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The people of Parkin were intensely involved in maize agriculture, as well as cultivating other food crops originating in the Americas, such as beans, gourds, squash, and sunflowers. Women managed most of the cultivation and processing, including developing varieties of maize and other vegetables. After the harvest, maize was stored in large above ground cribs for consumption during the remainder of the year. The women also gathered wild foodstuffs such as pecans and persimmons.
The De Soto chroniclers described the area as being intensely cultivate, and as the most populous they had seen in La Florida. They said there were groves of wild fruit and nut-bearing trees, implying that the Parkin phase peoples must have chosen to retain them while clearing other trees for the cultivation of maize and their other crops. The men hunted such game as whitetail deer, squirrel, rabbit, turkey, and mallard, as well as fishing for alligator gar, catfish, drum, turtles and mussels. The two rivers and the moat must have been a very productive source of fish, as the De Soto chroniclers often mentioned receiving "gifts of fish" from the residents of Casqui.


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The site was a 17 acres (7 ha) palisaded village at the confluence of the St. Francis and Tyronza rivers.  All other sites of the Parkin phase are located on very fertile soil, but not the Parkin site.  The soil is not adequate to support the population level that is thought to have resided at the site. It is believed that the large village was located at the confluence of the two rivers because this allowed the residents to control transportation and trade on the waterways.
The site had one large substructure mound and six smaller ones arranged around a central plaza.  The largest mound was 21.3 feet (6.5 m) tall, with a projecting terrace level that was 5 feet (1.5 m) tall. It is located beside the St. Francis River, with the plaza on its other side.  The Spanish chroniclers describe the main mound as having a large structure at its summit, which was the residence of the chief, Casqui. The terrace level held the homes and other structures used by his wives and attendants.
The other six mounds ranged from 3.2 to 5 feet (1.0–1.5 m) in height. The plaza would have been used for religious rituals and the playing of games such as chunkey and the ballgame. Surrounding the plaza were numerous well-laid out houses, aligned to the axis of the mound and plaza, demonstrating the planned nature of the site. The villages of this area were described as having few if any trees, probably because wood was the primary source of fuel and building materials. The Spanish camped within a nearby grove of trees to avoid the sweltering heat on the floodplain. Homes were built from wattle and daub, with thatched roofs.
The palisade which surrounded the site on three sides was designed for defensive purposes. It had bastions at regular intervals, with archers slots to defend against plundering enemies. Immediately outside the palisade was a large moat, which surrounded the site on three sides and connected to the St. Francis River, which was its fourth side.  The area inside the ditch and palisade was 3.2 feet (1 m) higher than the surrounding land. Although the level of the site may have been raised by the inhabitants, it is more likely that dirt and refuse built up in the confined space and raised its level gradually, similar to a tell in the Middle East.


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Most pottery found at the Parkin site is of the kind known as Mississippian Plain var. Neeleys Ferry and Barton Incised var. Togo (formerly called Parkin Punctated). Pottery found at Parkin phase sites are usually utilitarian wares rather than the elaborate mortuary types found at the Nodena, Kent or Walls phase burials.  The archaeologist Clarence Bloomfield Moore described pottery from St. Francis River sites with adjectives such as "lopsided", "insufficiently fired", "rude and scanty", of "inferior surface" and "great monotony".  But elaborate effigy pottery has also been found at these sites, including five human head effigy pots, underwater panther effigies, elaborate fish and dog effigies, and red and white spiral, swastika and stripped bottles.  The inclusion of less specifically mortuary wares found in graves seems to be a cultural difference between the Parkin peoples and the peoples of the surrounding phases.
The Parkin phase people put a bowl and a bottle into a grave with the bodies, as did the people of the Nodena, Walls, and Kent phases. Pottery made by the Parkin people was built up from strips of clay, and then smoothed out by the potter. This technique was much like that of other pottery in the Eastern America area, where the potters wheel was unknown.  Slips using galena for white, hematite for red, and sometimes graphite for black were used to paint the pottery. The effigy head pots give an idea of what the people of the Parkin site may have looked like, as shown by this bust on display at the Parkin site museum.


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In 1966, a Spanish trade bead, which matches descriptions of the seven-layer glass beads carried by the expedition, was found at the Parkin site, as well as a brass bell known as a "Clarksdale bell".  The bell was associated with a child's burial, which also contained four pottery items, all known types of Parkin phase pottery. This is one of only a handful of sites in the Southeast where items from the de Soto expedition have been found in a datable archaeological context.  In 1977, a large charred posthole was found at the summit of the large substructure mound at the Parkin site. In 2016, a portion of a cypress log, believed to be part of the cross that De Soto erected on the site in 1541, was unearthed. It was still under study in April 2016.


Parliament Gardens is a small park in downtown Windhoek, Namibia. It is located between the Tintenpalast (Namibia's Parliament building) and the Christuskirche. It was laid out in 1932 and was originally called the Tintenpalast gardens, adopting its present name after Namibian independence in 1990.
Parliament Gardens contains Namibia's first post-independence monument: a bronze-cast statue of the Herero chief Hosea Kutako. Two other Namibian nationalists are also honoured with bronze statues in the gardens: Hendrik Samuel Witbooi and Theophilus Hamutumbangela. The three statues flank the steps up to parliament's main entrance.
The gardens used to be an olive plantation, and still include an olive grove. They also contain a bowling green lined with bougainvilleas along with a thatched-roof clubhouse. Twice a month the gardens host "Theatre in the Park", run by the College of the Arts.
In 2016, the opening of the Namibian Parliament was held in the Parliament Gardens because of limited space in the Tintenpalast. Due to a change to the Constitution in 2014, the number of parliamentarians had increased significantly, and so joint sittings have to be held elsewhere.
Rough Guides describes Parliament Gardens as "delightful, shady... definitely merit a stroll". The gardens are "particularly popular at lunchtimes and weekends, when students laze on the lawns poring over their books or each other." They are also a "popular place for a lunchtime picnic."


Parque Explora is an interactive science museum in Medellín, Colombia, loosely modeled after San Francisco's Exploratorium. It houses South America's largest freshwater aquarium, Explora Aquarium. The museum contains over 300 interactive attractions, as well as a 3D auditorium, planetarium, television studio, and vivarium. The museum opened in 2008.


Architect Alejandro Echeverri designed the museum. It has a combination of indoor and outdoor space. Its four red "cubes" house the museum's science and technology rooms.


Parque Explora is located in the northern area of Medellín, known as the North Zone (Zona Norte), between Parque Norte and the Botanical Garden of Medellín. The museum can be reached by the Medellín Metro on line A, at the University Station stop, which is named for the nearby University of Antioquia.


Parshvanatha temple (IAST: Pārśvanātha Mandir) is a 10th-century Jain temple at Khajuraho in Madhya Pradesh, India. It is now dedicated to Parshvanatha, although it was probably built as an Adinatha shrine during the Chandela period. Despite the temple's Jain affiliation, its exterior walls feature Vaishnavaite themes. The entrance has an inscription with a most-perfect magic square. It is part of a UNESCO World Heritage Site along with other temples in the Khajuraho Group of Monuments.


The temple is believed to have been constructed by a prominent Jain family between 950 and 970 CE, during the reign of the Chandela king Dhanga. A 954 CE (1011 VS) inscription on the left door jamb of the temple records gifts and endowments of gardens by one Pahila. The gardens are named Pahila-vatika, Chandra-vatika, Laghuchandra-vatika, Shankara-vatika, Panchaitala-vatika, Amra-vatika and Dhanga-vadi. The inscription describes Pahila as a devotee of Jinanatha and states that he was held in great esteem by the king Dhanga.
The earliest idol enshrined in the temple appears to have been that of Adinatha. When the British archaeological surveyor Alexander Cunningham visited in 1852, he found the main sanctum deserted. He described it as "Jinanatha temple" and wrote that it had been repaired by a Jain banker in 1847. In 1860, a Parshvanatha idol was installed in the main sanctum. An Adinatha statue was placed in a secondary shrine attached to the rear of the temple.
The temple has been classified as a Monument of National Importance by the Archaeological Survey of India.


The Parshvanatha temple is the largest among the Jain temples of Khajuraho. It has an entrance porch, a small hall, a large hall (mandapa), a vestibule, and a sanctum. The temple structure has an oblong architectural plan with projections at two ends. The front (eastern) projection forms the entrance porch, the back (western) projection is a shrine attached to the sanctum.
The ceiling of the entrance porch features chain and floral patterns, and a pair of intertwined flying vidyadharas. The door-lintel of the mandapa has the sculpture of Adinatha's attendant: a ten-armed Chakreshvari riding a Garuda. The sanctum features sculptures of the Jinas.
The outer walls have three bands of sculptures. These sculptures feature surasundaris (graceful women), flying couples, dancers, musicians, and celestial beings. Despite the temple's Jain affiliation, the outer walls also depict Vaishnavite themes including sculptures of Hindu gods and their incarnations with their consorts. These include Vishnu-Lakshmi, Rama-Sita, Balarama-Revati, Parashurama, Hanuman, Brahma and Yamalarjuna legend of Krishna. These sculptures are similar to those of the Lakshmana Temple in modeling, proportions and poise. Unlike the Lakshmana temple, the Parshvanatha temple doesn't feature explicit erotic sculptures, although one particular image appears to show a cross-legged apsara masturbating with an object.


The temple has an inscription with a magic square, called the "Jaina square". This is one of the oldest known 4×4 magic squares, as well as one of the oldest known most-perfect magic squares.
This magic square contains all the numbers from 1 to 16. The sum of the numbers in every horizontal row, every vertical column and the two diagonal rows is 34.
The sum of the numbers in the smaller 2x2 squares at the four corners, as well as those in the central 2x2 square, is also 34.
The magic square is pandiagonal, aka diabolic: the numbers in its broken diagonals also sum up to 34. For example, 7 + (6 + 10 + 11) = 34.


The Parvin Bridge is a covered bridge located in Lane County, Oregon, U.S. near Dexter.  It was built in 1921 as a single-lane 75-foot (23 m) bridge across Lost Creek, a tributary of the Middle Fork Willamette River.
The bridge was a replacement for a 66-foot (20 m) Howe truss design which failed a 1917 inspection by bridge inspector J. W. McArthur.  He wrote, "An old bridge. Chords badly worm eaten.  Downstream chord has been reinforced in middle by a timber bolted on.  Wood is but little better than a powder from worm action.  All signs indicate a new bridge in from 2 to 4 years."
George W. Breeding constructed the present bridge at the same site in 1921 for $3,617, equivalent to $55,000 today.  It is also a Howe truss and includes a 62-foot (19 m) eastern approach and a 17-foot (5.2 m) western approach.  Roadwork in the mid-1970s realigned the road to bypass the bridge, being accessible only to pedestrians afterwards.  A dedication ceremony was held November 17, 1986, to reopen the renovated span to vehicle traffic with a 10-short-ton (9,100 kg) load limit.
The Parvin Bridge is listed on the National Register of Historic Places.


