Question: What is this building named after?

Instruction: Using the given image, access documents that provide insights into the following question:

title: "St. Peter's Basilica" content: St. Peter's Basilica The Papal Basilica of St. Peter in the Vatican (), or simply St. Peter's Basilica (), is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome. Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and the largest church in the world. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome, St. Peter's is regarded as one of the holiest Catholic shrines. It has been described as "holding

title: "St. Peter's Basilica" content: a unique position in the Christian world" and as "the greatest of all churches of Christendom". Catholic tradition holds that the Basilica is the burial site of Saint Peter, chief among Jesus's Apostles and also the first Bishop of Rome. Saint Peter's tomb is supposedly directly below the high altar of the Basilica. For this reason, many Popes have been interred at St. Peter's since the Early Christian period, and there has been a church on this site since the time of the Roman emperor Constantine the Great. Construction of the present basilica, which would replace Old St. Peter's Basilica

title: "St. Peter's Basilica" content: from the 4th century AD, began on 18 April 1506 and was completed on 18 November 1626. St. Peter's is famous as a place of pilgrimage and for its liturgical functions. The Pope presides at a number of liturgies throughout the year, drawing audiences of 15,000 to over 80,000 people, either within the Basilica or the adjoining St. Peter's Square. St. Peter's has many historical associations, with the Early Christian Church, the Papacy, the Protestant Reformation and Catholic Counter-reformation and numerous artists, especially Michelangelo. As a work of architecture, it is regarded as the greatest building of its age. St.

title: "St. Peter's Basilica" content: Peter's is one of the four churches in the world that hold the rank of Major Basilica, all four of which are in Rome. Contrary to popular misconception, it is not a cathedral because it is not the seat of a bishop; the "Cathedra" of the Pope as Bishop of Rome is in the Archbasilica of St. John Lateran. St. Peter's is a church built in the Renaissance style located in the Vatican City west of the River Tiber and near the Janiculum Hill and Hadrian's Mausoleum. Its central dome dominates the skyline of Rome. The basilica is approached via

title: "St. Peter's Basilica" content: St. Peter's Square, a forecourt in two sections, both surrounded by tall colonnades. The first space is oval and the second trapezoid. The façade of the basilica, with a giant order of columns, stretches across the end of the square and is approached by steps on which stand two statues of the 1st-century apostles to Rome, Saints Peter and Paul. The basilica is cruciform in shape, with an elongated nave in the Latin cross form but the early designs were for a centrally planned structure and this is still in evidence in the architecture. The central space is dominated both

title: "St. Peter's Basilica" content: externally and internally by one of the largest domes in the world. The entrance is through a narthex, or entrance hall, which stretches across the building. One of the decorated bronze doors leading from the narthex is the Holy Door, only opened during jubilees. The interior is of vast dimensions when compared with other churches. One author wrote: "Only gradually does it dawn upon us – as we watch people draw near to this or that monument, strangely they appear to shrink; they are, of course, dwarfed by the scale of everything in the building. This in its turn overwhelms

title: "St. Peter's Basilica" content: us." The nave which leads to the central dome is in three bays, with piers supporting a barrel-vault, the highest of any church. The nave is framed by wide aisles which have a number of chapels off them. There are also chapels surrounding the dome. Moving around the basilica in a clockwise direction they are: The Baptistery, the Chapel of the Presentation of the Virgin, the larger Choir Chapel, the Clementine Chapel with the altar of Saint Gregory, the Sacristy Entrance, the left transept with altars to the Crucifixion of Saint Peter, Saint Joseph and Saint Thomas, the altar of

title: "St. Peter's Basilica" content: the Sacred Heart, the Chapel of the Madonna of Colonna, the altar of Saint Peter and the Paralytic, the apse with the Chair of Saint Peter, the altar of Saint Peter raising Tabitha, the altar of the Archangel Michael, the altar of the Navicella, the right transept with altars of Saint Erasmus, Saints Processo and Martiniano, and Saint Wenceslas, the altar of Saint Basil, the Gregorian Chapel with the altar of the Madonna of Succour, the larger Chapel of the Holy Sacrament, the Chapel of Saint Sebastian and the Chapel of the Pietà. At the heart of the basilica, beneath

