp..)
A variety of different molluscs, crustaceans, insects, fish and birds call the riparian zone their home with a variety of life living near on in the creeks of the Royal National Park. Long-finned eels (Anguilla reinhardtii) which migrate from oceanic spawning grounds as babies and adults mature in the creeks and streams of the Royal National Park and can often be seen in the murky depths of pools and ponds along freshwater courses such as the Hacking River.


Cultural Center San Francisco is located in the Paraiba state capital of João Pessoa.
The architectural complex of the Church of San Francisco and the Convent of St. Anthony, was built by Franciscans in 1589 and was completed in 1788. It consists of the Adro, Church, Convent and Cruis. The cultural centre is considered the largest monument in the Baroque style of Latin America. The religious site currently functions as the Sacred-School Museum of Paraíba.
Within the cultural center, a magnificent architectural complex is formed by the Church of San Francisco and the Convent of Santo Antônio. Also present are the Chapel of the Third Order of San Francisco, the Chapel of San Benito, the House of Prayer of the Third (called Chapel Dorada), Cloister of the Third Order, a fountain and a large adro with a transept, constituting one of the most remarkable legacies of the Baroque.


Camping, fishing and walking are permitted. The path around the reservoir is 9 km long. There used to be a restaurant by the main dam, but it has since been demolished.


Safari Park is the largest section of the park. It is a 50 minutes drive-thru through an eight kilometer park replicating a Savannah habitat. The safari park houses large herds of Asian and African ungulates and a very large free flying waterbirds sanctuary. The main drive thru area houses large herds of herbivores, with up to 100 individuals of a single species. There is a large herd of Masai giraffe with more than 200 individuals. Other animals include herds of Grant's zebra, Black wildebeest, Impala, White rhinoceros, Nyala, Sitatunga, Ankole cattle, Cape buffalo, Gemsbok, Hippopotamus and Ostrich. A large number of Asian ungulates are also mixed with African hoofstock like Indian gaur, Nilgai, Blackbuck, Sambar deer, Indian hog deer, Fallow deer, Eld's deer and Spotted deer and Dromedary camel. The large waterbirds sanctuary surrounding the park houses a vast number of Great white pelican, Painted stork, Marabou stork, grey crowned crane and other birds.
The carnivores have separate drive-throughs separated using gates. There are African lions, Bengal tiger, Asian black bear and American black bear.


Marine Park is the main park where various animal displays from all over the world are showcased. The main attractions of Safari World are located in Marine Park. Seven shows take place daily at different times, Dolphin show, Spy War show, Orangutan boxing show, Bird Show, Cowboy stunt show, Elephant show and Sea lion show. Other attractions at the Marine Park included Jungle cruise and Safari terrace, where visitors could feed hundreds of giraffes with bananas and leaves. The Marine Park has a walk-thru aviary called Mini world where visitors could feed hundreds of free flying sun conures on their hands. Mini World also has an aviary for Caribbean flamingoes, Wood duck and mandarin duck. Mini world aviary is the star attraction at Marine Park. Another aviary called Hornbill jungle with Great Indian hornbill, Wreathed hornbill, Oriental pied hornbill, Rhinoceros hornbill, Nicobar pigeon, Pied imperial pigeon and White-crowned hornbill is also there. There is another Macaw aviary with huge flocks of scarlet macaw, hyacinth macaw, Red-and-green macaw and Blue-and-yellow macaw. There are enclosures for marsupials like Red kangaroos, Agile wallaby and Bennett's wallaby, as well as for Australian birds like Emu and Southern cassowary.
Another exhibit called Tiger kingdom has enclosures for Bengal tiger, White tiger and Siberian tiger. Near the giraffe terrace are exhibits for Ring tailed lemur, Black-and-white ruffed lemur and manatees. Besides mammals there are over 100 aviaries for small birds for avifauna spread throughout the park.
Beside  the sea lion show theatre is an exhibit for malayan tapir. Other exhibits in the park include capybara, African porcupine, Puma, Leopard, Walrus, Mandrill, common marmoset, pygmy hippopotamus, Red-shanked douc langur, Cape fur seal, Binturong, White handed gibbon, Prairie dog and Linnaeus's two-toed sloth. A very large exhibit housing a very large group of siamese crocodiles is also there with separate exhibits for false gharial and a monster-sized saltwater crocodile. Large aquariums for exotic freshwater fishes like arapaima and Mekong giant catfish are spread throughout the park. A large lake in which paddle-boat could be done by visitors is filled with White Swan and Black Swan.


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Painted windows were created between 1884 and 1912. In presbytery they have a simple decoration and were created in 1884. In the side naves they are decorated with figural paintings - st. Agnese (1885), st. Cecilia (1906), Ludmila (1910), Wenceslaus and Ferdinand (1912), and st. Joseph.


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The church is smaller than those of Hagonoy and Malolos. The façade is an example of how local artisans experimented with various ornamentation to come up with a lavish, seemingly Mannerist style.
The façade is arranged simply, with four rounded columns with Corinthian capitals supporting the pediment, dividing the entire front into three segments. Floral motifs and scrolls abound on the façade and link the round columns before undulating back into the cornice. Reliefs featuring the lives of saints can be found of the lowest tier of the façade. The flamboyance of the trefoil arched main doorway is matched by the swaying motion of the original pediment, and the volutes framing a circular window. Besides the main doorway and the central window, the facade is pierced by a pair of rectangular windows framed by ornate reliefs.
To the right-hand of the church is the simple, four-tiered belfry that contrasts the profusely ornamented façade. Much renovation has been done to the church, one of which concerns the extension of the façade, transforming the original swaying motion of the pediment into the simple, triangular roofline seen today. In recent years, a new, heavily carved wooden door depicting scenes from the life of Saint John the Baptist was installed in the main doorway.


The monastery was built from 992, outside the walls of Girona, when Ramon Borrell, count of Barcelona gave to the monks rights over the quarter of Sant Pere. The monks held the ruler of the quarter until 1339, when King Peter IV of Aragon restored it to Aragon.
In 1117 Ramon Berenguer III of Barcelona united the monastery to the Abbey of Sainte-Marie de Lagrasse, in what is now France, though Sant Pere kept an abbot of his own and a large degree of autonomy. Sant Pere was never a big community, and the church was not the local parish, and only baptisms were held in the monastery. In 1362, when the monastery was enclosed within the city's walls, it was redesigned to a more defensive shape.  It started to decay from the 15th century, and in 1592 it was united to the also decaying monasteries of Sant Miquel de Cruïlles and Sant Miquel de Fluvià. In 1835 the monastery included an abbot and four monks.  It was declared a national monument in 1931.
The small cloister is an example of Catalan Romanesque architecture. The northern gallery dates to 1154, while the remaining ones are from 1190. The capitals of the columns have motifs very similar to those in the cloisters of Sant Cugat del Vallès or in the Cathedral of Girona. Some depict scenes from Jesus' life, while others show typical Romanesque elements such as lions or sirens.


Schloss Johannisburg is one of the few mostly symmetrical palace buildings of the German Renaissance. The castle sits on a terrace overlooking the river, which Ridinger expanded in area and height, elevating the castle above even the highest flood lines. Four wings surround an almost square interior court. The buildings have three floors each with the exterior structured only by fascia and a central three-tiered transverse gable in each roof. A tower is located on each the four corners, extending outward beyond the building line. From a square foundation the towers turn octagonal from the seventh floor upwards. The towers are topped by slate roofs with roof lanterns. The symmetry of the structure is only broken by the old keep which extends into the courtyard from the north wing. It is crowned by a steep roof with four small decorative towerlets at the corners. This roof design was in contrast to Ridinger's plans, who had intended the central keep to mirror the appearance of the castle's corner towers.
Small round stairway towers are located in the four corners of the court. The Schlosskirche or chapel is in the north wing. It extends through the ground and upper floor, with a rib vault referencing Gothic style. The chapel's altar, made from alabaster and marble, is by Hans Juncker. It features a statue of Johann Schweikhard von Kronberg, holding a model of the castle.
The castle is built from Buntsandstein, notably from the quarries of Obernburg and Miltenberg. Although the exterior walls are largely devoid of ornamentation, numerous artistic carvings were added to the gables and the gateways.


The Schloss Tegel or Humboldt-Schloss is a country house in Tegel, part of the Reinickendorf district of the German capital Berlin. The brothers Wilhelm and Alexander von Humboldt spent much of their childhood in a former schloss on the site and on the estate, which extends almost as far as Lake Tegel.
The present building was built between 1820 and 1824 by Wilhelm von Humboldt to designs by Karl Friedrich Schinkel. It still belongs to the Heinz family, descendants of Wilhelm. It houses the private Humboldt-Museum, open to guided tours during the summer.


In the early 1990s it was proposed that the stonework should be cleaned. There were views for and against cleaning and a scientific/geological investigation, including cleaning trials on samples of stone, was carried out. It was decided not to clean the stone due to the damage it would sustain. A restoration programme was undertaken involving replacing old repairs and damaged areas with Binny stone for which purpose the original quarry was re-opened. The fresh stonework contrasts with the smoke-darkened original.
The overall cost of the restoration was £2.36 million and was funded by the Heritage Lottery Fund, Historic Scotland and the City of Edinburgh Council.
The monument is now administered by the Culture and Sport division of the City of Edinburgh Council (See External Links for visitor information) who in 2016 installed a new LED lighting system. The design of the lights was "intended to highlight the monument’s architectural features with a soft warm glow" and were first illuminated on 21 September 2016.