The Pass-a-Grille Historic District (also known as Old Town of Pass-a-Grille) is a U.S. historic district (designated as such on October 19, 1989) located in the town of Pass-a-Grille at the southern end of St. Pete Beach, Pinellas County, Florida. The district is bounded by 12th Avenue, Gulf Boulevard, 4th Avenue, and Gulf Avenue. It contains 97 historic buildings.
On September 15, 2003, the area was expanded to include an area bounded by Pass-a-Grille Way, 1st Avenue, Gulf Way, Sunset Way, and 32nd Avenue. The new area contained contains 354 more historic buildings.

The Gulf Beaches Historical Museum is a museum of local history that is located in the district in the former Pass-a-Grille Community Church.


Passeig de Lluís Companys ([pəˈsɛdʒ də ʎuˈis kumˈpaɲs]) is a promenade in the Ciutat Vella and Eixample districts of Barcelona, Catalonia, Spain, and can be seen as an extension of Passeig de Sant Joan. It was named after President Lluís Companys, who was executed in 1940. It starts in Arc de Triomf and ends in Parc de la Ciutadella, on Carrer de Pujades.


The original Cerdà plan originally listed it as Núm. 35, and was later renamed to Salón de Víctor Pradera, Fermín Galán and Salón de San Juan, or Saló de Sant Joan in Catalan. In 1979 the current name was approved by the city council.


From 1902 to 1922, Nellie Patterson kept a full staff of about 10 to 15 servants, dressed in livery, to provide services to the family and guests at the Patterson Mansion. Her husband, Robert Wilson Patterson, died in 1910.
Nellie Patterson spent less and less time in the Dupont Circle mansion over the years, preferring her long-time home in Chicago. She became morbidly obese, then suffered a heart attack and lost a significant amount of weight. In September 1922, Cissy Patterson (herself spending more time at her other homes and abroad) allowed her daughter, Felicia, and her new husband, Drew Pearson, to take up residence in the mansion. Nellie Patterson vacated 15 Dupont Circle for good in 1923, never to return, and deeded the property to Cissy that same year. Although Cissy formally took up residence there in 1923, she spent most of her time elsewhere. The house was barely occupied from 1923 to 1929, as the Pearsons left for Asia in 1925 and never returned to the home. Cissy Patterson's divorce from her first husband, Count Josef Gizycki, was finalized in 1917. She married New York City lawyer Elmer Schlesinger in 1925, but used the mansion little in the years afterward.
The Patterson Mansion was the home of President Calvin Coolidge and his wife, Grace Coolidge in 1927. The White House needed extensive renovation which rendered it unliveable while construction occurred.  In February 1927, Cissy Patterson offered them the use of her empty home. The Coolidges stayed in the house from March 4, 1927, to June 13, 1927, after which they left for an extended vacation in the Black Hills of South Dakota. Mrs. Coolidge found the rooms, which slanted slightly due to the odd shape of the lot, cramped. She felt the house was far better designed when it came to entertaining.
From June 10 to June 12, 1927, Charles Lindbergh was a guest of the Coolidges at the Patterson Mansion upon his triumphant return from France after his non-stop flight across the Atlantic Ocean piloting the aircraft Spirit of St. Louis. Lindbergh's mother, Evangeline Lodge Land Lindbergh, also stayed in the mansion during this time. The house was besieged by crowds every day he spent in the nation's capital.  On June 11, Lindbergh appeared three times at the second floor balcony to wave and briefly speak to the crowd. Some of the most iconic photos of Lindbergh were taken during his balcony appearances.
After Cissy Patterson reoccupied the mansion full-time in 1929, it became a center of social life in Washington, D.C. The home was decorated in Patterson's unique style. This included the heads and pelts of 13 big-game animals (deer, moose, mountain lion, and mountain goat, and others) hanging on the walls of the main staircase. The ballroom was decorated in the Louis Quinze style, with a life-size portrait of Nellie Patterson and furniture in blue, pink, and white colors. The walls of the second floor dining room were painted a deep red, and the furniture was mahogany. The second floor library was lined with bookcases and decorated with Chinese artwork. In front of each bedroom suite fireplace on the third and fourth floors were an animal skin rug. The second floor bedroom suite in the northeast corner of the house was painted in red.
Cissy Patterson originally willed the house to her daughter, Felicia. But after a family argument in 1942, Cissy changed her will and asked that the mansion be donated to the League of Republican Women of the District of Columbia. She changed her mind again in 1946 and left it to the American Red Cross.


Cissy Patterson died on July 24, 1948. Her will donated the building and most of its furnishings to the American Red Cross (ARC). (Family portraits and silverware were not included.) Cissy's daughter, Felicia Gizycka (who had divorced Pearson and taken her father's last name), received an income of $25,000 a year; a house and property in Port Washington, New York; property in North Dakota; and a substantial amount of jewelry, paintings, furnishings, and family heirlooms.
Felicia Gizycka challenged the will on September 13, 1948. Gizycka claimed it was not the last will signed by her mother, that Cissy was of unsound mind and under undue influence, and that the witnesses had not signed the will correctly. Over the next few months, the case took a number of twists and turns, including the suicide of a former beneficiary, an alleged break-in at the Gizycka home, and a number of accusations made by both sides in the dispute. Seven previous wills and two current codicils were discovered. The existence of so many other wills (all of which pre-dated the 1946 will), none of which substantially benefitted Felicia Gizycka, led to extensive legal maneuvers. A trial was set for January 18, 1949, and then moved to February 9. On January 28, 1949, a settlement in the case was reached by the parties. Under the new agreement, Felicia Gizycka received $400,000 from the estate (with the heavy state and federal inheritance and income taxes paid by the estate), along with the New York and North Dakota properties. In return, she gave up the right to inherit personal property, which would be used to help pay taxes. The settlement did not disturb the provisions of the will donating the Patterson Mansion and its contents to the Red Cross, but did allow the will to be probated and the deed transferred.
The Red Cross, however, had no use for the Patterson Mansion. The organization had a magnificent structure, the Neoclassical American Red Cross National Headquarters at 430 17th Street NW (completed in 1917), which served as its national headquarters. Furthermore, on July 1, 1947, Congress enacted legislation (P.L. 100-637) donating federal land along the north side of E Street NW between 20th and 21st Streets for a new District of Columbia Chapter headquarters. The national organization had already committed $700,000 to build this structure.
The Red Cross decided to sell the mansion instead. It opened the house to the public in April 1949 to build public interest in a forthcoming auction of the home's many furnishings. The auction raised little interest. The Red Cross put the building and its furnishings up for sale in November 1949 with a $700,000 asking price ($7,972,168 in 2021 dollars).
The property lingered on the market until the Washington Club, a private women's club, bought the Patterson Mansion on January 11, 1951. The purchase price was not immediately disclosed, but later was discovered to be just $450,000 ($4,697,885 in 2021 dollars). After a title search was completed, the deed transferred on March 1, 1951. Included among the furnishings in the home were several Gobelins, Flemish, and French tapestries and a large amount of period furniture. After some renovations to bring the structure in line with current fire codes, the Washington Club occupied the building on November 8, 1951. The club rented out the second and third floor bedrooms and their associated suites of rooms to club members. The third reception room, once Felicia Gizycka's bedroom and known as the Countess Room, was renamed the "Dorothy Betts Marvin Room" in honor of Washington Club president Dorothy Marvin, wife of George Washington University president Cloyd H. Marvin.
In 1956, the Washington Club constructed a two-story addition on the east side of the Patterson Mansion.  The windows on the first and second floor on the east side were walled up, and three new doors cut on the first floor to provide access to the addition.  Two doors were cut on the second floor. A butler's pantry, kitchen prep area, toilet, elevator entrance hall, and banquet hall were built on the ground floor.  Stairwells were added on the four corners of the addition. A reception room and small toilet were constructed on the south end of the second of the addition, while a large auditorium occupied the central section. A stage, dressing rooms, and storage area were built on the north end of the second floor.


The Pavillon Vendôme is a historic pavilion surrounded by a French formal garden located 32 rue Celony in Aix-en-Provence, France.


It was built by architect Pierre Pavillon (1612-1670) between 1665 and 1667.
It was commissioned by for Louis, Duke of Vendôme (1612-1669) as a place where he could take his lover, Lucrèce de Forbin Solliès, also known as "la Belle du Canet". He died in the house on 6 August 1669.
Later, it was owned by the painter Jean-Baptiste van Loo (1684-1745), who had a studio there. It was subsequently purchased by Barthélemy-Louis Reboul, Secretary of the Académie des Sciences, Agriculture, Arts et Belles Lettres d'Aix.
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After the French Revolution of 1789, it was purchased by Jean-Joseph-Pierre Guigou, who was Bishop of Angoulême, who turned it into a Catholic boarding school for girls.
In 1906, it was purchased by Henri Dobler (1863-1941), a Swiss art collector, painter and poet. He donated it to the city of Aix-en-Provence after his death. It has served as a museum since then. It is home to temporary art exhibitions.


The house has been listed as a Monument historique since 27 March 1914; the garden since 15 October 1953.


The Pawnee Buttes are two prominent buttes in northeastern Colorado. The west butte is located within the Pawnee National Grassland, while the east butte is on private land in Weld County.  Rising approximately 300 feet (91 m) above the surrounding plains, the buttes are erosional remnants left standing in isolation as the surrounding High Plains surface has gradually worn away.  The lower portions of the buttes are composed of relatively soft, clay-rich sedimentary rock called the Brule formation.  The Brule formation is protected by an overlying layer of sandstone and conglomerate sediments called the Arikaree formation, which are more resistant to weathering.


The buttes are in the northeastern edge of the Colorado Piedmont.  To the north, the piedmont is bordered by the Chalk Bluffs, an escarpment on the edge of the High Plains.  As the rains and snows slowly erode the bluffs, the piedmont grows towards the north.  Stream capture expands the piedmont rapidly towards the upslope or westward.  The Buttes themselves are remnants of the High Plains surrounded by the piedmont.  Another remnant of the high plains is to the west where the Chalk Bluffs form the eastern edge.
The Buttes are a consolidation of several geological ages.  The main mass of the butte is the lower half to two-thirds.  It is a buff-colored layer from the Brule member of the White River Formation.  It is from the Oligocene Epoch (25-40 mya).   Below this level and visible only further east than the buttes is the Chadron member of the White River Formation.  Above the Brule layer is the Pawnee Creek Formation from the Upper Miocene (20 mya).  The cap of the buttes is the Arikaree Formation, also of the Miocene age.  Research in the 1970s suggest that the upper level of the cap rock is of the Ogallala Formation from the Pliocene. The Pliocene layers exist further to the north in the High Plains region.  The cap rock is a harder mixture of sandstone and conglomerate, while the Brule layers are a softer clay. The surrounding area is considered a badlands as North Pawnee Creek cuts numerous channels into the Brule Formation soils.