title: "St. Peter's Basilica" content: the high altar, is the "Confessio" or "Chapel of the Confession", in reference to the confession of faith by St. Peter, which led to his martyrdom. Two curving marble staircases lead to this underground chapel at the level of the Constantinian church and immediately above the purported burial place of Saint Peter. The entire interior of St. Peter's is lavishly decorated with marble, reliefs, architectural sculpture and gilding. The basilica contains a large number of tombs of popes and other notable people, many of which are considered outstanding artworks. There are also a number of sculptures in niches and chapels,

title: "St. Peter's Basilica" content: including Michelangelo's "Pietà". The central feature is a baldachin, or canopy over the Papal Altar, designed by Gian Lorenzo Bernini. The sanctuary culminates in a sculptural ensemble, also by Bernini, and containing the symbolic "Chair of Saint Peter". One observer wrote: "St Peter's Basilica is the reason why Rome is still the center of the civilized world. For religious, historical, and architectural reasons it by itself justifies a journey to Rome, and its interior offers a palimpsest of artistic styles at their best ..." The American philosopher Ralph Waldo Emerson described St. Peter's as "an ornament of the earth ...

title: "St. Peter's Basilica" content: the sublime of the beautiful." St. Peter's Basilica is one of the Papal Basilicas (previously styled "patriarchal basilicas") and one of the four Major Basilicas of Rome, the other Major Basilicas (all of which are also Papal Basilicas) being the Basilicas of St. John Lateran, St. Mary Major, and St. Paul outside the Walls. The rank of major basilica confers on St. Peter's Basilica precedence before all minor basilicas worldwide. However, unlike all the other Papal Major Basilicas, it is wholly within the territory, and thus the sovereign jurisdiction, of the Vatican City State, and not that of Italy. It

title: "St. Peter's Basilica" content: is the most prominent building in the Vatican City. Its dome is a dominant feature of the skyline of Rome. Probably the largest church in Christendom, it covers an area of . One of the holiest sites of Christianity and Catholic Tradition, it is traditionally the burial site of its titular, St. Peter, who was the head of the twelve Apostles of Jesus and, according to tradition, the first Bishop of Antioch and later the first Bishop of Rome, rendering him the first Pope. Although the New Testament does not mention St. Peter's martyrdom in Rome, tradition, based on the

title: "St. Peter's Basilica" content: writings of the Fathers of the Church, holds that his tomb is below the baldachin and altar of the Basilica in the "Confession". For this reason, many Popes have, from the early years of the Church, been buried near Pope St. Peter in the necropolis beneath the Basilica. Construction of the current basilica, over the old Constantinian basilica, began on 18 April 1506 and finished in 1615. At length, on 18 November 1626 Pope Urban VIII solemnly dedicated the Basilica. St. Peter's Basilica is neither the Pope's official seat nor first in rank among the Major Basilicas of Rome. This

title: "St. Peter's Basilica" content: honour is held by the Pope's cathedral, the Archbasilica of St. John Lateran which is the mother church of all churches in communion with the Catholic Church. However, St. Peter's is certainly the Pope's principal church in terms of use because most Papal liturgies and ceremonies take place there due to its size, proximity to the Papal residence, and location within the Vatican City proper. The "Chair of Saint Peter", or cathedra, an ancient chair sometimes presumed to have been used by St. Peter himself, but which was a gift from Charles the Bald and used by many popes, symbolises

title: "St. Peter's Basilica" content: the continuing line of apostolic succession from St. Peter to the reigning Pope. It occupies an elevated position in the apse of the Basilica, supported symbolically by the Doctors of the Church and enlightened symbolically by the Holy Spirit. As one of the constituent structures of the historically and architecturally significant Vatican City, St. Peter's Basilica was inscribed as a UNESCO World Heritage Site in 1984 under criteria (i), (ii), (iv), and (vi). With an exterior area of , an interior area of , St. Peter's Basilica is the largest Christian church building in the world by the two latter

title: "St. Peter's Basilica" content: metrics and the second largest by the first . The top of its dome, at , also places it as the second tallest building in Rome . The dome's soaring height placed it among the tallest buildings of the Old World, and it continues to hold the title of tallest dome in the world. Though the largest dome in the world by diameter at the time of its completion, it no longer holds this distinction. After the crucifixion of Jesus, it is recorded in the Biblical book of the Acts of the Apostles that one of his twelve disciples, Simon