Seneca Rocks is a large crag and local landmark in Pendleton County in the Eastern Panhandle of West Virginia, United States. The south peak is one of a small number of peaks inaccessible except by technical rock climbing techniques on the East Coast of the United States. One of the best-known scenic attractions in West Virginia, the sheer rock faces are a popular challenge for rock climbers.
Seneca Rocks is easily visible from, and accessible by way of, West Virginia Route 28, West Virginia Route 55 and U.S. Route 33 in the Spruce Knob-Seneca Rocks National Recreation Area of the Monongahela National Forest. The three highways converge in the hamlet of Seneca Rocks, which is named for the cliffs nearby.


Evidence suggests that the Native Americans of the Archaic Period may have camped frequently at the mouth of nearby Seneca Creek at the foot of the Rocks. The famous Great Indian Warpath, known locally as the "Seneca Trail", followed the Potomac River, allowing the Algonquian, Tuscarora, and Seneca nations to transit the area for purposes of trade and war. Excavation for the building of the present Seneca Rocks Visitor Center uncovered evidence of two villages, the more recent of which thrived about 700 years ago. About a dozen dwellings were found.
The first European visitors to see the region were surveyors who passed through around 1746, and the first settlers arrived at Mouth of Seneca fifteen years later. At that time, West Virginia (or western Virginia as it was then) was the edge of the great wilderness. The Rocks were visited and sketched by the well-known writer and magazine illustrator David Hunter Strother (known by his pseudonym  "Porte Crayon") around 1853. His sketches were reworked and published two decades later as a popular wood engraving in an 1872 issue of Harpers New Monthly Magazine.  (see image left).
It is unknown who the first person was to climb Seneca Rocks. Undoubtedly Native Americans scaled the rocks prior to European settlers reaching the area, but there is no record of their ascents. The historic ascent of Paul Bradt, Don Hubbard, and Sam Moore in 1939 found an inscription of "D.B. September 16, 1908." This has been attributed to a surveyor named Bittenger who was known to be working in the area.
The documented climbing history of the Rocks begins in 1935 with a roped descent - the ascent was a steep hike – of the North Peak by Paul Bradt and Florence Perry. In the 1930s and 1940s only a few climbers, mostly from the Washington, D.C., and Pittsburgh areas, attempted to climb Seneca Rocks.
In 1943 and '44, as part of the West Virginia Maneuver Area, 10th Mountain Division of the U.S. Army used Seneca, Nelson and Champe Rocks to train mountain troops in assault climbing in preparation for action in the Apennines of Italy. They left behind an estimated 75 thousands soft iron pitons, some of which can still be found on the rocks, and which inspired one of the faces to be named "The Face of a Thousand Pitons". Many of those pitons were retrieved and reused by local climbers in the following years, but many remained in the rock for decades.
The Spruce Knob-Seneca Rocks National Recreation Area (NRA) was established within the Monongahela National Forest by an act of the U.S. Congress on September 28, 1965. The Rocks themselves were purchased by the federal government in 1969 from the heirs of D. C. Harper.
The original visitor center was opened in 1978, constructed on a grant of $297,000. A 1985 flood severely damaged the facility. On October 22, 1987, "the Gendarme", an isolated and prominent pinnacle of the Rocks, fell to the ground. On May 26, 1992, the visitor center was destroyed by arson. The current visitor center — known as the Seneca Rocks Discovery Center — was completed in the fall of 1998 on a 5 million dollar grant.
The "Seneca Rock" turnpoint at 38°50′03″N 79°22′04″W has been used by glider pilots for gliding competitions and soaring awards because its distinctive appearance in aerial photographs made it suitable for photo documentation of the flight performance. This turnpoint was used on many 500 kilometer out-and-return course flights from Ridge Soaring Gliderport in Julian, Pennsylvania, including an October 15, 1995, flight by Canadian pilot Walter Weir that was recognized as a world record at the time.


In early 2003, work began on the construction of Shark Bay in a vacant patch of land adjacent to the Mid Monorail Station and Polar Bear Shores. During the construction period seven sharks were being kept inside the main lagoon swimming pool of Sea World's Water Park. In August 2003, the RSPCA began an investigation into the treatment of the sharks whilst in captivity. The investigation resulted in Sea World releasing the world's largest tiger shark in captivity back into the wild. Sea World had originally planned to move the sharks into Shark Bay in October 2003, prior to the public opening of the exhibit on 26 December 2003. A variety of delays forced the opening date to be moved back to 9 April 2004. The exhibit cost $13 million to construct.


The opening of Shark Bay was heavily marketed locally, nationally and internationally. An Australian advertising campaign was launched with print, television, cinema and radio advertising. This campaign alone cost $2 million. Additionally the international markets of the United Kingdom, Singapore and Taiwan were also targeted in other campaigns.


Sand and salt for winter road maintenance are stored in conical dome-shaped (clear truss roof) silos. These are more common in North America, namely in Canada and the United States. The shaped is based on natural shape formed when piling solids. The dome is made of prefabricated wood panels with singles installed on a circular reinforced concrete base. Open canopy entrance allows for front end loaders to fill and retrieve easily. These are usually found along major highway or key primary roads.


"Silo art" is a recent and distinctly Australian art movement which began in Northam, Western Australia in 2015. Silos are usually decorated with huge mural-type paintings with many themes. The Australian Silo Art Trail shows 35 examples of silo art as of 2020, with numbers growing. As of 2021 there is an ongoing legal battle over the use of the term "silo art trail", with the Yarriambiack Shire Council in Victoria attempting to trademark it in 2017, with GrainCorp, Australia's largest grains handler, opposing the move, saying that the term should be usable by many councils.
Old water towers have also been decorated in many regional centres.
In Melbourne, a huge painting of New Zealand Prime Minister Jacinda Ardern embracing a Muslim woman, an iconic image beamed around the world after the 2019 Christchurch mosque attacks, was painted on the 75-foot (23 m) Tinning Street silo in the suburb of Brunswick, after A$11,000 was raised in a day via crowdfunding.
The town of Monto in the North Burnett Region of Queensland has been put on the tourism map as the most northerly silo art installation in Australia. Its "Three Moons" silos depict several stories of the past, including the era of gold mining, cattle mustering and The Dreaming. It also has a mural on an old water tower.


Skomer (Welsh: Ynys Sgomer) or Skomer Island is an island off the coast of Pembrokeshire, in the community of Marloes and St Brides in west Wales. It is well known for its wildlife: around half the world's population of Manx shearwaters nest on the island, the Atlantic puffin colony is the largest in southern Britain, and the Skomer vole (a subspecies of the bank vole) is unique to the island. Skomer is a national nature reserve, a Site of Special Scientific Interest and a Special Protection Area. It is surrounded by a marine nature reserve and is managed by the Wildlife Trust of South and West Wales.
Skomer is known for its archaeological interest: stone circles, standing stone and remains of prehistoric houses. Much of the island has been designated an ancient monument.


By original idea of the architect, the park illustrates different parts of Homer's poems Odyssey and Iliad.


South Beach, also nicknamed colloquially as SoBe, is a neighborhood in the city of Miami Beach, Florida, located east of Miami between Biscayne Bay and the Atlantic Ocean. The area encompasses Miami Beach south of Dade Boulevard.
This area was the first section of Miami Beach to be developed, starting in the 1910s, due to the development efforts of Carl G. Fisher, the Lummus Brothers, and John S. Collins, the latter of whose construction of the Collins Bridge provided the first vital land link between mainland Miami and the beaches.
The area has gone through numerous artificial and natural changes over the years, including a booming regional economy, increased tourism, and the 1926 hurricane, which destroyed much of the area. As of 2010, 39,186 people lived in South Beach.


Southall Railway Centre is a non-publicised railway heritage centre at Southall in west London, near to Southall railway station and the Grand Union Canal. Formerly of the Great Western Railway the site is now run partly by Locomotive Services and West Coast Railways, both of whom lease the site from Network Rail. The location is not open to the public.
Until 2021, the Great Western Railway Preservation Group (GWRPG) leased part of the West Coast Railway section of the site for their own use.


The line is owned and operated by Southend-on-Sea City Council, and operates every day the pier is open. The normal service uses a single train, and runs every half-hour. At peak times a two train service is operated, providing a 15-minute interval service. Trains operate between stations known as Shore and Pier Head with no intermediate stops.
The train service is currently provided by one diesel train and one battery-electric train. The diesel train consists of a diesel-hydraulic locomotive at the southern end, five trailer coaches and, at the northern end, a driver control unit with passenger space and is named Sir William Heygate. A second former diesel train, Sir John Betjeman, has now been decommissioned with the locomotive currently parked at the pier end station, and the carriage bodies removed from their chassis and reused as various waiting shelters in the station and around the pier. The first battery-electric train was named Sir David Amess in tribute to the murdered MP, by Prince Charles and Camilla, Duchess of Cornwall at a ceremony to mark the granting of city status to Southend on 1 May 2022.
A twin-track island platform is provided at each terminus, and there is a passing loop in mid-pier, but otherwise the line is single tracked. The pier head terminus is in the open air, but the shore terminus is enclosed, and also provides rail access to a workshop for maintaining the trains. The Southend Pier Museum is situated below the shore station in the original workshops.