‘’’Short Grass’’’ prairies surround the buttes.  They are dominated by Blue grama and buffalo grass.  Associated plants include the Thread-leaf sedge, ring muhly, western wheatgrass, and the prickly pear cactus.
‘’’Mixed Prairie’’’ are the lighter and more sandy soils, on the heights.  The dominant plants are the Needle and thread grass, western wheatgrass, Junegrass, along with short grass plants.  There is a wider mix of vegetation which becomes more noticeable in spring and early summer when Broom snakeweed, fringed sage, plus various forbs, including milkvetches, and locoweeds are highly visible.  The mixed prairie has the greatest variety of plants.
The ‘’’Little Bluestem’’’ is found across the entire grasslands, but it dominates in localized plots.  These are in the swales and along north-facing slopes where the shade will retain water longer.  Around the west butte, pockets are along the north and northeast facing slopes where the shade will retain water longer. These will also be  Little Bluestem and a mix of Canada rye, Phlox, borges, and a mix of grasses and forbs.
‘’’Clay Barrens’’’ surround the buttes, where the Brule Formation is exposed.  Here taproots dominate with  hooker sandwort, tufted milk vetch, and common commandra.  Several of these species use rhizomes to root spread following small fractures in the clays.  Other plants associated with the Clay barrens are; Phlox, Indian rice grass, Penstemon, and evening primrose. Where there is active erosion, there are no plants.


The Pawnee Buttes Trail is noted for its scenery and birdwatching potential. The Overlook, the Lipps Bluff trail, and the area within 200 yards of the cliffs are closed to hikers from March 1 to June 30, to protect nesting falcons, eagles, and hawks. Hikers are encouraged to keep away from these areas during that time to minimize disturbance to the nesting birds.


Pawon (known locally as Candi Pawon) is a Buddhist temple in Central Java, Indonesia.


Located between two other Buddhist temples, Borobudur (1.75 km (1.09 mi) to the northeast) and Mendut (1.15 km (0.71 mi) to the southwest), Pawon is connected with the other two temples, all of which were built during the Sailendra dynasty (8th–9th centuries). Examines the detail and style of its carving this temple is slightly older than Borobudur.
The three temples were located on a straight line, suggesting there was a symbolic meaning that binds these temples.

"Between Mendut and Borobudur stands Pawon temple, a jewel of Javanese temple architecture. Most probably, this temple served to purify the mind prior to ascending Borobudur."

The original name of this Buddhist shrine is uncertain. Pawon literally means "kitchen" in Javanese language, which is derived from the root word awu or dust. The connection to the word "dust" also suggests that this temple was probably built as a tomb or mortuary temple for a king. Pawon from the word Per-awu-an (place that contains dust), a temple that houses the dust of cremated king. However who was the personage that entombed here is still unknown. Local people name this temple as "Bajranalan" based on the name of the village. Bajranalan is derived from the sanskrit word Vajra (thunder or also a Buddhist ceremonial tool) and Anala (fire, flame).
In the contemporary era during the full moon in May or June, Buddhists in Indonesia observe Vesak annual ritual by walking from Mendut passing through Pawon and ends at Borobudur.


The temple slightly faces northwest and stands on a square base. Each sides of the stairs and the top of the gates are adorned with carved Kala-Makara, commonly found in classic Javanese temples. The outer wall of Pawon is carved with reliefs of boddhisattvas and taras. There are also reliefs of kalpataru (tree of life), flanked between Kinnara-Kinnari. The square chamber inside is empty with a square basin in the center of it. Rectangular small windows were found, probably for ventilation.
The roof section of is crowned with five small stupas and four small ratnas. Because of its relative simplicity, symmetry and harmony, the historians dubbed this small temple as "the jewel of Javanese temple architecture", in contrast with tall-slender East Javanese style counterparts as found in later Singhasari and Majapahit period.


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Paynes Prairie Preserve State Park is a Florida State Park, encompassing a 21,000-acre (85 km²) savanna in Alachua County, Florida lying between Micanopy and Gainesville. It is also a U.S. National Natural Landmark. It is crossed by both I-75 and U.S. 441 (which has a scenic outlook ramp). It is in the center of the Paynes Prairie Basin. The basin's primary source of drainage is Alachua Sink. During occasional wet periods, the basin will become full. A notable period occurred from 1871 to 1891 when the Alachua Sink was temporarily blocked. During this period, shallow draft steamboats were a frequent sight on Alachua Lake in the center of the prairie. The region was also historically known as the Alachua Savannah. Its drainage has been modified by several canals. Since 1927, Camps Canal has linked the basin to the River Styx which leads to Orange Lake and eventually the Atlantic Ocean through the St. Johns River. That reduced the basins water intake by half. Additional changes to the prairie's environment have been detrimental to its hydrology. In 1970, the state of Florida acquired the land and has been in the process of restoring the environment to a more natural condition ever since.
Heavy rains have temporarily restored Alachua Lake on several occasions, most recently in September 2017, when Hurricane Irma dropped several inches of rain and damaged a levee, flooding much of the basin for months.


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The prairie became the stronghold of the Alachua band of the Seminole tribe under chief Ahaya the Cowkeeper by the mid-1700s. The Seminole town of  Cuscowilla was located near modern Micanopy, Florida. In 1774 the area, then known as Alachua Savannah, was visited by William Bartram who noted in his book, "Bartram's Travels", that it was used as grazing ground by the local Seminole.
By the 1790s, Cuscowilla had been relocated to a site east of Lake Wauburg and become known as Paynes Town. The town and the surrounding prairie was named for the Cowkeeper's eldest surviving son, Payne. Paynes Town was destroyed by Tennessee Volunteers in 1813. Fort Tarver and Ford Crane were both located in Paynes Prairie during the Second Seminole War.
After Indian Removal, the area became inhabited by European Americans, their slaves, and very small number of free people of color. A railroad line was built along the northern edge of the prairie in the late 1800s.
In 1868, heavy rains filled the basin, but quickly drained away. About 1871, Alachua Sink was temporarily blocked and the basin became full for several years. From 1871 to 1891 Alachua Lake was receiving enough water that steamboats were able to be used on it. A line ran from Chacala Pond to Sweetwater Branch. About 1889, the water level of Alachua Lake began to slowly drop. During the winter of 1890/1891 the lake was 58 feet deep. Then in late July and August 1891, the water levels of Alachua Lake suddenly dropped. Its banks were littered with dead fish and dead alligators. At one point, the water levels dropped eight feet in the span of ten days and left the lake with only its two main basins with any water. This draining event marooned one of the steamers then plying the lake, and similar events had occurred in 1823 and 1870.


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By the 1920s, most of the prairie had been purchased by Camp Ranch, Inc. In 1927, Camp Ranch, Inc. built a canal system to divert water coming into Alachua Lake in the Paynes Prairie Basin from Newnans Lake to Orange Lake through the River Styx. The diversion of the water meant a loss of 50% of the surface water supply to Paynes Prairie. That same year, the state of Florida built U.S. 441 through the basin. In 1937, Camp Ranch began construction on the Sweetwater Branch Canal. It was designed to channelize the flow from Sweetwater Branch directly into Alachua sink instead of allowing it to settle in Lake Alachua. The subsequent urbanization of Gainesville increased the amount of stormwater directed into Sweetwater Branch and also pollutants. In 1964, the construction of I-75 through the western section of the prairie was completed.


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In 1970, the state of Florida acquired the land from Camp Ranch, Inc. It was designated a National Natural Landmark in December 1974. In 1975, the Florida Park Service temporarily restored half of the historic rate of flow of water from Newnans Lake to Paynes Prairie. During the 1970s and 1980s, officials reintroduced several species to Paynes Prairie.
As of 2013, Paynes Prairie receives one-third of its water from Newnans Lake, one-third from all other sources, and one-third from direct rainfall. The removal of the canals that same year had restored 7.95 miles of dikes and canals. Due to occasional heavy rains the rate of water from Prairie Creek to the Prairie is eliminated entirely to prevent damage to U.S. 441.
In the mids-2010s, the Sweetwater Wetlands Park, a 125-acre constructed enhancement wetland, was put in place on the northern section of Paynes Prairie. The project was designed to restore sheetflow to parts of the prairie obstructed by the Sweetwater Branch Canal and to also reduce the TMDL to acceptable levels that the Alachua Sink experiences. The Sweetwater Wetlands Park opened in May 2015.


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Paynes Prairie is part of the Southeastern conifer forests ecoregion. The prairie itself is a large Floridian highlands freshwater marsh, composed of different herbaceous plant communities that vary based on water depth. Wet, forested areas have southern coastal plain nonriverine basin swamps of bald cypress (Taxodium distichum) and swamp tupelo (Nyssa biflora). Southern coastal plain blackwater river floodplain forests grow along streams. On drier uplands, southern coastal plain oak domes and hammocks of southern live oak (Quercus virginiana) grow in areas with moderately moist soils, and Florida longleaf pine sandhills grow on drier, sandier soils.
Over 270 species of birds can be seen in the park as well as American alligators and small herds of Florida Cracker horses and Florida Cracker cattle, first herded by the Seminole were introduced in 1985. The plains bison were reintroduced to the park from the Wichita Mountains Wildlife Refuge in 1975, as part of the park service goal of restoring Florida's natural resources to pre-European settler conditions; they roamed this area until the late 18th century. When bison sightings occur, they usually appear along the Cone's Dike trail. The herd was reduced from thirty-five to seven individuals in the mid-1980s after an outbreak of Brucellosis. In the late 1990s, the herd was again reduced after inbreeding concerns. The buffalo herd reached a peak of 70 animals in 2011. The park began culling excessive animals in 2012, allowing a target population of about 8 to 10 bison to be free to roam the Florida prairie.


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The park contains exhibits and an audio-visual program at the visitor center that explains the area's natural and cultural history. A 50-foot (15 m)-high observation tower near the visitor center provides a panoramic view of the preserve. Eight different trails provide opportunities for hiking, horseback riding, and bicycling. Ranger-led activities are offered on weekends, November through April. Fishing on Lake Wauburg is allowed and a boat ramp provides access for canoes and boats with electric motors. Full-facility campsites are available for overnight visitors.
The Sweetwater Wetlands Project includes a network of trails that allow visitors to walk along the berms that form the enhancement wetland, an outdoor classroom, a viewing tower, and a visitors center.
The park is a 'gateway site' for the Great Florida Birding Trail.
The Space Shuttle could be seen from Paynes Prairie about a minute into its flight.
The Gainesville-Hawthorne State Trail also runs through Paynes Prairie. Several scenic view points lead off of the trail and into the park. Wildlife will often come up to the trail at certain times in the day.