title: "St. Peter's Basilica" content: known as Saint Peter, a fisherman from Galilee, took a leadership position among Jesus' followers and was of great importance in the founding of the Christian Church. The name Peter is "Petrus" in Latin and "Petros" in Greek, deriving from ""petra"" which means "stone" or "rock" in Greek, and is the literal translation of the Aramaic "Kepa", the name given to Simon by Jesus. (, and see ) Catholic tradition holds that Peter, after a ministry of thirty-four years, traveled to Rome and met his martyrdom there along with Paul on 13 October, 64 AD during the reign of the

title: "St. Peter's Basilica" content: Roman Emperor Nero. His execution was one of the many martyrdoms of Christians following the Great Fire of Rome. According to Origen, Peter was crucified head downwards, by his own request because he considered himself unworthy to die in the same manner as Jesus. The crucifixion took place near an ancient Egyptian obelisk in the Circus of Nero. The obelisk now stands in St. Peter's Square and is revered as a "witness" to Peter's death. It is one of several ancient Obelisks of Rome. According to tradition, Peter's remains were buried just outside the Circus, on the Mons Vaticanus across

title: "St. Peter's Basilica" content: the Via Cornelia from the Circus, less than from his place of death. The Via Cornelia was a road which ran east-to-west along the north wall of the Circus on land now covered by the southern portions of the Basilica and St. Peter's Square. A shrine was built on this site some years later. Almost three hundred years later, Old St. Peter's Basilica was constructed over this site. The area now covered by the Vatican City had been a cemetery for some years before the Circus of Nero was built. It was a burial ground for the numerous executions in

title: "St. Peter's Basilica" content: the Circus and contained many Christian burials, because for many years after the burial of Saint Peter many Christians chose to be buried near Peter. In 1939, in the reign of Pope Pius XII, 10 years of archaeological research began, under the crypt of the basilica, an area inaccessible since the 9th century. The excavations revealed the remains of shrines of different periods at different levels, from Clement VIII (1594) to Callixtus II (1123) and Gregory I (590–604), built over an aedicula containing fragments of bones that were folded in a tissue with gold decorations, tinted with the precious murex

title: "St. Peter's Basilica" content: purple. Although it could not be determined with certainty that the bones were those of Peter, the rare vestments suggested a burial of great importance. On 23 December 1950, in his pre-Christmas radio broadcast to the world, Pope Pius XII announced the discovery of Saint Peter's tomb. Old St. Peter's Basilica was the 4th-century church begun by the Emperor Constantine the Great between 319 and 333 AD. It was of typical basilical form, a wide nave and two aisles on each side and an apsidal end, with the addition of a transept or bema, giving the building the shape of

title: "St. Peter's Basilica" content: a tau cross. It was over long, and the entrance was preceded by a large colonnaded atrium. This church had been built over the small shrine believed to mark the burial place of St. Peter. It contained a very large number of burials and memorials, including those of most of the popes from St. Peter to the 15th century. Like all of the earliest churches in Rome, both this church and its successor had the entrance to the east and the apse at the west end of the building. Since the construction of the current basilica, the name "Old St.

title: "St. Peter's Basilica" content: Peter's Basilica" has been used for its predecessor to distinguish the two buildings. By the end of the 15th century, having been neglected during the period of the Avignon Papacy, the old basilica had fallen into disrepair. It appears that the first pope to consider rebuilding, or at least making radical changes was Pope Nicholas V (1447–55). He commissioned work on the old building from Leone Battista Alberti and Bernardo Rossellino and also had Rossellino design a plan for an entirely new basilica, or an extreme modification of the old. His reign was frustrated by political problems and when he

title: "St. Peter's Basilica" content: died, little had been achieved. He had, however, ordered the demolition of the Colosseum and by the time of his death, 2,522 cartloads of stone had been transported for use in the new building. The foundations were completed for a new transept and choir to form a domed Latin cross with the preserved nave and side aisles of the old basilica. Some walls for the choir had also been built. Pope Julius II planned far more for St Peter's than Nicholas V's program of repair or modification. Julius was at that time planning his own tomb, which was to be