There are at least three services said or sung per day, each week, with sung services on five out of seven days.
The cathedral choir at St Davids was the first cathedral choir in the United Kingdom to use girls and men as the main choir, rather than boys and men. (Salisbury Cathedral introduced boys and girls earlier on an equal basis, whereas St Davids uses girls as their "main" cathedral choristers.) There is also a boys' choir whose weekly Evensong is a major event within the cathedral week. They sing with the vicars choral regularly.
The St Davids Cathedral Festival runs through the Whitsun school holiday each year and showcases some of the world's best performers. The week sees performers, both professional and young, play in front of thousands. The cathedral choir serve as a highlight each year, being a very popular concert, as well as the Festival Chorus and Orchestra who perform a major work on the final night of the festival.


St Mawes Castle was built as a consequence of international tensions between England, France and the Holy Roman Empire in the final years of the reign of King Henry VIII. Traditionally the Crown had left coastal defences to the local lords and communities, only taking a modest role in building and maintaining fortifications, and while France and the Empire remained in conflict with one another, maritime raids were common but an actual invasion of England seemed unlikely. Basic defences, based around simple blockhouses and towers, existed in the south-west and along the Sussex coast, with a few more impressive works in the north of England, but in general the fortifications were very limited in scale.
In 1533, Henry broke with Pope Paul III in order to annul the long-standing marriage to his wife, Catherine of Aragon and remarry. Catherine was the aunt of Charles V, the Holy Roman Emperor, and he took the annulment as a personal insult. This resulted in France and the Empire declaring an alliance against Henry in 1538, and the Pope encouraging the two countries to attack England. An invasion of England appeared certain. In response, Henry issued an order, called a "device", in 1539, giving instructions for the "defence of the realm in time of invasion" and the construction of forts along the English coastline.
The stretch of water known as Carrick Roads at the mouth of the River Fal was an important anchorage serving shipping arriving from the Atlantic and the Mediterranean, and plans were made to protect it with five castles. In the event, only two of these were constructed, St Mawes and Pendennis, positioned on each side of Carrick Roads. The two castles' guns could provide overlapping fire across the water, while St Mawes also overlooked a separate anchorage on the eastern side of the estuary. The construction work began in 1540, under the direction of Thomas Treffry, a prominent member of the local gentry appointed to act as the project's Clerk of Works by Lord Admiral Russell. By later that year, the castle was described as being "half-made", with most of the build having been finished by 1542. The total cost of the project was £5,018.
The clover leaf shaped castle, with an additional small blockhouse at the water's edge below, was armed with 19 artillery pieces - a demi-cannon, a demi-culverin, a demi-sling, five slings, four portpieces and seven bases - along with 12 large hagbusshes, a form of arquebus. The artillery was originally mounted in the castle's stone bastions and was intended as "ship-sinking" weapons for use against enemy vessels. A smaller blockhouse was constructed beneath the main castle, at sea level; this may have been constructed ahead of the main castle build as a form of early protection. Normally the castle would have held a small garrison, which would have been supplemented by the local militia in the event of a crisis; St Mawes had 18 billhooks and 30 bows in its stores, probably for the use of the militia in such a situation.


WikiWeb_Stax Museum of American Soul Music_1

After Stax Records was forced into involuntary bankruptcy and closed in 1976, the Stax studio was sold by the Union Planters Bank to Southside Church of God in Christ, located nearby on McLemore Avenue.  Except for a brief time when it was used as a soup kitchen, it was allowed to deteriorate so it was torn down in 1989.  The neighborhood had also fallen into a state of blight, and by 1998 a group of concerned Memphis business people, anonymous philanthropists, and former Stax Records artists spearheaded a nonprofit revitalization effort for the area which was dubbed Soulsville after the slogan "Soulsville U.S.A." which Stax called its studio on its former theater marquee as a counterpoint to Motown Records' Hitsville U.S.A.
Construction began on the Stax Museum and adjacent Stax Music Academy in April 2001. The Stax Music Academy, which had started programming at a nearby elementary school on June 1, 2000, opened in 2002 and the museum opened May 3, 2003.  The Stax Museum is a replica of the Stax recording studio, the former Capitol Theatre, down to the sloping floor of studio A. It is a 17,000-square-foot (1,600 m²) museum with permanent and changing interactive exhibits, videos, films, photographs, original instruments used to record Stax hits, stage costumes, vintage recording gear, and more than 3,000 other items of memorabilia including personal items that belonged to Stax Records stars such as Donald "Duck" Dunn's pipe in his likeness, Al Jackson, Jr.'s "peace sign" boot jacks, Eddie Floyd's passport, and Don Nix's hat and plaid platform boots. Some of the standout exhibits include an authentic circa-1906-old Mississippi Delta church from Mississippi, reconstructed in the museum to help show the gospel roots of soul music; the Soul Train dance floor, Isaac Hayes' restored 1972 gold-trimmed, peacock-blue Cadillac El Dorado; and a near-exact recreation of the original Stax Records recording Studio A.
New additions include Stax Records founder Jim Stewart's original violin he played in various bands around town before starting Stax Records, Skip Pitts' guitar and the wah-wah pedal used while recording Isaac Hayes' "Theme From Shaft," and the Academy Award statue Hayes won for Best Musical Score for "Theme From Shaft" in 1972.
Because the Stax Museum is one of only a handful of museums in the world dedicated to soul music (the Motown Museum in Detroit is another), it not only celebrates the legacy of Stax Records and its artists such as Isaac Hayes, Otis Redding, Sam & Dave, the Staple Singers, Johnnie Taylor, Albert King, Booker T. & the MGs, Rufus and Carla Thomas and others, but also features other soul music labels such as Motown, Hi Records, Atlantic Records, and Muscle Shoals. Visitors are treated to vintage video footage of non-Stax artists such as Aretha Franklin, Al Green, Stevie Wonder, Marvin Gaye, Ann Peebles, The Jackson Five, Patti LaBelle, Parliament-Funkadelic, Sam Cooke, James Brown, Ike & Tina Turner, and others.
The adjacent Stax Music Academy is a facility where primarily at-risk youth are mentored through music education, unique performance opportunities. creative youth development programming, travel, college preparedness training, and other opportunities they would otherwise likely never experience. Since 2008, all seniors enrolled in the Stax Music Academy have been accepted to college and since 2021 all seniors have received music scholarships to college. In 2019, Justin Timberlake and the Levi's Music Project visited the academy for several days and installed a permanent songwriting lab, which has led to the students creating more original music and studying music business.
The Soulsville Foundation also operates The Soulsville Charter School, an academically rigorous, musically rich college prep school where students study math, language arts, science, social studies, and other academic subjects of a classical education, along with strings orchestra, band, and choir. Their Soulsville Symphony Orchestra has played for the likes of Stevie Wonder, John Legend, and Isaac Hayes. Since it began having graduating classes in 2012, every senior enrolled in the school has been accepted to college or another post-secondary educational path.
The Stax Museum of American Soul Music will celebrate its 20th anniversary throughout the year 2023.


The bath is situated at Zürichhorn respectively in the Seefeld quarter at the Zürichsee lake shore. Public transport is provided by the VBZ transport company by the tram lines 2 and 4, the bus lines 33 and the postauto bus lines 912 and 916 to Chinagarten Zürich stop, as well as by the Zürichsee-Schifffahrtsgesellschaft towards Zürichhorn.


Svetitskhoveli Cathedral, originally built in the 4th century, has been damaged several times during history, notably by the invasions of Arabs, Persians and Timur, and latterly during Russian subjugation and the Soviet period. The building has also been damaged by earthquakes.
The present Svetitskhoveli Cathedral was built between 1010 and 1029 by the architect Arsukidze, at the invitation of the Catholicos Melchizedek I of Georgia. The king of Georgia at that time was Giorgi I (George I).
A notable reconstruction was carried out at the end of 14th century after it was destroyed by Tamerlan. The next large renovation came in the beginning of 15th, when the current dome was built, being subsequently renovated again in the middle of 17th century.
During the restoration of 1970-71 which was presided over by Vakhtang Tsintsadze, the base of the basilica built in the late 5th century by King Vakhtang Gorgasali after St. Nino's original church was found. During the early years of Georgian church building, the basilica was the dominant type of the Georgian church architecture before the crossed-dome style emerged.
The cathedral is surrounded by a defensive wall, built of stone and brick during the reign of King Erekle II (Heraclius) in 1787.
In the beginning of 1830s the cathedral was visited by the Russian Emperor. In connection with this, the portal galleries, surrounding the church from the north, west and south, which had been in unsatisfactory condition, were demolished.
Archaeological expeditions in 1963 found the 11th century house of the Patriarch at the southern part of the wall. Inside the church yard, the remains of the two-story palace of Patriarch Anton II were found.