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As of 2013, Paynes Prairie had about 38 miles of dikes and 50 miles of canals. They include
Alligator Point Dike
Angel Dike
Bivens Arm Canal
Bolen Bluff Dike
Borrow Dike
Burnt Pond Dike
Camps Canal
Cones Dike
East-West Dike
Government Dike
I-75 Dikes
Main Canal
Main Finger Dike
Mystery Dike
Otto Waley Dike
Rice Paddy Dikes
Sweetwater Branch Canal
U.S. 441 Dikes
VORTAC Dike


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The status of the highways on low dikes has led to some within Florida's Department of Environmental Protection to recommend their possible replacement with raised roadways on bridges to ameliorate the biological and hydrological impact of the roadways as they currently exist. Replacements of other canals has also been planned. There are also plans to protect and promote various archaeological and historical sites on the prairie.


The Peace Fountain is a 40-foot-high (12 m) sculpture and fountain located next to the Cathedral of St. John the Divine in the Morningside Heights section of Manhattan in New York City. It was commissioned in 1985 by Greg Wyatt, sculptor-in-residence at the cathedral.


The sculpture depicts the struggle of good and evil, as well as a battle between the Archangel Michael and Satan.  The sculpture also contains the Sun, the Moon, and several animals.  Although it is called a fountain, there is currently no water on the site.  A plaque at the base contains the following inscription:
Peace Fountain celebrates the triumph of Good over Evil, and sets before us the world's opposing forces—violence and harmony, light and darkness, life and death—which God reconciles in his peace.When the fountain operates, four courses of water cascade down the freedom pedestal into a maelstrom evoking the primordial chaos of Earth.  Foursquare around the base, flames of freedom rise in witness to the future.  Ascending from the pool, the freedom pedestal is shaped like the double helix of DNA, the key molecule of life.  Atop the pedestal a giant crab reminds us of life's origins in sea and struggle.  Facing West, a somnolent Moon reflects tranquility from a joyous Sun smiling to the East.  The swirls encircling the heavenly bodies bespeak the larger movements of the cosmos with which earthly life is continuous.
Nine giraffes—among the most peaceable of animals—nestle and prance about the center.  One rests its head on the bosom of the winged Archangel Michael, described in the bible as the leader of the heavenly host against the forces of Evil.  St. Michael's sword is vanquishing his chief opponent, Satan, whose decapitated figure plunges into the depths, his head dangling beneath the crab's claw.  Tucked away next to the Sun, a lion and lamb relax together in the peace of God's kingdom, as foretold by the prophet Isaiah.
The fountain is encircled by small bronze animals, sculpted by schoolchildren of a variety of ages, collectively called the Children’s Sculpture Garden. Surrounding the periphery of the sunken plaza in which the fountain sits are plaques, rendered in a style artistically similar to that of the fountain itself, depicting various philosophers, thinkers and artists, most accompanied by a quote by the individual depicted. Despite the Peace Fountain's associating with a Christian (Episcopalian) cathedral, many of the luminaries thus depicted are non-Christian icons, such as Gandhi, Socrates, Albert Einstein and John Lennon, whose image is accompanied by a quote from the lyrics of his song "Imagine".


Pedraforca is a mountain in the Pre-Pyrenees, located in the comarca of Berguedà. The mountain's rare form, along with the fact that it is not visibly connected to any other adjacent mountains or ridges, has made it one of the most famous and emblematic mountains in  Catalonia, the northeasternmost region Spain.


The mountain has a peculiar, forked shape composed of two parallel peaks (the pollegons) joined by a neck (the enforcadura). The loftier peak, called Pollegó superior, has an elevation of 2,506.4 m,  with a secondary peak, el Calderer, at 2,496.4 m in height. The lower peak, the Pollegó inferior is 2,444.8 m tall, while the Enforcadura's highest point lies at 2,356.2 m, with a scree field (tartera in Catalan) on both faces of the mountain.


Located within the Cadí-Moixeró Natural Park, Pedraforca has been declared a Natural Site of National Interest by the Generalitat de Catalunya.
The closest villages to Pedraforca are Gósol to the west and Saldes to the east. Pedraforca marks the boundary between the two municipalities, as well as between the provinces of Barcelona and Lleida.


Pedraforca is, along with the mountains of Montserrat and Canigó, one of the emblematic mountains of Catalonia. This fame has made Pedraforca a popular destination for hikers and rock climbers, as well as being used by the comarca of Berguedà in its coat of arms.


Penguin Encounter is an animal exhibit at the Sea World theme park on the Gold Coast, Australia, featuring king and gentoo penguins.


On 24 May 2010, Sea World closed the Sea World Aquarium and Shark Attack. These two attractions were subsequently demolished. One month later on 26 June 2010, Village Roadshow Theme Parks distributed copies of the Gold Coast Bulletin to in-park guests with a promotional cover over the top. This cover detailed a variety of new attractions for the theme parks in 2010. One of the attractions listed was an Antarctic penguin exhibit due to open by the summer of 2010–2011. On 14 July 2010, it was announced that the exhibit would be called Penguin Encounter in addition to a number of facts about the exhibit. On 26 December 2010, Penguin Encounter officially opened to the public. Five months later in May 2011, Penguin Encounter received the Zoo and Aquarium Association award for best exhibit. In June 2011, Sea World began offering the Penguin Antarctic Adventure where guests can pay to interact with the penguins and see behind-the-scenes.


Penguin Encounter is located near the front of Sea World. Guests can view the penguins' enclosure from ground-level and underwater viewing areas. The exhibit is also accompanied by a variety of education information about penguins.
The air temperature in the 90-square-metre (970-square-foot) exhibit is chilled to −1 °C (30 °F). The 220,000-litre (48,000 imp gal; 58,000 US gal) pool has a water temperature of 5 °C (41 °F). Lighting is incorporated into the exhibit to replicate the Antarctic months where there is over 20 hours daylight in summer and 6 hours of light during winter. Up to 5 tonnes (5.5 tons) of snow is generated daily for Penguin Encounter. The penguins are fed live fish twice daily.
The exhibit was designed by Sculpt Studios.


Penguin Encounter was originally home to 12 penguins all of which were moved from New Zealand (presumably from Kelly Tarlton's Underwater World) two weeks before opening. Half of the penguins are king penguins with the other half being gentoo penguins. A further 12 penguins (10 gentoo and 2 king) were introduced in March 2011. In December 2011, Sea World welcomed a gentoo penguin chick to the exhibit making the exhibit feature 17 gentoo and 8 king penguins. In May 2012, more penguins were moved from New Zealand to the exhibit.


In June 2011, Sea World began offering a penguin animal adventure known as the Penguin Antarctic Adventure. For a cost of $250 per person, guests are given a behind-the-scenes tour of Penguin Encounter before being given the opportunity to interact with the penguins. The whole tour takes approximately 45 minutes with at least 20 minutes on the ice with the penguins.


The Pennsylvania State Memorial is a monument in Gettysburg National Military Park that commemorates the 34,530 Pennsylvania soldiers who fought in the July 1 to 3, 1863 Battle of Gettysburg during the American Civil War. The memorial stands along Cemetery Ridge, the Union battle line on July 2, 1863. Completed in 1914, it is the largest of the state monuments on the Gettysburg Battlefield.


In the 1880s, Senator Andrew G. Curtin, who had served as Pennsylvania's governor during the Civil War, advocated for a "Pennsylvania Memorial Hall" to be built atop Little Round Top. The 60 ft (18 m)-square hall would display "a treasury of trophies and mementos of all the Pennsylvania regiments that fought at Gettysburg." The proposed building was included in an 1889 state appropriations bill, that was vetoed by Governor James A. Beaver.
Eighteen years later, the Pennsylvania Legislature appropriated $150,000 for construction of a state memorial, and the current site was announced in February 1909. The design competition for the commission was won by the entry of New York architect W. Liance Cottrell and Philadelphia sculptor Samuel Murray. The building was to be completed by July 1, 1910.
Humphreys Avenue, along the east side of the memorial, was not surveyed until 1911, so materials were delivered by railroad, via the Round Top Branch to nearby Hancock Station.
The memorial was unfinished when it was dedicated on September 27, 1910, and the project was out of money. An additional state appropriation of $40,000 was approved in 1911. The new completion date was set for July 1, 1913 – the 50th anniversary of the battle. The portrait statues were installed in April 1913, and the memorial was rededicated on July 4, 1913. A bronze tablet listing the names of 945 additional Pennsylvania veterans completed the memorial in 1914.


The memorial features a square, granite pedestal (terrace) – 100 feet on each side – with bronze tablets on its exterior face that list the names of the 34,530 Pennsylvania soldiers who fought in the battle. Set upon the pedestal is the granite pavilion, which consists of 4 corner towers  linked by arches that form an arcus quadrifrons, or 4-sided triumphal arch. Engaged Ionic columns at the corners and flanking the arches form niches for the 8 portrait statues. The pavilion is topped by a granite dome. Between the parapet and the dome's base is an observation deck, accessed by a spiral staircase in the northwest corner tower. Under the pavilion is an undercroft or vaulted cellar. The memorial's entrance is on the west (Hancock Avenue) side, where a wide flight of steps rises to the pedestal's terrace. Half-flights rise beneath each arch into the pavilion's central hall.
A bronze Nike figure, the Goddess of Victory and Peace, crowns the podium atop the dome. She holds a sword in one hand and a palm branch, a symbol of victory through peace, in the other. In a gesture to the Biblical passage "they shall beat their swords into plowshares," the bronze used to cast the Nike came from melted-down cannons. Above the arches are spandrel bas-reliefs of winged goddesses, and above the cornice is a parapet with a bas-relief panel on each side that depicts the Artillery, Cavalry, Infantry and Signal Corps. Larger-than-life bronze statues of President Abraham Lincoln and other prominent Civil War figures flank the arches. Above them are bas-relief shields and laurel wreaths. The names of important figures in the battle are inscribed across the pavilion's frieze and on its interior.


4 white marble parapet bas-relief panels:
Artillery (1909–10) by Samuel Murray, north parapet.
Cavalry (1909–10) by Samuel Murray, south parapet.
Infantry (1909–10) by Samuel Murray, west parapet. Pennsylvania Bucktails of Stone's Brigade at the McPherson Farm.
Signal Corps (1909–10) by Samuel Murray, east parapet.
Attendants to Victory, 8 white marble bas-relief goddess figures (1909–10) by Samuel Murray, a pair in the spandrels above each arch.
8 white marble Shield & Laurel Wreath bas-reliefs (1909–10) by Samuel Murray, one in the niche above each portrait statue.


The perimeter wall features 75 bronze plaques memorializing Pennsylvania units during the war.