title: "St. Peter's Basilica" content: designed and adorned with sculpture by Michelangelo and placed within St Peter's. In 1505 Julius made a decision to demolish the ancient basilica and replace it with a monumental structure to house his enormous tomb and "aggrandize himself in the popular imagination". A competition was held, and a number of the designs have survived at the Uffizi Gallery. A succession of popes and architects followed in the next 120 years, their combined efforts resulting in the present building. The scheme begun by Julius II continued through the reigns of Leo X (1513–1521), Hadrian VI (1522–1523). Clement VII (1523–1534), Paul III

title: "St. Peter's Basilica" content: (1534–1549), Julius III (1550–1555), Marcellus II (1555), Paul IV (1555–1559), Pius IV (1559–1565), Pius V (saint) (1565–1572), Gregory XIII (1572–1585), Sixtus V (1585–1590), Urban VII (1590), Gregory XIV (1590–1591), Innocent IX (1591), Clement VIII (1592–1605), Leo XI (1605), Paul V (1605–1621), Gregory XV (1621–1623), Urban VIII (1623–1644) and Innocent X (1644–1655). One method employed to finance the building of St. Peter's Basilica was the granting of indulgences in return for contributions. A major promoter of this method of fund-raising was Albrecht, Archbishop of Mainz and Magdeburg, who had to clear debts owed to the Roman Curia by contributing to the

title: "St. Peter's Basilica" content: rebuilding program. To facilitate this, he appointed the German Dominican preacher Johann Tetzel, whose salesmanship provoked a scandal. A German Augustinian priest, Martin Luther, wrote to Archbishop Albrecht arguing against this "selling of indulgences". He also included his "Disputation of Martin Luther on the Power and Efficacy of Indulgences", which came to be known as "The 95 Theses". This became a factor in starting the Reformation, the birth of Protestantism. Pope Julius' scheme for the grandest building in Christendom was the subject of a competition for which a number of entries remain intact in the Uffizi Gallery, Florence. It was

title: "St. Peter's Basilica" content: the design of Donato Bramante that was selected, and for which the foundation stone was laid in 1506. This plan was in the form of an enormous Greek Cross with a dome inspired by that of the huge circular Roman temple, the Pantheon. The main difference between Bramante's design and that of the Pantheon is that where the dome of the Pantheon is supported by a continuous wall, that of the new basilica was to be supported only on four large piers. This feature was maintained in the ultimate design. Bramante's dome was to be surmounted by a lantern with

title: "St. Peter's Basilica" content: its own small dome but otherwise very similar in form to the Early Renaissance lantern of Florence Cathedral designed for Brunelleschi's dome by Michelozzo. Bramante had envisioned that the central dome would be surrounded by four lower domes at the diagonal axes. The equal chancel, nave and transept arms were each to be of two bays ending in an apse. At each corner of the building was to stand a tower, so that the overall plan was square, with the apses projecting at the cardinal points. Each apse had two large radial buttresses, which squared off its semi-circular shape. When

title: "St. Peter's Basilica" content: Pope Julius died in 1513, Bramante was replaced with Giuliano da Sangallo, Fra Giocondo and Raphael. Sangallo and Fra Giocondo both died in 1515, Bramante himself having died the previous year. The main change in Raphael's plan is the nave of five bays, with a row of complex apsidal chapels off the aisles on either side. Raphael's plan for the chancel and transepts made the squareness of the exterior walls more definite by reducing the size of the towers, and the semi-circular apses more clearly defined by encircling each with an ambulatory. In 1520 Raphael also died, aged 37, and

title: "St. Peter's Basilica" content: his successor Baldassare Peruzzi maintained changes that Raphael had proposed to the internal arrangement of the three main apses, but otherwise reverted to the Greek Cross plan and other features of Bramante. This plan did not go ahead because of various difficulties of both Church and state. In 1527 Rome was sacked and plundered by Emperor Charles V. Peruzzi died in 1536 without his plan being realized. At this point Antonio da Sangallo the Younger submitted a plan which combines features of Peruzzi, Raphael and Bramante in its design and extends the building into a short nave with a wide