WikiWeb_Temple of Olympian Zeus, Athens_8

On June 28, 2001, Vangelis organized the Mythodea Chorus at the Temple of Olympian Zeus in the context of NASA's Mars mission. Soprano Jessie Norman and Kathleen Battle participated in the concert. The concert was covered by 20 television networks from America, Australia, Canada, Japan and European countries, under the direction of Irish filmmaker Declan Looney. The chorus arrangement brought thousands of people inside the Olympic venues, and outside the temple, into the empty streets of Athens. Joined by Jessie Norman were soprano Kathleen Battle, the London Metropolitan Orchestra and the Greek National Opera, as well as over a hundred people dressed in ancient Greek clothing. The screen mounted at the Olympia connected visual images of ancient Greek performances - vases, frescoes and statues - that invested music with images of the planet Mars.


WikiWeb_Theatro Municipal (Rio de Janeiro)_1

In the second half of nineteenth century, theatrical activity was very intense in Rio de Janeiro, then capital of the country. Still, its two theaters, the Lyric and St. Peter, were criticized for their facilities, either by the public or by the companies that worked in them.
After the Proclamation of the Republic (1889), in 1894 playwright Artur Azevedo launched a campaign for the building of a new theater to host a local company, to be created along the lines of the Comédie Française. However, in those hectic days, the campaign resulted in only one Municipal Law, which ordered the construction of the Municipal Theater. This law was not enforced, despite the existence of a levy to finance the work. Thus, that the new tax revenue was never used for the construction of the theater.
It was not built until the beginning of the 20th century and it came to represent the new Republican regime and its associated new era to the elegant capital of Brazil. At the time, then-Mayor Francisco Pereira Passos launched a major upgrade of the city center by opening in 1903 the Central Avenue (Now Avenida Rio Branco), shaped after the boulevards of Paris and flanked by magnificent examples of eclectic architecture. Hence arose the opera venue, brainchild of Francisco de Oliveira Passos (Son of then mayor Francisco Pereira Passos) with the cooperation of Albert Guilbert and design inspired by the Paris Opera. Building began in 1905 on a foundation of 1,180 wood poles rooted in groundwater. To decorate the building, the most important Brazilian painters and sculptors of the time were summoned, such as Eliseu Visconti, Rodolfo Amoedo and the Bernardelli brothers, Henrique and Rodolfo. European artisans were also recruited to work on stained glasses and mosaic tiles.
Finally, four and a half years later — a record time for the work that took the relay from 280 workers in two shifts — on July 14, 1909, President Nilo Peçanha inaugurated the Theatro Municipal do Rio de Janeiro, which had the capacity for 1,739 viewers. Serzedelo Correa was then the mayor of the city. In 1934, upon the observation that the theater was small for the new size of the population of the city, auditory capacity was increased to 2,205 seats. The work, despite its complexity, was held in three months, record time for the season. Later, with some modifications, it acquired the current number of 2,361 places.
The theater was closed on October 19, 1975, for restoration works and modernization of its facilities and reopened on March 15, 1978. That same year the Central Technical Production, responsible for all of the shows running in the house, was created. In 1996, the construction of an annex building began to relieve the building due to the intense practicing and other activities throughout the year. With the inauguration of the annex, choir, orchestra and ballet crews gained new rehearsal rooms and greater space for artistic practices and rehearsal.
Today, the Theatro Municipal mostly shows productions of ballet and classical music. In its early heyday, it featured only foreign opera and symphonic orchestra shows, especially from Italian and French companies. In 1931, the Municipal Symphonic Orchestra of Rio de Janeiro was created and celebrities such as Arturo Toscanini, Sarah Bernhardt, Bidu Sayão, Eliane Coelho, Heitor Villa-Lobos, Igor Stravinsky, Paul Hindemith and Alexander Brailowsky highlighted the programs of the Theatro. Today, it houses the Petrobras and the Brazilian Symphonic Orchestras.


The idea of building a representative theatre for the city of São Paulo was inspired by its increasing importance on the international stage. From the beginning of 20th century it was inhabited by the Brazilian bourgeoisie, of which a great part was involved in the business of coffee farming. The city had also quite a large Italian population. So far, the city could only rely on the Teatro São José, which after a fire was no longer suitable for large foreign productions, and more modest theatres such as the Polythéama, the Minerva and the Apolo, which is why the paulistana aristocracy demanded a creation of a new theatre, with a structure similar to some of the best theatres in the world and suitable for staging large opera productions.
The place which was chosen for the construction was Morro do Chá, or Tea Hill, which had been the site of the new Teatro São José. Ramos de Azevedo was the engineer assigned to the construction. He was also helped by two Italian architects Cláudio Rossi and Domiziano Rossi. In 1903, construction began, and São Paulo gained one of the best venues in the world for the presentation of theatre productions, mainly operas. As it was customary in those days, the majority of the materials was imported from Europe, and the architectural reference was Palais Garnier of Paris. The construction lasted about 8 years. The first staged production was the opera Hamlet by Ambroise Thomas. The initial idea was to present an opera Il Guarany, but the company, directed by an Italian Titta Ruffo, a celebrated baritone voice of the time, did not want to count on putting works by Brazilian composers in its repertoire. Also other problems had happened before the opening night. The stage decorations had not arrived in Brazil in time which caused the postponement of the opening date. When the new date arrived on 12 September 1911, the result surpassed all the expectations of the public and the city's dominant class.


As the years went by, the theatre, which had been made almost exclusively for opera presentations, hosted also other artistic events, for example performances of dancers such as Anna Pavlova and Isadora Duncan. In the 1960s, under Mayor José Vicente Faria Lima, the building went through its first refurbishment because its walls had been repainted and the original project was deprived of its characteristics.


Renowned artists and celebrities who appeared in the theatre range from actors to ballerinas, coming from the national sphere and from various countries:  Carla Fracci, Rudolph Nureyev, Titta Ruffo, Enrico Caruso, Maria Callas, Bidu Sayão, Tito Schipa, Arturo Toscanini, Procópio Ferreira, Cacilda Becker, Vivien Leigh, Raymond Jérôme, Mário de Andrade, Oswald de Andrade, Tarsila do Amaral, Anita Malfatti, Menotti Del Picchia, Victor Brecheret, Heitor Villa-Lobos, Di Cavalcanti, Lasar Segall, Marcia Haydée, Mikhail Baryshnikov, Roger Waters and Paulo Szot.


Evidence of the growth of interest in the Abbey and the visitors attracted to it is provided by the number of painters who arrived to record aspects of the site. The painters Francis Towne (1777), Thomas Gainsborough (1782), Thomas Girtin (1793), and J.M.W. Turner in the 1794–95 series now at the Tate and the British Museum, depicted details of the Abbey's stonework. So did Samuel Palmer (see Gallery) and Thomas Creswick in the 19th century, as well as amateurs such as the father and daughter named Ellis who made a watercolour study of the refectory windows in the second half of the century (see Gallery). About that period too, the former painter turned photographer, Roger Fenton,  applied this new art not only to detailing a later stage in the decay of the building, but used the quality of light to emphasise it.
Visiting artists also focused on the effects of light and atmospheric conditions. Charles Heath, in his 1806 guide to the abbey, had commented on the "inimitable" effect of the harvest moon shining through the main window. Other moonlit depictions of the abbey include John Warwick Smith’s earlier 1779 scene of the ruins from across the river and Peter van Lerberghe’s interior of 1812, with its tourist guides carrying burning torches, which shows the abbey interior lit both by these and by moonlight. Once the railway had arrived in the vicinity, steam excursions were organised in the 1880s to Tintern station so as to view the harvest moon through the rose window.
Earlier in the century, the light effects made possible by transparencies (a forerunner of the modern photographic negative) had been deployed to underline such aspects of the picturesque. Among those described in the novel Mansfield Park (1814) as decorating its heroine’s sitting room, one was of Tintern Abbey. The function of the transparencies was to reproduce light effects, such as “fire light, moon light, and other glowing illusions”, created by painting areas of colour on the back of a commercial engraving and adding varnish to make specific areas translucent when suspended in front of a light source. Since the Abbey was one of the buildings recommended for viewing by moonlight, it is possible that this was the subject of the one in Fanny's room. In fact, a tinted print of the period such as those used for creating transparencies already existed in "Ibbetson's Picturesque Guide to Bath, Bristol &c", in which the full moon is featured as seen through an arch of the east wing.
Different light effects appear in the work of other painters, such as the sunsets by Samuel Palmer and Benjamin Williams Leader, and the colour study by Turner in which the distant building appears as a "dark shape at the centre" beneath slanting sunlight (see Gallery).


The tomb did not attract much attention from British colonial authorities, although a staircase in the shrine that had been destroyed by the Sikhs was rebuilt in 1905, while the floor's brick work and the ceiling's plasterwork were repaired. The shrine was protected by law for the first time in 1912 by British authorities. The gardens and its causeways were repaired by the British in 1920–21. The garden was further restored in 1924–25 and 1930–34.
Following independence, the tomb came under the management of Pakistan's Department of Archaeology. The southern walls at the tomb were swept away by flooding of the River Ravi in 1955, while further flood damage occurred in 1973. The tomb's southern walls were repaired in 1986–87.
Today the tomb and the walls as well as the main gate are dilapidated. Though Pakistani law forbids construction of new buildings within 150 feet of heritage sites, the tomb's boundary walls are separated from private homes by a narrow street on its western and northern sides. Immediately north of the tomb is the shrine of Nim Pir, dating from the Mughal era.
Conservation work at the tomb resumed in 2005 with assistance from the Global Heritage Fund. The tomb, along with the adjacent Akbari Sarai and the Tomb of Jahangir, is on the tentative list as a UNESCO World Heritage Site.