In 1921, the dome was lined with steel and sealed by William D. Gilbert and James Weikert  and in 1929, the monument's copper was relined and defective woodwork was replaced.  The nearby comfort station was completed in 1933 as the first "Gettysburg Parkitecture" structure using Gettysburg granite as in native colonial structures.  A 1941 memorial bench  of marble in front of the monument was broken by "unknown culprits" in 1952, and a marble bench was smashed in 1994.


Dawkins-Pennant, an opponent of the emancipation of slaves, was after the Slavery Abolition Act 1833 compensated for being deprived of 764 slaves, being paid £14,683 17s 2d.
In 2020 the National Trust was working on a plan to include coverage about the former owners of its properties who had links to colonialism and slavery. Penrhyn Castle was built using profits made by a family that used "hundreds of enslaved people". The castle today displays information about Richard Pennant, who by 1805 "owned nearly 1,000 enslaved people across his four plantations in Jamaica".


Penrhyn's attractions include a formal walled garden, extensive informal gardens, an adventure playground, picnic areas and woodland walks.


The Penrhyn Castle Railway Museum is a narrow gauge railway museum. In the nineteenth century, Penrhyn Castle was the home of the Pennant family (from 1840, the Douglas-Pennants), owners of the Penrhyn slate quarry at Bethesda. The quarry was closely associated with the development of industrial narrow-gauge railways, and in particular the Penrhyn Quarry Railway (PQR), one of the earliest industrial railways in the world. The PQR ran close to Penrhyn Castle, and when the castle was bequeathed to the National Trust in 1951 a small museum of industrial railway relics was created in the stable block. The first locomotive donated to the museum was Charles, one of the three remaining steam locomotives working on the PQR. Over the years a number of other historically significant British narrow-gauge locomotives and other artifacts have been added to the collection.


It houses one of the finest art collections in Wales, with works by Canaletto, Richard Wilson, Carl Haag, Perino del Vaga, and Palma Vecchio. The collection formerly included a Rembrandt –  (Catrina Hooghsaet, valued at up to £40 million; the Dutch Culture Ministry tried to buy the painting for Amsterdam's Rijksmuseum in 2007, but could not meet the asking price). The family began collecting paintings from the early years of the 19th century; the collection was catalogued by the 2nd Lord Penrhyn's daughter, Alice Douglas-Pennant.


The castle has views over the Snowdonia mountains, the Menai Strait and Puffin Island.


In 2014, David Haneke from the Welsh National Opera used Penrhyn as the location for the video of the WNO’s summer performance of Claude Debussy's opera La chute de la maison Usher, based on Edgar Allan Poe's story The Fall of the House of Usher. HBO's 2019 television adaptation of the Watchmen franchise shot many scenes at the castle. A 2020 edition of the BBC's Flog It! was filmed at the castle, and included details of the Penrhyn slate quarry's 1900–1903 Great Strike about union rights, pay and working conditions, and the struggle between  George Douglas-Pennant, 2nd Baron Penrhyn and the quarry workers. In 2021, Penrhyn Castle was the location for BBC's One Man and His Dog, shown in Countryfile (26 September).


A parkrun takes place in the grounds of the castle each Saturday morning, starting and finishing at the castle gates. The fee to enter the castle grounds is waived for runners.


The ship Penrhyn Castle was launched in Bangor in 1807.


The Pensacola Light is a lighthouse at Pensacola Bay, in Florida. It is the third iteration of what was originally a lightship, the Aurora Borealis, and remains an aid to navigation.


The first Pensacola Light was the lightship Aurora Borealis. It was moved to Pensacola in 1823 from its previous post at the mouth of the Mississippi River after a lighthouse had been completed there. Because of frequent rough seas, the lightship had to be anchored inside the bay entrance, behind Santa Rosa Island, and could not reliably be seen from ships outside the bay.


In 1825 a 40-foot (12 m) tower was built on a 40-foot (12 m) bluff at the south entrance to Pensacola Bay. This light was also partially obscured by trees close to the tower and on Santa Rosa Island. In 1858 a new tower was built on the north side of the bay entrance, and was lit on January 1, 1859. The new, and current, tower is 150 feet (46 m) tall, and also sits on a 40-foot (12 m) bluff located on the Pensacola Naval Air Station, placing the light 190 feet (58 m) above sea level.
The new location allowed the tower to serve as the rear range light marking the passage across the Pensacola Bar. Little is known of the first front range light. In 1879 a new front range beacon was erected 448 feet (137 m) southeast of the light tower. This light, known as the Pensacola Bar Beacon, was a square pyramidal wooden tower, 26 feet (7.9 m) tall, sitting on a point 29 feet (8.8 m) above sea level, so that the light was 55 feet (17 m) above the water. It had a sixth order Fresnel lens, and showed a fixed white light visible for 11 miles (18 km). The Pensacola Bar Beacon was removed from service and demolished some time in the early 1900s.
At the start of the Civil War, Pensacola was controlled by Confederate forces, while Fort Pickens across the bay remained in Union hands. Confederate authorities removed the lens from the lighthouse, and most of the lighthouse supplies were requisitioned for the war effort. In November 1861 an artillery duel between the two forces damaged the lighthouse tower.
Confederate forces later evacuated Pensacola, and were replaced by Union forces. In 1863 the Pensacola Light was relit using a fourth-order Fresnel lens. A new first-order lens was placed in the tower in 1869. The tower was all white during the Civil War. Later, the upper two-thirds of the tower was painted black. Electricity was introduced to the lighthouse in 1939, eliminating the need to rewind the light rotation clockworks every 4½ hours. The light was automated in 1965. The lighthouse tower and associated buildings were placed on the National Register of Historic Places in 1974.
In 1989, the lighthouse and keeper's quarters were listed in A Guide to Florida's Historic Architecture, published by the University of Florida Press.


The Pensacola Light remains an active aid to navigation. The Coast Guard Auxiliary Flotilla 17 had provided tours of the lighthouse, but they were discontinued in 2007. As of 2009, the lighthouse reopened on a limited basis for public tours, and since early 2011 it has been open 7 days a week. Maintenance and tour operations are currently conducted by the Pensacola Lighthouse Association. The 1869 keeper's quarters, adjacent to the lighthouse tower, houses a museum and gift shop also administered by the Pensacola Lighthouse Association. The Association is a 501 (c) 3 non-profit, with a small staff and a large volunteer base.


As early as 1950, the City of Perth secured a site between Stirling Gardens and Government House, occupied by the Department of Agriculture and the Australian Broadcasting Commission for the construction of a new town hall. The proposed site provoked vigorous public debate. Some wanted a riverside site, such as the Esplanade or Barrack Square, while others suggested land at the end of Barrack Street, between Stirling and Beaufort Streets, or the central Perth area between William and Barrack streets along Forrest Place.
The official opening of the Perth Concert Hall included a midnight to dawn ball attended by almost 1,700 people. The Western Australian Symphony Orchestra was joined by 55 members of the South Australian Symphony Orchestra for the occasion, and the whole event was televised. Headlines of 'A Milestone in the Cultural Life of WA' greeted the opening. Earlier, John Birman, the Director of the Festival of Perth, had been quoted saying, ‘...it is the first concert hall in Australia since the war and has more than local significance...’.


1950: City of Perth secured land between Stirling Gardens and Government House for the construction of a new town hall.
1955: Contest to design new town hall (offices and auditorium) for City of Perth announced.
1960: Concept but not design of contest prize winners, Howlett and Bailey, purchased by the City of Perth. The concept was for two separate buildings – a ten-story administrative building and a circular auditorium.
1962: Only the administrative block (Council House) was built due to financial constraints and concern over the design of the auditorium.
1966: Sir Thomas Wardle sold his Capitol Theatre to the City of Perth to make way for a car park. The Capitol was the main concert venue in Perth and home of the West Australian Symphony Orchestra.
1967: State government and the City of Perth formed a special committee to consider the matter of a concert hall. The committee considered ten sites and decided on the abandoned Chevron-Hilton site as the most appropriate. Lengthy negotiations ensued as the City of Perth wanted a combined town hall and concert hall on the site; the State government was not prepared to provide the land and contribute to this – it wanted a concert hall only.
1968: City of Perth settled on the construction of a concert hall only and the State Government offered Chevron-Hilton site, $1,000,000 towards construction of a concert hall and 50% of its operating costs. Architects Jefferey Howlett and Don Bailey appointed to design a concert hall in July.
1969: The Chevron-Hilton site (Lot 853/Reserve 30347) was vested in the City of Perth for the purpose of the concert hall, public restaurant and parking area. Final plans were presented to the City of Perth in January. The total cost of the project was budgeted at $3.1 million.
1970: State Government increased its contribution to the project to $1,350,000 Sabemo awarded the tender of $3,201,873 for construction in April and work on site commenced on 12 June; John Sherwood acted as Project Manager; local companies such as Hollostone Pty Ltd, Midland Brick and Millars Timber provided materials.
1972: Construction completed and keys ceremoniously handed over to the manager, Nigel Prescott, in December; at this time, conferences had been booked as far ahead as 1974, and the total bookings for the Hall's first year 'already exceeded 100'.
1973: Official opening and first concert on Australia Day, 26 January. Attended by Prime Minister Gough Whitlam and Mrs Whitlam. This occasion also marked the Festival of Perth's 21st Anniversary Commonwealth Taxation office completed on adjacent site.
1980: Perth Theatre Trust formed to bring His Majesty's Theatre and the Perth Concert Hall under a single administration. Other venues, Playhouse Theatre and Subiaco Arts Centre have subsequently included. Perth Concert Hall leased to the Perth Theatre Trust.
1982: Completion of work to extend into VIP car park area to provide additional office accommodation (Oldfield Knott Architects).
1984: Forecourt landscaped (hobbs Winning Leighton Architects). Commonwealth Family Law Courts constructed on adjacent site to Concert Hall (rear of the Commonwealth Taxation Office).
1985: Cooling towers in air conditioning replaced.
1987: Small garden and path in north-west corner of site developed by the City of Perth.
c.1988: Concert Hall re-roofed.
1989: New office layout (Cohen and Waller Architects).
c.1992: Restaurant refurbished; asbestos removed (Palassis Architects).
1994: New artists' facility completed (Palassis Architects).
1998: Replacement of air conditioning and relocation of plant to north-east corner of VIP car park.
1999: Pedestrian link between Commonwealth Family Law Courts and Concert Hall completed.
April 2008 – December 2008: Major upgrades to the concrete exterior of the concert hall. This included the installation of scaffolding, cement and concrete works and installation of new exterior lighting. Originally expected to be completed in October 2008, the entire works were finished in early December 2008.
January 2015: The West Australian Symphony Orchestra become the new venue manager of the Hall.
2017: Upgrade of the lighting rig in the Main Auditorium.
2018: Upgrade of the venue house lights in the Main Auditorium; upgrade of the venue's cooling towers and chillers; upgrade to the venue's facade lighting and upgrade to all front of house toilets