title: "St. Peter's Basilica" content: façade and portico of dynamic projection. His proposal for the dome was much more elaborate of both structure and decoration than that of Bramante and included ribs on the exterior. Like Bramante, Sangallo proposed that the dome be surmounted by a lantern which he redesigned to a larger and much more elaborate form. Sangallo's main practical contribution was to strengthen Bramante's piers which had begun to crack. On 1 January 1547 in the reign of Pope Paul III, Michelangelo, then in his seventies, succeeded Sangallo the Younger as "Capomaestro", the superintendent of the building program at St Peter's. He is

title: "St. Peter's Basilica" content: to be regarded as the principal designer of a large part of the building as it stands today, and as bringing the construction to a point where it could be carried through. He did not take on the job with pleasure; it was forced upon him by Pope Paul, frustrated at the death of his chosen candidate, Giulio Romano and the refusal of Jacopo Sansovino to leave Venice. Michelangelo wrote "I undertake this only for the love of God and in honour of the Apostle." He insisted that he should be given a free hand to achieve the ultimate aim

title: "St. Peter's Basilica" content: by whatever means he saw fit. Michelangelo took over a building site at which four piers, enormous beyond any constructed since ancient Roman times, were rising behind the remaining nave of the old basilica. He also inherited the numerous schemes designed and redesigned by some of the greatest architectural and engineering minds of the 16th century. There were certain common elements in these schemes. They all called for a dome to equal that engineered by Brunelleschi a century earlier and which has since dominated the skyline of Renaissance Florence, and they all called for a strongly symmetrical plan of either

title: "St. Peter's Basilica" content: Greek Cross form, like the iconic St. Mark's Basilica in Venice, or of a Latin Cross with the transepts of identical form to the chancel, as at Florence Cathedral. Even though the work had progressed only a little in 40 years, Michelangelo did not simply dismiss the ideas of the previous architects. He drew on them in developing a grand vision. Above all, Michelangelo recognized the essential quality of Bramante's original design. He reverted to the Greek Cross and, as Helen Gardner expresses it: "Without destroying the centralising features of Bramante's plan, Michelangelo, with a few strokes of the pen

title: "St. Peter's Basilica" content: converted its snowflake complexity into massive, cohesive unity." As it stands today, St. Peter's has been extended with a nave by Carlo Maderno. It is the chancel end (the ecclesiastical "Eastern end") with its huge centrally placed dome that is the work of Michelangelo. Because of its location within the Vatican State and because the projection of the nave screens the dome from sight when the building is approached from the square in front of it, the work of Michelangelo is best appreciated from a distance. What becomes apparent is that the architect has greatly reduced the clearly defined geometric

title: "St. Peter's Basilica" content: forms of Bramante's plan of a square with square projections, and also of Raphael's plan of a square with semi-circular projections. Michelangelo has blurred the definition of the geometry by making the external masonry of massive proportions and filling in every corner with a small vestry or stairwell. The effect created is of a continuous wall-surface that is folded or fractured at different angles, but lacks the right-angles which usually define change of direction at the corners of a building. This exterior is surrounded by a giant order of Corinthian pilasters all set at slightly different angles to each other,

title: "St. Peter's Basilica" content: in keeping with the ever-changing angles of the wall's surface. Above them the huge cornice ripples in a continuous band, giving the appearance of keeping the whole building in a state of compression. The dome of St. Peter's rises to a total height of from the floor of the basilica to the top of the external cross. It is the tallest dome in the world. Its internal diameter is , slightly smaller than two of the three other huge domes that preceded it, those of the Pantheon of Ancient Rome, , and Florence Cathedral of the Early Renaissance, . It

title: "St. Peter's Basilica" content: has a greater diameter by approximately than Constantinople's Hagia Sophia church, completed in 537. It was to the domes of the Pantheon and Florence duomo that the architects of St. Peter's looked for solutions as to how to go about building what was conceived, from the outset, as the greatest dome of Christendom. The dome of the Pantheon stands on a circular wall with no entrances or windows except a single door. The whole building is as high as it is wide. Its dome is constructed in a single shell of concrete, made light by the inclusion of a large