The Tomb of Nur Jahan (Urdu: مقبرہ نورجہاں) is a 17th-century mausoleum in Lahore, Pakistan, that was built for the Mughal empress Nur Jahan. The tomb's marble was plundered during the Sikh era in 18th century for use at the Golden Temple in Amritsar. The red sandstone mausoleum, along with the nearby tomb of Jahangir, tomb of Asif Khan, and Akbari Sarai, forms part of an ensemble of Mughal monuments in Lahore's Shahdara Bagh.


The Tower of Hercules (Spanish: Torre de Hércules) is the oldest extant lighthouse known. It has an ancient Roman origin on a peninsula about 2.4 km (1.5 mi) from the centre of A Coruña, Galicia, in north-western Spain. Until the 20th century, it was known as the Farum Brigantium. The Latin word farum is derived from the Greek Φάρος, Pharos, for the Lighthouse of Alexandria. The structure stands 55 metres (180 ft) tall and overlooks the North Atlantic coast of Spain. It was built in the 1st century and competently renovated in 1791.
There is a sculpture garden featuring works by Pablo Serrano and Francisco Leiro. The Tower of Hercules is a National Monument of Spain, and has been a UNESCO World Heritage Site since 27 June 2009. It is the second-tallest lighthouse in Spain, after the Faro de Chipiona.


The earliest evidence of human presence on the hill dates from the 2nd millennium BC. It was settled in the 4th century and a Byzantine city, tentatively identified with Zikideva, was constructed near the end of the 5th century, on the grounds of which the construction of the Bulgarian stronghold was begun in the 12th century. After the Vlach-Bulgarian Rebellion and the establishment of the Second Bulgarian Empire with its capital in Veliko Tarnovo, the fortress became the most important one in Bulgaria, often compared with Rome and Constantinople in magnificence. In 1393, the stronghold was besieged by Ottoman forces for three months before finally being conquered and burnt down on 17 July, which marked the fall of the Bulgarian Empire.
It has three entrances. The main entrance is located in the easternmost side of the hill. The castle complex is located in the centre, surrounded by an internal stone wall, two battle towers and two entrances - north and south. It consists of a throne hall, castle church and the king's chamber.
The restoration of the fortress Tsarevets began in 1930 and was completed in 1981 in honour of the 1300 anniversary from the establishment of the Bulgarian state. Kings Petar, Asen, Kaloyan and Ivan Asen the second lived there. The castle was the biggest one in the 14th century.


Both coastal and land routes converged at Tulum. A number of artifacts found in or near the site show contacts with areas all over Central Mexico and Central America. Copper artifacts from the Mexican highlands have been found near the site, as have flint artifacts, ceramics, incense burners, and gold objects from all over the Yucatán. Salt and textiles were among some of the goods brought by traders to Tulum by sea that would be dispersed inland. Typical exported goods included feathers and copper objects that came from inland sources. These goods could be transported by sea to rivers such as the Río Motagua and the Río Usumacincta/Pasión system, which could be traveled inland, giving seafaring canoes access to both the highlands and the lowlands.
The Río Motagua starts from the highlands of Guatemala and empties into the Caribbean. The Río Pasión/Ucamacincta river system also originates in the Guatemalan highlands and empties into the Gulf of Mexico. It may have been one of these seafaring canoes that Christopher Columbus first encountered off the shores of the Bay Islands of Honduras. Jade and obsidian appear to be some of the more valuable found here. The obsidian would have been brought from Ixtepeque in northern Guatemala, which was nearly 700 kilometers (430 mi) away from Tulum. This huge distance, coupled with the density of obsidian found at the site, show that Tulum was a major center for the trading of obsidian.


The North and South Twin Peaks, also known as "Eureka" and "Noe" respectively, are about 660 ft (200 m) apart. The peaks form a divide for the summer coastal fog pushed in from the Pacific Ocean. Their west-facing slopes often get fog and strong winds, while the east-facing slopes receive more sun and warmth. Elevation at each summit is just over 900 feet (270 m). Thin, sandy soil is commonplace on Twin Peaks, making them susceptible to erosion. On some rare occasions, Twin Peaks has been able to get a dusting of snow especially on February 5, 1976, when it got several inches of snow. Most recently on February 26, 2011, and February 5, 2019, Twin Peaks got a few flurries of snowflakes.


Udo-jingū (鵜戸神宮) is a Shinto shrine in Nichinan, Miyazaki prefecture, Japan, south of Aoshima. It is the mythical birthplace of Emperor Jimmu's father  Ugayafukiaezu. According to shrine legends, it is the place where  the sea goddess Toyotamahime, the mother of said Ugayafukiaezu, built a birth-hut from the feathers of a cormorant. Other gods venerated here are Yamasachihiko (alias Hohodemi alias Hoori, Jinmu's grandfather), Amaterasu, Amenooshihomimi, Ninigi-no-Mikoto, and Emperor Jimmu. While the original myth includes a tragic divorce of Ugayafukiaezu's parents, the shrine is popular with young couples hoping for easy childbirth and a happy marriage.


Uzhhorod Castle (Ukrainian: Ужгородський замок; Hungarian: Ungvári vár) is an extensive citadel on a hill in Uzhhorod, Ukraine. It was built in a mixture of architectural styles and materials between the 13th and 18th centuries and figured heavily in the history of Hungary. The very name of Uzhhorod/Ungvár refers to the castle, translating as "the Uzh castle".
The earliest stone buildings on the site of the castle may be dated to the 13th century. Charles I of Hungary gave the castle grounds to his Italian supporters from the Drugeth family. They erected a rectangular defensive structure with rhomboid bastions that recalled the castles of South Italy.
The fortification, augmented in the 16th and 17th centuries, underwent numerous sieges (the last one by Francis II Rákóczi in 1703-04) but was never taken. In the 18th century, it was modernised under the supervision of Lemaire, a military engineer from France.
As the male line of the Drugeth family died out in 1691, Kristina Drugeth, heiress to the vast Drugeth dominions, married Count Miklós Bercsényi, making him the third richest man in Hungary. Bercsényi, remembered as a key figure in Rákóczi's War for Independence, resided in the fortified palace within the castle. It was there that he treated with the ambassadors of Peter the Great and Louis XIV concerning the establishment of an anti-Habsburg alliance. In 1711, Bercsényi fled Hungary and his estates were confiscated to the Austrian crown.
As the need for a military stronghold in the area declined with the extension of the Habsburg dominions further to the east, Ungvár Castle was given over to the Ruthenian Greek-Catholic Church which opened a school there. In 1728 and 1879, fire ravaged the castle grounds.


The Völklingen Ironworks (German: Völklinger Hütte) is a former blast-furnace complex located in the German town of Völklingen, Saarland. Pig iron production occurred at the site from 1882 through 1986. As one of the only intact ironworks surviving from the 19th and early-20th centuries in Europe and North America, it was declared a UNESCO World Heritage Site in 1994 because of its exceptional preservation and its testimony to ferrous metallurgy and the Industrial Revolution. In addition, the site is an anchor point of the European Route of Industrial Heritage (ERIH).


Vajdahunyad Castle (Hungarian: Vajdahunyad vára) is a castle in the City Park of Budapest, Hungary. It is a copy of Hunyad Castle, known as Corvin Castle (Romanian: Castelul Corvinilor), in Hunedoara, Romania. It was built in 1896 as part of the Millennial Exhibition which celebrated the 1,000 years of Hungary since the Hungarian Conquest of the Carpathian Basin in 895. The castle was designed by Ignác Alpár to feature copies of several landmark buildings from different parts of the Kingdom of Hungary, especially the Hunyad Castle in Transylvania (now in Romania). As the castle contains parts of buildings from various time periods, it displays different architectural styles: Romanesque, Gothic, Renaissance, and Baroque. Originally, it was made from cardboard and wood, but it became so popular that it was rebuilt from stone and brick between 1904 and 1908. Today, it houses the Museum of Hungarian Agriculture, the biggest agricultural museum in Europe.
The statue of the chronicler Anonymus (by Miklós Ligeti) is also displayed in the castle court. Anonymus lived in the 12th century (his true identity is unknown, but he was a notary of Béla III of Hungary), who wrote the chronicle Gesta Hungarorum (Deeds of the Hungarians).
The external wall of the castle contains a bust of Béla Lugosi, a Hungarian-American actor famous for portraying Count Dracula in the original 1931 film.