The building was designed by Howlett and Bailey Architects. Jeffrey Howlett and Don Bailey had won a design competition for a Town Hall and auditorium in 1961. Their design consisted of two buildings, one containing administrative offices and the other, oval in shape, comprising the 'town hall' or auditorium. The administration offices, called Council House, were built, however financial constraints and doubts regarding the auditorium's acoustic properties meant that construction of the auditorium building was delayed.  Its design was subsequently re-considered and it was not until the late-1960s that a different plan was approved. This plan was
...to accommodate not more than 2,000 people and to cost no more than $2,000,000 and with the highest priority to be given to its musical uses, i.e. Symphony concerts, choral concerts, organ recitals, etc., and, in addition, performances of minimum staged ballet, fold dances or musical drama, and also be suitable for other functions such as large Civic receptions, conferences, conventions, public meetings, pageants, school speech days, pop concerts and folk singers.
Through 1969, the architectural plans were amended several times. These amendments included beautification and landscaping of the main pedestrian approach from St Georges Terrace and construction of a subway under the Terrace, a pit for a 60-piece orchestra with removable flooring and seating to cover the pit when not in use, and improved access and facilities for disabled people. The original plans included a restaurant with a seating capacity for 400, but following inspection of similar halls in the eastern states of Australia, it was decided that this was not warranted. It was, therefore, decided to make the restaurant smaller and include a tavern and cocktail bar, allowing patrons a wider choice. The bar area was named The Wardle Room, after Sir Thomas Wardle.
It was the architects' intention that the exhibition foyers would be used as a continually changing venue for all types of art (such as painting, tapestry and sculpture exhibitions) rather than as permanent exhibition spaces. This may have influenced the Perth City Council's indecision over whether or not to accept artist Sidney Nolan's offer to permanently loan the city a series of 64 paintings of wildflowers for hanging in the Hall. After considerable public debate over the matter, Nolan withdrew the offer and art dealers and others criticised the short sighted and parochial attitude of the Council in refusing the offer. Ironically, the first exhibition in the foyers featured 54 of Sidney Nolan's wildflower paintings.
Several consultants were involved in the design of the building, including acoustic consultants, structural engineers, and experts in escalators, stage machinery and lighting. D. H. Fraser was responsible for the structural design and Professor A. Harold Marshall was the acoustics consultant, in association with Warwick Mehaffey of the ABC.
Dr Marshall used computer modelling to predict how well people would hear in each of the seats and worked closely with the architects in designing the main auditorium, which according to Jefferey Howlett had to be:
"...a Great Room, as the Concertgebouw hall in Amsterdam, the Boston Symphony Hall and the Musikvereinsaal in Vienna are great rooms, recognised for their superb acoustic and that is not merely clarity...The great halls have ornate ceilings and other ornamentation. Though the Perth Concert Hall will be a completely modern building, the "fruity" ceilings and decorations of the older halls, which undoubtedly play a part in their acoustics, will be reproduced, in effect, in coffers hanging from the ceiling, in corrugated walls and in the complex double tier of boxes sloping up the side walls."
The Perth Concert Hall is an example of brutalist architecture, with its solid opaque interior, giant projecting roof, and use of white off-form concrete. It forms a counterpoint to the transparent filigree of Council House.
The auditorium features a specially commissioned 3000-pipe organ surrounded by a 160-person choir gallery and an audience seating capacity of 1,729. The organ, individually designed, cost $100,000 and was commissioned by Ronald Sharp of Sydney, who was also responsible for the organ at the Sydney Opera House. The larger pipes for the organ were imported from the Netherlands. Don Bailey recollects that Ron Sharp was an 'extraordinarily talented person, largely self-educated, who has to his credit the design and construction of a number of organs, mostly in New South Wales. A nine-foot Steinway orchestral concert grand piano (Model D) was also imported from West Germany for installation in the Hall.
The Concert Hall was the first in Australia to have a show relay installed so that latecomers could watch on two screens in the foyer while waiting for an appropriate time to enter. Another screen is located at Stage Door.
The Perth City Council and State Government, as well as the architects and builders, received many compliments on the Hall as it neared completion from visiting experts in the fields of music, architecture and construction.


The Perth Concert Hall has been described as one of the best fine music acoustics venues in Australia. It has played host to a diverse selection of internationally acclaimed performers including the London Philharmonic, Chicago Symphony, Israel Philharmonic and contemporary performers B.B. King, Sting, k.d. lang, Harry Connick Jr., Melissa Etheridge, Ray Charles, Rowan Atkinson and Billy Connolly.
The majority of concerts by the West Australian Symphony Orchestra are performed at the Perth Concert Hall. The venue is also used for their rehearsals.
The venue is also used to host national conventions and exhibitions, award ceremonies and gala dinners. Recent exhibitions include the Steinway piano exhibition in March 2008. In addition, the venue is used for private or corporate functions in areas other than the auditorium, for example in the foyers, bar and café.


On 27 September 2006 the Perth Concert Hall participated in a twinning ceremony and the signing of Mutual Understanding with the Perth Concert Hall, Scotland. As a result of this twinning the Concert Hall now flies the St Andrews Flag at the front of the venue to commemorate the twinning.


The Philips Stadion ([ˈfilɪpˌstaːdijɔn]) is a football stadium in Eindhoven, Netherlands, and it is the home of PSV Eindhoven (Philips Sport Vereniging), and therefore also known as PSV Stadion. With a capacity of 35,000, it is the third-largest football stadium in the country. Established as the Philips Sportpark, it was constructed as a sports field for Philips employees in 1910. The Philips Elftal played football matches from 1911 until 1913, when the team was succeeded by PSV. Since 1913, PSV has used the original ground as its home stadium.
The stadium has gone through several extensions in its history: after a wooden stand in 1916, seating and standing places slowly enclosed the field throughout the first decades. Two extensive renovations in the 1970s and 1990s first created a covered stadium, and then a two-tiered ground with extensive commercial spaces. The completion of the four corners in 2002 eventually led to its current capacity.
The Philips Stadion currently holds a four-star rating by UEFA. It has hosted a range of Netherlands national team fixtures since 1971. In 2013, PSV's reserve team, Jong PSV, also played their league matches at the stadium. They now play their games at the training complex De Herdgang. Furthermore, the Philips Stadion was the location for three UEFA Euro 2000 group stage matches, as well as the 2006 UEFA Cup Final. Aside from football-related purposes, the ground is occasionally used for music concerts.


In 1910, the Philips company erected new houses to serve the growing need for employee housing. The area, fittingly named Philipsdorp ("Philips Village"), was built on walking distance from the Philips factories and located (at that point) in the outskirts of Eindhoven. Urban planner Gerrit Jan de Jongh envisaged a village green in the center, creating a space for leisure and sports. In this green, a football field, a korfball field and a bandstand were planned. The area was named the Philips Sportpark. Meanwhile, Philips founded a football team for its young employees, named Philips Elftal. Their first match marks the first recorded use of the Philips Sportpark: on 15 January 1911, the Philips Elftal won their debut match against Hollandia from Woensel. The Philips Elftal continued to play at the field for two seasons; in 1913 the team was succeeded by PSV, who also took the Philips Sportpark as their home ground. PSV's first official home game was the Eindhoven derby against EVV on 10 October 1915.
In its first years, the field did not include any seating space for spectators. This changed in 1916, when the first wooden stand was built, providing room for 550 viewers. The stand was funded by Philips, which was celebrating its 25th anniversary that year. Later, the stand was replaced by a new main stand in 1933, providing seating space for 900 spectators. Five years later, during PSV's twenty-fifth anniversary, a scoreboard was installed in the stadium. The board was a gift by the official PSV fan union. In 1941, PSV decided to build stands across the entire ground. The decision was made to create an oval shape with a running track between field and stands, enabling the possibility for athletic, cycling and ice skating matches. After completion, the capacity rose to 18,000. During World War II, the ground was claimed by German occupants and used for military purposes. The final days of World War II witnessed great destruction in the city of Eindhoven and also to the stadium itself. Repairs were duly made.
In 1953, the main stand was refurbished and extended, creating space for a press room and meeting spaces. Also, a memorial was revealed, commemorating the war victims. In 1958, the running track was removed, making space for a bigger field. New stands are built as well, increasing the capacity to 22,000. Four 40-meter high floodlights were installed by Philips in the stadium in the same year, making evening matches possible. The lights were inaugurated on April 9 with an exhibition match against RSC Anderlecht. A complete renovation of the stadium started in 1969. After its completion in 1977, the stadium was completely enclosed and every seat was covered. The main (south) stand peaked above the other stands. The capacity rose to 26,500, of which 12,000 were for standing spectators. The renovated ground was celebrated with a match against Leeds United. Earlier, the ground was used by the Netherlands national football team for the first time. On November 17, 1971, the Netherlands played a qualifying match for the 1972 UEFA European Championship against Luxembourg (8–0).


In April 1987, cracks in the south stand were discovered. The damage was caused by an alkali–silica reaction. PSV chairman Jacques Ruts decided to rebuild the stand, and simultaneously provide more space for business relations and sponsors. Up until then, the stadium only offered regular spectator seats. Ruts got inspired by the way American stadiums had built luxury boxes and used them for business opportunities. After the renovation (which costed 40 million guilders), the new south stand was two-tiered, with 830 VIP-seats behind glass in the middle. Also, new offices, a press room, a youth hall and a restaurant were created. The opening of the stand was celebrated with an exhibition match against Milan on 17 August 1988. Two years later, the ground changed its name from Philips Sportpark to Philips Stadion.
In the nineties, the other stands were also raised to the level of the south stand. The west and east stand were expanded in 1993, and the north stand in 1996. After completion, the seating capacity reached 30,000. Until then, the fanatic part of the PSV support would be located on the so-called L-side on standing terraces. After the renovations in the nineties, the standing terraces disappeared and the fanatic fans moved to the east stand. The renovations in the 1990s were in time for UEFA Euro 2000, held in the Netherlands and Belgium. The Philips Stadion hosted three group matches: Portugal beat England, 3–2; Sweden and Turkey ended in a goalless draw; and Italy beat Sweden, 2–1. The last major renovation was the closing of the four open corners of the stadium. The two corners on the north side were built in 2000; the corners on the south side were finalized in 2001. Along with creating more seats, the new corners had window blind-type constructions, which allowed air to flow through in order to let the grass breath. These frames can be closed during events, to protect spectators from weather conditions. The four corners were designed by Toon van Aken.
In March 2001, PSV faced 1. FC Kaiserslautern in an UEFA Cup fixture. During the match, fans were provoked by Kaiserslautern players, resulting in spectators attempting to break through a fence separating the stands and the field. After the gate was cracked, PSV coach Eric Gerets and several players had to personally stop the fans from entering the field. After this incident, problems with fan violence faded and in the summer of 2005, the PSV board decided to remove the tall fences around the pitch. They were replaced with 35 inches (90 cm) high railings keeping the spectators off the grass. Unauthorized persons who do invade the pitch will receive a €15,000 penalty and a ten-year ban from visiting the Philips Stadion. The 2006 UEFA Cup Final was held in the Philips Stadion; Sevilla defeated Middlesbrough 4–0. For the final, the stadium was temporarily named ‘PSV Stadion’, because UEFA did not allow the Philips name to be used.
Plans to further expand the ground to 45,000 seats have been examined, but turned down after the Netherlands lost the 2018 FIFA World Cup bid. In 2011, the ground under the stadium (and the training facilities) were sold for €48.4 million to the Eindhoven municipality in a leasehold estate construction. In recent years, the stadium has gone through several minor modernization programs: the fourth floor was renovated in 2008, LED-powered advertisement boarding was installed by Philips in 2009. In 2012, a modernization plan for the ground was presented. The plan included new entrances, sponsor lodges and parts of the stands. The second floor of the stadium was renovated in 2013. After PSV's reserve team Jong PSV was admitted to the Eerste Divisie, they relocated their home matches to the Philips Stadion.