As the stadium aged, its condition deteriorated. A hole in the wall allowed visiting teams' players to peep into the Eagles Cheerleaders dressing room. So many mice infested the stadium that the security force employed cats as mousers. The final football game played at the Vet was the Eagles' 27–10 loss to the Tampa Bay Buccaneers in the NFC Championship Game on January 19, 2003. The Eagles moved into Lincoln Financial Field in August 2003.
The final game ever played at the stadium was the afternoon of September 28, 2003, a 5–2 Phillies loss to the Atlanta Braves.  The final win was recorded by Greg Maddux of the Braves, the final loss by the Phillies' Kevin Millwood. The final Phillies run was scored by Marlon Byrd in the bottom of the 3rd inning, and the final run altogether by the Braves' Andruw Jones on a double by Robert Fick (who also had the last hit at Tiger Stadium as a Detroit Tiger four years earlier) in the top of the 5th. The final hit at the Vet was a single by the Phills' Pat Burrell in the bottom of the 9th. The next batter, Chase Utley, grounded into a double play to end the game and the Vet.  However, the ceremony that followed pulled at the heartstrings of the sellout crowd. Both Paul Owens, a former general manager, and Tug McGraw, a former pitcher, made their final public appearances at the park that day; both men died that winter. The last publicly broadcast words uttered in the park were by Harry Kalas – a veteran announcer who helped open the facility on April 10, 1971 – who paraphrased his trademark home run call: "And now, Veterans Stadium is like a 3–1 pitch to Jim Thome or Mike Schmidt. It's on a looooooong drive…IT'S OUTTA HERE!!!" The team played their first game at their new home at Citizens Bank Park on April 12, 2004.


The following services are available to fans visiting the stadium:
Navigation and information support from volunteers.
Information (children registration point, stroller storage, lost and found office).
Storage room.
Audio descriptive commentary for the fans who are blind or visually impaired.
The stadium has 42 elevators, 24 are suitable for disabled fans.
In addition, the Arena is equipped with lifts, ramps and turnstiles for spectators with limited mobility. A separate sector of the Arena is specially made accessible for people with disabilities.


The word 'Windermere' is thought to translate as "'Winand or Vinand's lake'... The specific has usually been identified with an Old Swedish personal name 'Vinandr', genitive singular 'Vinandar'"... although "the personal noun is of very restricted distribution even in Sweden." Another possibility is that it refers to a "Continental Germanic personal noun, 'Wīnand'...Since this name could not have been current until the 12th century, the fact that the Old Norse genitive singular '-ar-' has been added to it, it would suggest that Old Norse was still a living language in the area at that time."
Alternative spellings may be 'Wynhendermere' and 'Wynenderme'
The second element is Old English 'mere', meaning 'lake' or 'pool'. It was known as "Winander Mere" or "Winandermere" until at least the 19th century.
Its name suggests it is a mere, a lake that is broad in relation to its depth, but despite the name this is not the case for Windermere, which in particular has a noticeable thermocline, distinguishing it from typical meres. Until the 19th century, the term "lake" was, indeed, not much used by or known to the native inhabitants of the area, who referred to it as Windermere/Winandermere Water, or (in their dialect) Windermer Watter. The name Windermere or Windermer was used of the parish that had clearly taken its name from the water. The poet Norman Nicholson comments on the use of the phrase 'Lake Windermere': "a certain excuse for the tautology can be made in the case of Windermere, since we need to differentiate between the lake and the town, though it would be better to speak of 'Windermere Lake' and Windermere Town', but no one can excuse such ridiculous clumsiness as 'Lake Derwentwater' and 'Lake Ullswater."
The extensive parish included most of Undermilbeck (that is, excepting Winster and the part of Crook chapelry that lay west of the Gilpin, which were part of Kirkby Kendal parish), Applethwaite, Troutbeck and Ambleside-below-Stock, that is, the part of Ambleside that lay south of Stock Beck. The parish church was at Bowness in Undermilbeck.


Some earlier sources show the clothing store owner's name as Nacewander, but the NRHP nomination concluded that Nicewander was the correct name.
There are several discrepancies between the details given by Waymarking and those given in the earlier NRHP inventory. This article uses the NRHP information.
The legal designation is lots 9 and 10, Block 12 in Perry, Oklahoma.


The Wuhan metropolis is an amalgamation of three cities situated at the confluence of the Han River and the Yangtze: Wuchang, located on the southern bank of the Yangtze, Hanyang, located on the northern bank of the Yangtze and the west bank of the Han, and Hankou, located on the northern bank of the Yangtze and the eastern bank of the Han.  Wuhan lies at the heart of Central China and is a hub from transportation between the Central Plain in northern China and the trading ports of Guangzhou and Hong Kong in southern China.  The Beijing-Wuhan railway line went into full service in 1906, followed in 1936 by the Wuhan-Guangzhou railway line.  Between that time and the bridge's completion in 1957, railway cars travelling between northern and southern China had to be ferried over the Yangtze on barges, a laborious and dangerous practice.


De la Fuente, Beatriz, Silvia Garza Tarazona, Norberto González Crespo, Arnold Leboef, Miguel León Portilla and Javier Wimer (1995) La Acrópolis de Xochicalco, Instituto de Cultura de Morelos, Cuernavaca.
González Crespo, Norberto; Garza Tarazona, Silvia; de Vega Nova, Hortensia; Mayer Guala, Pablo; Canto Aguilar, Giselle (Fall 1995). "Archaeological Investigations at Xochicalco, Morelos: 1984 and 1986". Ancient Mesoamerica. 6 (2): 223–236. doi:10.1017/S0956536100002200. JSTOR 26307315.
Hirth, Kenneth G. (editor) (2000) Archaeological Research at Xochicalco, Volume 1, Ancient Urbanism at Xochicalco: The Evolution and Organization of a Pre-Hispanic Society., and Volume 2, The Xochicalco Mapping Project. University of Utah Press, Salt Lake City.
Hirth, Kenneth G. (editor) (2006) Obsidian Craft Production in Ancient Central Mexico, University of Utah Press, Salt Lake City.
Hirth, Kenneth G. and Ann Cyphers Guillén (1988) Tiempo y asentamiento en Xochicalco. Instituto de Investigaciones Antropológicas, Universidad Nacional Autónoma de México, Mexico City.


The cave is 83 m long, 60 m wide, and 15 m high.
The temperature and the humidity in the cave are constant year round.
Some of the stalactites found in the cave are four meters long, and some have been dated as 300,000 years old. Some meet stalagmites to form stone pillars.


The Azadi Museum is located at the basement level. Inside are austere black walls of dignified proportions. A concrete mesh forms the ceiling. Heavy doors open onto a crypt with subdued lighting from showcases, each containing an object. The museum houses a number of gold and enamel pieces, painted pottery, marble and paintings. Approximately fifty pieces have been selected, each representing a particular period in Iran's history.
Among the earliest items on display are square flagstones, gold sheeting, and terracotta tablets from Susa covered with cuneiform characters. Before the 1979 Revolution, the main display was occupied by a copy of the Cyrus Cylinder, the original being kept at the British Museum. A translation of the cylinder's cuneiform inscription is inscribed in golden letters on the wall of one of the galleries leading to the museum's audio-visual center. A similar plaque facing the cylinder listed the Twelve Points of the White Revolution. Next, to the Cyrus Cylinder, there was a gold plaque commemorating the original presentation of the museum to Mohammad Reza Pahlavi by the Mayor of Tehran. Potteries, ceramics, varnished porcelains (such as a seventh-century blue and gold dish from Gorgan), an illuminated Quran, and miniatures highlighted milestones in the country's history up to the 19th century, which were represented by two painted panels from Empress and the structure was to represent Farah Pahlavi as in is stated in some ancient texts.


The first lighthouse built in 1878 was simply a lantern mounted on a wooden post, which was fuelled by kerosene. A replica of this early aid to navigation, exists next to the local museum.
The current lighthouse was constructed in 1912 and 1913, and is made up of prefabricated cast iron sections, and is similar in design, although not as tall, as the lighthouses at Westerheversand, Hörnum and Pellworm. Originally painted black, it did not receive its current red and white daymark colour scheme until 1952. The lantern has twin galleries with a roof of sheet copper. The lighthouse at 21.4 metres, is higher than most buildings in the town, and stands 22 metres above mean high tide. It has a nominal range of 19 nautical miles and a light characteristic showing a white, red or green sector, isophase light of three seconds on, then three seconds off.
In 2013, the centenary of the lighthouse was celebrated, when it was depicted on a 58-cent lighthouse stamp series by Deutsche Post the German postal service.
Operated by the Water and Shipping Authority at Tönning, it is registered under the international Admiralty number B1606 and has the NGA identifier of 114-10580.


The city of Bakhchisaray and the palace were commissioned by the Crimean Khan dynasty, who moved their capital here from Salaçıq in the first half of the 16th century. The palace's complex design and minarets were constructed in the 16th century by Ottoman, Persian and Italian architects. Later damages required partial reconstruction, but the structure still has a resemblance to its original form. Some buildings currently in the palace were attached later, while some of the original buildings could not stand past the 18th century.
In 2017, the palace was subject to restoration, which was conducted by Moscow-based Atta Group, a firm with little experience in historical preservation. As part of the process, the palace's centuries-old oak beams were removed and replaced with concrete, original tiles were removed, while its 18th century murals were damaged by a high-pressure water stream. In addition, cracks appeared on the facade of the building and plaster fell off during pressure cleaning. In response to the alleged damages, the Ministry of Foreign Affairs of Ukraine sent a protest notice to UNESCO, which manages the World Heritage Sites, since the Bakhchisaray Place was added to the organization's Tentative List of World Heritage Sites in 2003.


According to local legend, the temple sprang forth when Rama, the exiled hero of the epic Ramayana, stopped at the spot in search of his kidnapped wife, Sita.
As the legend goes, overcome with fatigue and thirst, Rama asked his brother Lakshmana to bring him some water. Lakshmana instantly shot an arrow into the ground, and water gushed forth from the ground, creating a tributary of the Ganges, which flows over a thousand miles away – hence its name, Banganga, ie the Ganga created by a baan (arrow).
The Banganga also houses the Shri Kashi Math and Shri Kaivalya/Kavale Math of the Goud Saraswat Brahmins on its banks, including samadhis of the maths’ past heads.
The area also has a Hindu cremation ground which after 2003 received a makeover to house a gas crematorium.
The area still has an old Hindu cemetery consisting of samadhi shrines of various advaitin gurus, such as  Siddharameshwar Maharaj (1888–1936) and his disciple, Ranjit Maharaj (1913–2000).


The tank today is a rectangular pool structure surrounded by steps on all four sides. At the entrance are two pillars in which diyas (oil lamps) were lit in ancient times.
The tank, as well as the main Walkeshwar Temple and the Parshuram Temple, belong to the Goud Saraswat Temple Trust, which once owned most of the property in the complex. Many Goud Saraswat Brahmin families (Rege, Anaokar, Mulgaonkar, Kenkre, Sakhardande, Sukthankar, Keni, Marudkar, Naik, Wartikar, Warerkar, Bidikar, Bhende, Prabhawalkar, Pagnis) still reside in the Temple Trust buildings in the complex.
The tank is spring-fed; thus its water remains sweet, despite being located only a few dozen meters away from the sea.
Apart from being a cultural hub, the place over the years has provided inspiration to many artists, be it on film or on canvas.


Bank Mandiri Museum (Indonesian: Museum Bank Mandiri) is the corporate museum of the namesake Bank Mandiri, located in the old banking district of Jakarta Old Town in northern Jakarta, Indonesia. The museum is housed in the former headquarters of the Netherlands Trading Society, one of the primary ancestor of ABN AMRO. The museum is closed on Mondays and public holidays. It is located next to Museum Bank Indonesia, and right in front of Jakarta Kota Station.


The building stands on a 10,039 square meters land. This land was previously owned by the firm Carl Schlieper, who built a large office building and a warehouse. In 1913, the land was purchased by the Factorij. At midnight of December 17, 1920, the Schlieper building caught fire. The damaged building was destroyed later to make way for a new building which will become the Netherlands Trading Society (Nederlandsche Handel-Maatschappij or NHM), also known as "Factorij".
The new building was designed by J.J.J de Bruyn, A.P. Smits and C. van de Linde. Construction started in 1929 and was opened on January 14, 1933 by C.J Karel Van Aalst, the 10th President of NHM. The architecture follows the philosophy of the Dutch Nieuwe Zakelijkheid, a branch of modern architecture close to Art Deco.
The very profitable NHM was finally nationalized in November 1960, after shareholders and management tried to keep it under Dutch control in the 1950s. In December 1960, it became the property of the Department of Export-Import of the Bank Koperasi Tani & Nelayan (BKTN). This became the Bank Export Import Indonesia (or Bank Exim) on December 31, 1968 until the legal merge of Bank Exim, Bank Dagang Negara, Bank Bumi Daya, and Bank Pembangunan Indonesia to become Bank Mandiri in 1999.


The museum was established by Bank Mandiri on October 2, 1998. Its collection consists of various items related to banking activity and its development in "Tempo Doeloe" (in Indonesia meaning: "Good old days"). Its collection range from colonial bank owned operating supplies, securities, old currencies, old Dutch safe deposit box, and many others. In addition the building's interior, old ornaments, and furniture is kept as it was during the colonial era.


The museum hosts a collection of items related to colonial banking activities, such as security documents, numismatics (coin collections), cash counters, and safes from the colonial era. The collection is displayed in exhibits which imitate the old days atmosphere of the bank.


Some specific architectural features which evolved with the Bayon style are clearly discerned in this temple. The roof is supported on free-standing pillars in the eastern and western pavilions in the third enclosure, built in a cruciform plan with the inner row of pillars supporting the roof. The pillars are also tied to the wall by a tie beam using a "mortise–and–tenon join" patterned on wooden structures. Other features noted are of the four central pillars in the western pavilion which have been strengthened with temporary supports of laterite stone block pillars. Carvings of Buddha are seen on all these pillars but mostly defaced. The temporary support system provided to the roof built on free standing pillars is indicative of problems of design seen in the temples built during this period.


After major repairs in 2005, the weight restriction was finally relaxed and locomotive-hauled trains are allowed to cross.
In March 2013, the Barmouth Viaduct Access Group (B-VAG), was established to investigate an alternative route from the town centre to the bridge, as the walkway is steep, narrow, and unsuitable for pushchairs or wheelchairs. In June, the bridge toll was removed after the collectors left and were not replaced. The council is undecided as to how to pay for maintenance costs, which were £39,405 for the year. This is problematic as revenue from tolls is insufficient to cover the council's share of costs, and there is no budget to employ staff to collect payments.
Gwynedd Council proposed closing the bridge to pedestrians and cyclists for cost reasons, as it needed to find £9 million of savings by April 2016. Closing the bridge is one of over 100 cost saving options totalling £13 million that were put to a public consultation in Autumn 2015. The council pays Network Rail £30,800 per year towards maintenance costs. A petition calling on the council to "cease considerations of closing this much loved walking and cycling route" attracted 20,000 signatures in a week. In February 2016, it was reported that the bridge would not close.
On 4 October 2016, Barmouth Bridge was closed to traffic for a week following a fire on the structure. The following day, Liz Saville Roberts MP called for its speedy renovation as a matter of urgency.
The viaduct celebrated its 150th anniversary in October 2017 with a fireworks display and special charter trains were run. The same month, Bill Kelly, the chief operating officer of Network Rail Wales, spoke of unapproved ambitions to spend around £20 million to secure the long-term future of Barmouth Bridge between 2019 and 2024. In late 2017, an "honesty toll" of £1 for adults and 50p for children was introduced with a troll mascot, and the old toll house rebranded as a "troll house".
In December 2018, it was reported that the future of the bridge was once again in doubt, but a £25 million 3-year restoration project was announced by Network Rail in May 2020. Network Rail had considered building a new bridge, involving significant groundwork and piling, but chose refurbishment because timber is lighter and the 1867 structure is considered iconic.
The restoration will replace like-for-like a large number of timber elements of the viaduct, the metallic spans of the viaduct, as well as the entire 820 metres (2,690 ft) length of track across it. The swinging elements of the bridge are not to be restored, but all key mechanisms associated with the swing bridge will be retained in situ in accordance with the 1988 Grade II* listing of the structure. The work will not speed up journeys along the line; the viaduct's long lateral structure gives it limited stability, meaning that maximum speeds of 20 mph (32 km/h) for passenger trains and 10 mph (16 km/h) for freight will remain. FSC-certified greenheart hardwood was sourced by NR from Guyana for its long track record of use in challenging applications, and preservative treatment is unnessary as it is resistant to attack by shipworm and wood rotting fungi.
The first phase of the project was completed in November 2020. The next two of the three planned closures are scheduled for September to December 2021 and October to December 2022.


The church has a rather square appearance, seemingly more suited to a castle than to a church. This impression is strengthened by the presence of two low massive towers framing the façade. It was indeed used several times as castle during its history.
The interior has a nave and two aisles, divided by granite columns and pilasters. The presbytery is separated from the rest of the edifice by mean of three arches supported by columns of Byzantine influence. Above the aisles is the matronaeum, a tribune gallery for women, opening into the nave. The basilica was the first church of this design, setting a precedent which was later imitated in numerous other constructions in the region.
In 2012, a set of integrated data from ground-penetrating radar and seismic sonar have highlighted the presence of relevant water infiltrations in two areas of the crypt restored in 1950, which possibly can be due to an accumulation of humidity.


The interior fan vaulting ceiling, originally installed by Robert and William Vertue, was restored by Sir George Gilbert Scott between 1864 and 1874. The fan vaulting provides structural stability by distributing the weight of the roof down ribs that transfer the force into the supporting columns via the flying buttresses.
Gilbert Scott's work in the 1870s included the installation of large gas chandeliers made by the Coventry metalworker Francis Skidmore. They were converted to electricity in 1979. Other new features included a new pulpit and seating. A marble altarpiece from General George Wade in the sanctuary was removed and replaced with a decorative reredos. The finely-carved pews are also by Gilbert Scott, and are considered to be some of the finest examples of church seating designed by the great architect. They are unique to the abbey, and were modelled on 16th century pews found in other Somerset churches. The abbey is unique in possessing a near-complete set of Gilbert Scott furnishings. The Victorian society has emphasised the importance of Gilbert Scott's work here, stating that "removing them would have 'an extremely detrimental effect on the historical significance of this important religious building". Unfortunately, the consistory court ruled in favour of the Abbey and one  of  the  best  surviving  examples  of  a  Victorian  seating  schemes to survive intact was dismantled, sold, and is now dispersed, despite significant opposition from Historic England and the Victorian Society.
In the 1920s Thomas Graham Jackson redesigned the Norman Chapel into a War Memorial Chapel, now Gethsemane Chapel, and added a cloister. New quire screens were installed in 2004, partly to improve the acoustics, topped with 12 carved angels playing musical instruments.
A tiled floor dating from the late 13th to early 14th centuries was discovered in August 2018. Work to rebury coffins which had previously been under the abbey and stabilise the floor included the digging of a trench in which the tiles were uncovered.