The Philips Stadion is incidentally used for music concerts. During these events, the stadium offers space for around 30,000 visitors. In 1992, a version of Carl Orff's Carmina Burana was played at the stadium. Two years later, Eros Ramazzotti gave a concert at the Philips Stadion. In the aftermath, the grass suffered heavily after being trampled by concert goers. It prompted the PSV board's reluctance to hold more events at the ground. It was not until 2006 that the stadium would host a concert: Dutch artist Guus Meeuwis played three concerts in front of a sold-out crowd. Since 2006, Meeuwis has played at the stadium every year. His shows were sometimes combined with live coverage of a Netherlands football team match in case of a planned fixture. In 2007, Dutch band BLØF also played at the ground.


The stadium can be reached by a 20-minute walk from the Eindhoven main railway station, and a 10-minute walk from the Eindhoven Strijp-S railway station. Bus lines 13, 16, 18, 401, 402 and 403, departing from the Eindhoven railway station, call at the 'Philips-stadion' bus stop, just outside the stadium. Bus 401 is a service between the railway station and Eindhoven Airport, making the Philips Stadion directly connected with the airport.  In the event of major football matches or other events, the stadium has its own railway platform, the Eindhoven Stadion railway station. The platform is only reachable through a pedestrian bridge that connects directly to the stadium. The station is mainly meant for travelling away fans: the bridge leads to the away-section in the stands. The station is only serviceable by trains travelling from the direction of the Eindhoven Strijp-S railway station to the Eindhoven railway station.


The Philopappos Monument (Greek: Μνημείο Φιλοπάππου, Mnimío Philopáppou, [mniˈmio filoˈpapu]) is an ancient Greek mausoleum and monument dedicated to Gaius Julius Antiochus Epiphanes Philopappos or Philopappus, (Greek: Γάιος Ιούλιος Αντίοχος Επιφανής Φιλόπαππος, 65–116 AD), a prince from the Kingdom of Commagene. It is located on Mouseion Hill in Athens, Greece, southwest of the Acropolis.


Philopappos died in 116, and his death caused great grief to his sister Julia Balbilla, citizens of Athens and possibly to the imperial family. As a dedication to honor the memory of Philopappos, Balbilla with the citizens of Athens erected a tomb structure on Muses Hill (Λόφος Μουσών) near the Acropolis of Athens. His marble tomb monument is still known as the Philopappos (or Philopappou) Monument, and the hill is today known as Philopappou Hill (Λόφος Φιλοπάππου).
The Greek geographer Pausanias describes Philopappos’ grand tomb as a monument built for a Syrian man. The monument was built on the same site where Musaios or Musaeus, a 6th-century BC priestly poet and mystical seer, was held to have been buried. The location of this tomb, opposite the Acropolis and within formal boundaries of the city, shows the high position Philopappos had within Athenian society.


Philopappos’ monument is a two-story structure, supported by a base. On the lower level there is a frieze representing Philopappos as a consul, riding on a chariot and led by lictors. The upper level shows statues of three men: of Antiochus IV on the left, of Philopappos in the centre and of Seleucus I Nicator, now lost, on the right.
In the niche below Philopappos is an inscription in Greek: Φιλόπαππος Επιφάνους Βησαιεύς ("Philopappos, son of Epiphanes of the deme of the Besa"). This was the name Philopappos carried as an Athenian citizen. In the niche left of Philopappos, a Latin inscription records Philopappos’ titles, honors and his career as a Roman magistrate: "Caius Iulius Antiochus Philopappos, son of Caius, of the Fabian tribe, consul and Arval brother, admitted to the praetorian rank by the emperor Caesar Nerva Trajan Optimus Augustus Germanicus Dacicus". On the right niche of Philopappos once stood a Greek inscription (now only the base is preserved): Βασιλεύς Αντίοχος Φιλόπαππος Βασιλέως Επιφανούς Αντιόχου ("King Antiochus Philopappos, son of King Antiochus Epiphanes").
Below the statue of Antiochus IV, Philopappos' paternal grandfather, is an inscription that states "King Antiochus son of King Antiochus". This inscription honors Antiochus IV and his late father, the last independent ruler of the Kingdom of Commagene, King Antiochus III Epiphanes. When Antiochus III died in 17, Commagene was annexed by the Roman Emperor Tiberius and became a part of the Roman Empire. Below the statue of Seleucus I, the founder of the Seleucid Empire from whom the Commagene kings claimed descent, stood another inscription, now lost. The traveller Cyriacus of Ancona wrote in his memoir that underneath the inscription stated "King Seleucus Nicator, son of Antiochus".
The monument measures 9.80 by 9.30 metres (32.2 ft × 30.5 ft), and contains Philopappos’ burial chamber. The structure is built of white Pentelic marble on a socle 3.08 metres (10.1 ft) high, made of porous marble and veneered with slabs of Hymettian marble. The north side of Philopappos’ monument bears lavish architectural decorations.


In 1898, excavations were carried out at the monument and in 1899 conservation work was undertaken. In 1940, archaeologists H. A. Thompson and J. Travlos conducted small additional excavations. Recent investigations have certified that architectural parts of Philopappos’ Monument were used for construction of the Minaret in the Parthenon.
Only two-thirds of the façade remains. The tomb chamber behind the façade is completely destroyed except for the base. The Philopappos Monument was apparently still intact in 1436, when the traveller Ciriaco de' Pizzicolli visited the monument and wrote in his memoirs that the monument was still intact. The destruction of the monument must have occurred after this time.


Athenaeus Deipnosophistae VIII.350c
Josephus Bellum Judaeum 238-243
Pausanias (geographer) I.25.8
Plutarch Quaestiones Convivales 628a & Quomodo ab adulatore discernatur amicus 48e & 66c
IG II² 1759, 3112, 3450, 3451, & 4511; IG V.2.524
Inscriptions du Colosse de Memnon nos. 28-31, & OGIS 408


Phortse is a farming village located at 3840m in the Khumbu Valley in Nepal.
It is off the main trekking circuit and therefore more resembles an authentic Sherpa village. There is a high trail connection to Pangpoche offering splendid views across the valley, which can be used instead of the standard Tengboche route.


The Piccadilly Theatre, was one of a number of theatres and cinemas constructed in Perth and its suburbs during the Inter-war period. Originally constructed in the Inter-war Functionalist style, the Piccadilly represented the desire for enjoyment and entertainment displayed by Western Australians towards the end of the Depression. At the time of its construction, the place was fitted out with the most modern features and was the first cinema in Western Australia to be air conditioned.
The site was acquired by Claude Albo de Bernales's Australian Machinery and Investment Company Ltd in 1935. Bernales after completing the construction of London Court in July 1937 turned his attention to his property between Hay and Murray Streets.  He set up Piccadilly Arcade Pty Ltd and engaged architects Alfred Baxter Cox and Leighton to design a theatre and shopping arcade for the site. The construction of Piccadilly Theatre and Arcade utilised part of the existing buildings on the site, with the construction contract going to a local firm, General Construction Company. Piccadilly Arcade opened in February 1938, with the theatre opening, a month later, on 10 March 1938. When it opened the theatre had a seating capacity of 1,100.
The theatre and arcade feature a number of bas relief friezes of dancing girls and 'Atlas type' figures which were moulded by Perth sculptor Edward Kohler. Kohler was the second professionally trained sculptor to practise successfully in Western Australia.
Piccadilly Theatre and Arcade remained under the ownership of Piccadilly Arcade Pty Ltd until 1978, when it changed hands a few times. In 1983, the owners Australian Fixed Trust (Permanent Trustee Nominees, Canberra) made a decision to restore Piccadilly Theatre and Arcade, and it was closed for refurbishment. Perth architect, Ian Tucker, was responsible for the work. The theatre and arcade reopened in March 1984.  The $2 million (AUD) refurbishment won the Royal Australian Institute of Architects (WA Chapter) 'Architecture Design Award for Renovated Buildings' in 1986. Following the refurbishment, Piccadilly Theatre and Arcade was purchased for a reported $9.9 million by Alister Norwood, founder of Jeans West.
In 1989 the cinema was sold by Hoyts to Glen Darlington, of Classic Cinemas, and closed briefly in early 1990. Malcolm Leech then took over the lease, and converted a section of the disused stalls into a small cinema, making the Piccadilly into a twin screen, seating 443 and 165 respectively. Leech subsequently converted the cinema into a triplex by adding a third cinema, with 103 seats, behind the main screen. In May 2001 Leech leased it to Dennis McKenna.
In 1992, Piccadilly Theatre and Arcade was purchased by current owners Winston Holdings Pty Ltd, Su-Rama Holdings Pty Ltd and Ayoman Pty Ltd, as tenants in common.
In March 2005 the operation of the cinema was taken over by Cyril Watson, with the previous tenant, McKenna, leaving the cinema in 2004 with large unpaid debts.
On 23 March 2010, a thunder storm with conditions not seen in almost fifty years damaged the cinema, forcing its temporary closure. The cinema re-opened after repair works were completed on 1 April 2010.
In May 2013, it was revealed that a portion of the cinema's roof had collapsed due to poor maintenance.
In September 2013, the current leaseholder of the cinema, Cyril Watson, announced that the cinema would close at the end of the September school holidays. It is reportedly $400,000 in debt for unpaid rent. The cinema space re-opened briefly in 2014 as the Noodle Palace venue as part of the Fringe World Festival. It has also been used as a retail space and kickboxing studio.
In October 2018, a multi-million dollar redevelopment of the cinema and arcade was confirmed. The cinema will be converted to a live performance theatre with a lounge and bar. The arcade will get new lighting, flooring and shopfronts. Tenders for a builder closed in October 2018 and work is expected to begin in January 2018. The City of Perth approved a $665,575 heritage adaptive reuse grant to be provided over five years for the redevelopment. The redevelopment is expected to be completed in late 2019 or early 2020.