In 1070, Pope Alexander II ordered the Normans to do penance for killing so many people during their conquest of England. In response, William the Conqueror vowed to build an abbey where the Battle of Hastings had taken place, with the high altar of its church on the supposed spot where King Harold fell in that battle on Saturday, 14 October 1066. William started building it, dedicating it to St. Martin, sometimes known as "the Apostle of the Gauls," but died before it was completed. The Vill survey of 1076 and early legal documents of adjoining property refer to a hospital or guesthouse which was attached to the gate of the abbey. Its church was finished in about 1094 and consecrated during the reign of his son William known as Rufus. William I had ruled that the church of St Martin of Battle was to be exempted from all episcopal jurisdiction, putting it on the level of Canterbury. Walter de Luci became abbot in 1139 and made several improvements. During the reign of Henry II of England, rival church authorities at Canterbury and Chichester
unsuccessfully tested the charter. The church was remodelled in the late 13th century, but virtually destroyed during the Dissolution of the Monasteries in 1538 under King Henry VIII.
At the dissolution, the displaced monks of Battle Abbey were provided with pensions, including the abbot John Hamond and the prior Richard Salesherst, as well as monks John Henfelde, William Ambrose, Henry Sinden, Thomas Bede and Thomas Levett, all bachelors in theology.
The abbey and much of its land was given by Henry VIII to his friend and Master of the Horse, Sir Anthony Browne, who demolished the church and parts of the cloister and turned the abbot's quarters into a country house.
It was sold in 1721 by Browne's descendant, Anthony Browne, 6th Earl of Montagu, to Sir Thomas Webster, MP and baronet. Sir Thomas had married the heiress Jane Cheek, granddaughter of a wealthy merchant, Henry Whistler, to whose vast inheritance she succeeded in 1719. Webster was succeeded by his son, Sir Whistler Webster, 2nd Baronet, who died childless in 1779, being succeeded in the baronetcy by his brother.  Battle Abbey remained in the Webster family until 1857, when it was sold to Lord Harry Vane, later Duke of Cleveland. On the death of the Duchess of Cleveland in 1901, the estate was bought back by Sir Augustus Webster, 7th baronet.
Sir Augustus (son of Sir Augustus, 7th baronet) was born in 1864 and succeeded his father as 8th baronet in 1886. In 1895, he married the only daughter of Henry Crossley of Aldborough Hall, Bedale. Sir Augustus was formerly a captain in the Coldstream Guards. The descendants of Sir Augustus Webster, 8th baronet (died 1923) who brought the extinction, finally sold Battle Abbey to the British government in 1976 and it is now in the care of English Heritage.
It was an all-girls boarding school when Canadian troops were stationed there in the Second World War, and continues as a school now.
All that is left of the abbey church itself today is its outline on the ground, but parts of some of the abbey's buildings are still standing: those built between the 13th and 16th century. These are still in use as the independent Battle Abbey School. Visitors to the abbey usually are not allowed inside the school buildings, although during the school's summer holidays, access to the abbot's hall is often allowed.
The church's high altar reputedly stood on the spot where Harold died. This is now marked by a plaque on the ground, and nearby is a monument to Harold erected by the people of Normandy in 1903. The ruins of the abbey, with the adjacent battlefield, are a popular tourist attraction, with events such as the Battle of Hastings reenactments.
In 2016, Historic England commissioned tree-ring analysis of oak timbers from the gatehouse, dorter and reredorter to help identify when these areas might have been built. Findings imply phased building and local timber acquisition, with samples indicating early and later fifteenth century building work.


The outer wall of the outer gallery features a series of bas-reliefs depicting historical events and scenes from the everyday life of the Angkorian Khmer. Though highly detailed and informative in themselves, the bas-reliefs are not accompanied by any sort of epigraphic text, and for that reason considerable uncertainty remains as to which historical events are portrayed and how, if at all, the different reliefs are related.  From the east gopura clockwise, the subjects are:
in the southern part of the eastern gallery a marching Khmer army (including some Chinese soldiers), with musicians, horsemen, and officers mounted on elephants, followed by wagons of provisions;
still in the eastern gallery, on the other side of the doorway leading into the courtyard, another procession followed by domestic scenes depicting Angkorian houses, some of the occupants of which appear to be Chinese merchants;
in the southeast corner pavilion, an unfinished temple scene with towers, apsaras (Khmer: អប្សរា), and a lingam (Khmer: លិង្គសិវៈ);
in the eastern part of the southern gallery, a naval battle on the Tonle Sap (Khmer: ទន្លេសាប) between Khmer and Cham forces, underneath which are more scenes from civilian life depicting a market, open-air cooking, hunters, and women tending to children and an invalid;
still in the southern gallery, past the doorway leading to the courtyard, a scene with boats and fisherman, including a Chinese junk, below which is a depiction of a cockfight; then some palace scenes with princesses, servants, people engaged in conversations and games, wrestlers, and a wild boar fight; then a battle scene with Cham warriors disembarking from boats and engaging Khmer warriors whose bodies are protected by coiled ropes, followed by a scene in which the Khmer dominate the combat, followed by a scene in which the Khmer king celebrates a victory feast with his subjects;
in the western part of the southern gallery, a military procession including both Khmers and Chams, elephants, war machines such as a large crossbow and a catapult;
in the southern part of the western gallery, unfinished reliefs show an army marching through the forest, then arguments and fighting between groups of Khmers;
in the western gallery, past the doorway to the courtyard, a scene depicting a melee between Khmer warriors, then a scene in which warriors pursue others past a pool in which an enormous fish swallows a small deer; then a royal procession, with the king standing on an elephant, preceded by the ark of the sacred flame;
in the western part of the northern gallery, again unfinished, a scene of royal entertainment including athletes, jugglers and acrobats, a procession of animals, ascetics sitting in a forest, and more battles between Khmer and Cham forces;
in the northern gallery, past the doorway to the courtyard, a scene in which the Khmer flee from Cham soldiers advancing in tight ranks;
in the northeast corner pavilion, another marching Khmer army;
in the eastern gallery, a land battle between Khmer and Cham forces, both of which are supported by elephants: the Khmer appear to be winning.
The outer gallery encloses a courtyard in which there are two libraries (one on either side of the east entrance). Originally the courtyard contained 16 chapels, but these were subsequently demolished by the Hindu restorationist Jayavarman VIII.


When construction of the Town began, the projected town plan incorporated a market square and buildings including a gas works, fire station, ice cream parlour (originally the Central Cafe at Consett), a cast iron bus station from Durham City, school, public baths and a fish and chip shop.


The colliery features both a standard gauge railway, representing how coal was transported to its onward destination, and narrow-gauge typically used by Edwardian collieries for internal purposes. The standard gauge railway is laid out to serve the deep mine - wagons being loaded by dropping coal from the heapstead - and runs out of the yard to sidings laid out along the northern-edge of the Pit Village.
The standard gauge railway has two engine sheds in the colliery yard, the smaller brick, wood and metal structure being an operational building; the larger brick-built structure is presented as Beamish Engine Works, a reconstruction of an engine shed formerly at Beamish 2nd Pit. Used for locomotive and stock storage, it is a long, single track shed featuring a servicing pit for part of its length. Visitors can walk along the full length in a segregated corridor. A third engine shed in brick (lower half) and corrugated iron has been constructed at the southern end of the yard, on the other side of the heapstead to the other two sheds, and is used for both narrow and standard gauge vehicles (on one road), although it is not connected to either system - instead being fed by low-loaders and used for long term storage only.
The narrow gauge railway is serviced by a corrugate iron engine shed, and is being expanded to eventually encompass several sidings.
There are a number of industrial steam locomotives (including rare examples by Stephen Lewin from Seaham and Black, Hawthorn & Co) and many chaldron wagons, the region's traditional type of colliery railway rolling stock, which became a symbol of Beamish Museum. The locomotive Coffee Pot No 1 is often in steam during the summer.


Built between 1956 and 1958, inaugurated in 1961, the pavilion is located west of the lake. Designed by architects Hazen Sise and Guy Desbarats of montreal-based architectural firm Arcop, it was considered one of the most innovative buildings in Montreal, with a corrugated roof and large windows. It was renovated in 2005-2007.
The pavilion houses a restaurant named The Pavilion.
In 2007, the Ordre des architectes du Québec (Order of Architects of Quebec) awarded the Excellence Award in architecture to architects Pierina Saia and Réal Paul and to the City of Montreal for the conservation and heritage restoration of the Beaver Lake pavilion.