The Piccadilly Theatre and Arcade was interim listed on the Register of the National Estate on 5 December 1988 and classified by the National Trust of Australia (WA) on 5 December 1988. The building(s) were also included on the City of Perth's Municipal Inventory on 13 March 2001 and were permanently listed on the State Register of Heritage Places on 20 December 2002 by the Heritage Council of Western Australia.


The complex is reportedly haunted by the ghost of a former manager.


Pirot Fortress or Momchilov grad (Momchilo's fortress, Serbian and Bulgarian: Момчилов град) is situated in Pirot, Serbia. It was built in the 14th century by Bulgarian brigand and local ruler Momchil. In 1344, the regency concluded a further alliance with Bulgaria, which required the surrender of Philippopolis (Plovdiv) and nine other towns in northern Thrace along the river Evros. Nevertheless, after their occupation, Ivan Alexander refrained from direct action against John VI Kantakouzenos' forces operating in southern and eastern Thrace. At the same time, Momchil, a former brigand whom Kantakouzenos had entrusted with control over the Merope (region)  in the Rhodope mountains, switched over to the regency. It was supposed to serve as a defense against the Turks along the ancient Roman road called Via Militaris (Military Road) which connected Belgrade to Constantinople.
Pirot Fortress was declared Monument of Culture of Great Importance in 1979, and it is protected by Republic of Serbia.


The Piscina Municipal de Montjuïc (English: Montjuïc Municipal Pool) is a sports venue situated in the Olympic Ring in Barcelona. The venue consists of two swimming pools: a pool for diving and a 25m outdoor pool. It hosted the diving events and the water polo preliminaries for the 1992 Summer Olympics.
The location of the venue on a slope of the Montjuïc hill gives a panoramic view of the city of Barcelona.
The swimming pools are open to the public during the summer.


The venue, that used to consist of a single 50m pool, was opened in 1929 and refurbished to host the swimming events for the 1955 Mediterranean Games.
In 1990, refurbishment works began for the 1992 Olympics: the two current pools were built and temporary grandstands were installed, boosting the capacity to 6,500 spectators.
In 2003, the venue hosted the diving events of the 2003 World Aquatics Championships. It played the same role for the 2013 World Aquatics Championships, since the city of Barcelona repeated as hosts.


The music video for Kylie Minogue's 2003 single, "Slow", taken from the album Body Language, was filmed at Piscina Municipal de Montjuïc in August of that year, directed by Baillie Walsh. In 2016, Apple used Piscina Municipal de Montjuïc for their 'Dive' commercial for the iPhone 7. In 2018, Erika Lust shot the adult video 'Speedo cleptomaniac' at Piscina Municipal de Montjuïc for XConfessions.


The Pitch Lake is the largest natural deposit of asphalt in the world, estimated to contain 10 million tons.  It is located in La Brea in southwest Trinidad, within the Siparia Regional Corporation. The lake covers about 100 acres (0.405 square kilometres) and is reported to be 250 feet (76.2 metres) deep.
Pitch Lake is a popular tourist attraction, including a small museum, from where official tour guides can escort people across the lake. The lake is mined for asphalt by Lake Asphalt of Trinidad and Tobago.


The Pitch Lake has fascinated explorers and scientists, attracting tourists since its re-discovery by Sir Walter Raleigh in his expedition there in 1595.  Raleigh himself found immediate use for the asphalt to caulk his ship. He referred to the pitch as "most excellent... It melteth not with the sun as the pitch of Norway". Raleigh was informed of the lake’s location by the native Amerindians, who had their own story about the origin of the lake. The story goes that the indigenous people were celebrating a victory over a rival tribe when they got carried away in their celebration. They proceeded to cook and eat the sacred hummingbird which they believed possessed the souls of their ancestors. According to legend, their winged God punished them by opening the earth and conjuring the pitch lake to swallow the entire village, and the lake became a permanent stain and a reminder of their sins. The local villages believe this legend due to the many Amerindian artifacts and a cranium that have been discovered, preserved, in the pitch.
In the 1840s, Abraham Pineo Gesner first obtained kerosene from a sample of Pitch Lake bitumen.
In 1887, Amzi Barber, an American businessman known as "The Asphalt King", secured a 42-year monopoly concession from the British Government for the Pitch Lake for his company, Barber Asphalt Paving Company. It was from this source that many of the first asphalt roads of New York City, Washington D.C., and other Eastern U.S. cities were paved.
Since its re-discovery, there have been numerous research investigations into the use and chemical composition of this material. There have been countless theories, postulations, and conclusions as to the size, source, and origin of the asphalt.


The origin of The Pitch Lake is related to deep faults in connection with subduction under the Caribbean Plate related to Barbados Arc. The lake has not been studied extensively, but it is believed that the lake is at the intersection of two faults, which allows oil from a deep deposit to be forced up. The lighter elements in the oil evaporate under the hot tropical sun, leaving behind the heavier asphalt. Bacterial action on the asphalt at low pressures creates petroleum in asphalt. The researchers indicated that extremophiles inhabited the asphalt lake in populations ranging between 10⁶ to 10⁷ cells/gram. The Pitch Lake is one of several natural asphalt lakes in the world, including the La Brea Tar Pits (Los Angeles), McKittrick Tar Pits (McKittrick) and Carpinteria Tar Pits (Carpinteria)  in the U.S. state of California, and Lake Guanoco in the Republic of Venezuela.
The regional geology of southern Trinidad consists of a trend of ridges, anticlines with shale diapiric cores, and sedimentary volcanoes. According to Woodside, "host muds and/or shales become over pressured and under compacted in relation to the surrounding sediments...mud or shale diapirs or mud volcanoes result because of the unstable semi-fluid nature of the methane-charged, undercompacted shales/muds." The mud volcanoes are aligned along east-northeast parallel trends. Woodside goes on to say, "The Asphalt Lake at Brighton represents a different kind of sedimentary volcanism in which gas and oil are acting on asphalt mixed with clay.  This asphalt lake cuts across Miocene/Pliocene formations overlying a complicated thrust structure."
The first wells were drilled into Pitch Lake oil seeps in 1866. Kerosene was distilled from the pitch in the lake from 1860 to 1865. The Guayaguayare No. 3 well was drilled in 1903, but the first commercial well was drilled at the west end of the lake in 1903.  Oil was then discovered in Point Fortin-Perrylands area, and in 1911, the Tabaquite Field was discovered.  The Forest Reserve Field was discovered in 1914 and the Penal Field in 1941.  The first offshore well was drilled in 1954 at Soldado.


Evidence of an active microbiological ecosystem in Pitch Lake has been reported. The microbial diversity was found to be unique when compared to microbial communities analyzed at other hydrocarbon-rich environments, including the La Brea tar pits in California, and an oil well and a mud volcano in Trinidad and Tobago. Archaeal and bacterial communities co-exist, with novel species having been discovered from Pitch Lake samples. Researchers have also observed novel fungal life forms which can grow on the available asphaltenes as a sole carbon and energy source.


The Friends of Pittencrieff Park is a registered charity and a SCIO (Scottish Charitable Incorporated Organisation) which has been in existence for almost 12 years and one of their most important functions is to liaise with Fife Council and the Carnegie Trust to ensure Pittencrieff Park (or the Glen as it is known locally) remains an outstanding visitor attraction for residents of Dunfermline and visitors to the area. They also undertake fund raising in order to finance projects such as renewal of play areas, creation and upkeep of the orchard and the kitchen garden, welfare of the peacocks etc.


Piz Beverin is a mountain of the Lepontine Alps, overlooking Thusis in the canton of Graubünden. A trail leads to the summit.


Place Émilie-Gamelin (known informally as Berri Square, French: Square Berri) is a city square in central Montreal, Quebec, Canada. It was created to mark the 350th anniversary of the city. Bordered by Berri Street, Saint Hubert Street, Sainte Catherine Street, and De Maisonneuve Boulevard, the square is adjacent to the entrances of transportation hubs Berri-UQAM Metro Station and the former Station centrale d'autobus, as well as the Université du Québec à Montréal and the Grande Bibliothèque du Québec.
For years Place Émilie-Gamelin and the surrounding area held a bad reputation for drug sales and homelessness, something the city has tried to progressively change.


The park is named for Roman Catholic nun Émilie Gamelin, founder of the Sisters of Providence religious community, which had operated a convent on the land. Émilie Gamelin and her sisters were known for running a soup kitchen (l'Œuvre de la Soupe) for the homeless community, as well as other needy people, of Montreal, until the demolition of the Asile of Providence building on August 14, 1963 for the construction of the Montreal Metro. Once the construction of the metro station was completed, the roof formed the newly formed place, then called Berri Square (at that time the metro station was named Berri-de-Montigny station), which was nothing more than a patch of concrete. Due to its history, for a long time many homeless people camped on this square.
Allegedly, the city of Montreal created a public municipal park on the square to be able to drive out the homeless people with the park regulations which don't allow access during the night. Ironically, the city named the park after Émilie Gamelin, which might contribute to the fact that the park still attracts homeless people.
Place Émilie-Gamelin was the starting point of many student protests, such as a series of nightly protests (les manifs du soir), beginning April 24, 2012.
Since 2014, it hosts the Jardins Gamelin in the summer, home to public gardens, outdoor concerts, food trucks and street performers. In the winter, Place Émilie-Gamelin also hosts Noël dans le Parc, a Christmas village.
These are part of an ongoing series of effort by the city to revitalize the area, making it more family friendly and appealing to tourists.


The north end of the square features the metal sculpture Skyscraper, Waterfall, Roads, Brooks... a Construction (French: Gratte-ciel, cascades d'eau / rues, ruisseau… une construction) by artist Melvin Charney.
Inside the metro entrance on the south-west corner of the park (corner rue Sainte-Catherine and rue Berri) is a bronze statue of Gamelin, called Mère Émilie Gamelin (Mother Émilie Gamelin). The 1,9m high work of art, made by sculptor Raoul Hunter in 1999, was inaugurated on May 25, 2000 commemorating both the 200th anniversary of her birth and the renovation of the rue Sainte-Catherine kiosk, located in the Place Émilie-Gamelin where the shelter she founded once stood. The bronze on her right hand, which is symbolically stretched out toward people in need, is slowly fading because of all the people that shake her hand for fun. The statue is owned by the City of Montreal.


Plaošnik or simply Plaoš (Macedonian: Плаошник, Плаош) is an archaeological site and holy place in Ohrid, 250 meters below Samuil's Fortress. In the future, the whole complex will have konaks (mansions) as in the time of Saint Clement of Ohrid, together with several surrounding objects.