title: "St. Peter's Basilica" content: amount of the volcanic stones tuff and pumice. The inner surface of the dome is deeply coffered which has the effect of creating both vertical and horizontal ribs, while lightening the overall load. At the summit is an ocular opening across which provides light to the interior. Bramante's plan for the dome of St. Peter's (1506) follows that of the Pantheon very closely, and like that of the Pantheon, was designed to be constructed in Tufa Concrete for which he had rediscovered a formula. With the exception of the lantern that surmounts it, the profile is very similar, except that

title: "St. Peter's Basilica" content: in this case the supporting wall becomes a drum raised high above ground level on four massive piers. The solid wall, as used at the Pantheon, is lightened at St. Peter's by Bramante piercing it with windows and encircling it with a peristyle. In the case of Florence Cathedral, the desired visual appearance of the pointed dome existed for many years before Brunelleschi made its construction feasible. Its double-shell construction of bricks locked together in herringbone pattern (re-introduced from Byzantine architecture), and the gentle upward slope of its eight stone ribs made it possible for the construction to take place

title: "St. Peter's Basilica" content: without the massive wooden formwork necessary to construct hemispherical arches. While its appearance, with the exception of the details of the lantern, is entirely Gothic, its engineering was highly innovative, and the product of a mind that had studied the huge vaults and remaining dome of Ancient Rome. Sangallo's plan (1513), of which a large wooden model still exists, looks to both these predecessors. He realised the value of both the coffering at the Pantheon and the outer stone ribs at Florence Cathedral. He strengthened and extended the peristyle of Bramante into a series of arched and ordered openings around

title: "St. Peter's Basilica" content: the base, with a second such arcade set back in a tier above the first. In his hands, the rather delicate form of the lantern, based closely on that in Florence, became a massive structure, surrounded by a projecting base, a peristyle and surmounted by a spire of conic form. According to James Lees-Milne the design was "too eclectic, too pernickety and too tasteless to have been a success". Michelangelo redesigned the dome in 1547, taking into account all that had gone before. His dome, like that of Florence, is constructed of two shells of brick, the outer one having

title: "St. Peter's Basilica" content: 16 stone ribs, twice the number at Florence but far fewer than in Sangallo's design. As with the designs of Bramante and Sangallo, the dome is raised from the piers on a drum. The encircling peristyle of Bramante and the arcade of Sangallo are reduced to 16 pairs of Corinthian columns, each of high which stand proud of the building, connected by an arch. Visually they appear to buttress each of the ribs, but structurally they are probably quite redundant. The reason for this is that the dome is ovoid in shape, rising steeply as does the dome of Florence

title: "St. Peter's Basilica" content: Cathedral, and therefore exerting less outward thrust than does a hemispherical dome, such as that of the Pantheon, which, although it is not buttressed, is countered by the downward thrust of heavy masonry which extends above the circling wall. The ovoid profile of the dome has been the subject of much speculation and scholarship over the past century. Michelangelo died in 1564, leaving the drum of the dome complete, and Bramante's piers much bulkier than originally designed, each across. Following his death, the work continued under his assistant Jacopo Barozzi da Vignola with Giorgio Vasari appointed by Pope Pius V

title: "St. Peter's Basilica" content: as a watchdog to make sure that Michelangelo's plans were carried out exactly. Despite Vignola's knowledge of Michelangelo's intentions, little happened in this period. In 1585 the energetic Pope Sixtus appointed Giacomo della Porta who was to be assisted by Domenico Fontana. The five-year reign of Sixtus was to see the building advance at a great rate. Michelangelo left a few drawings, including an early drawing of the dome, and some drawings of details. There were also detailed engravings published in 1569 by Stefan du Pérac who claimed that they were the master's final solution. Michelangelo, like Sangallo before him,

title: "St. Peter's Basilica" content: also left a large wooden model. Giacomo della Porta subsequently altered this model in several ways, in keeping with changes that he made to the design. Most of these changes were of a cosmetic nature, such as the adding of lion's masks over the swags on the drum in honour of Pope Sixtus and adding a circlet of finials around the spire at the top of the lantern, as proposed by Sangallo. The major change that was made to the model, either by della Porta, or Michelangelo himself before his death, was to raise the outer dome higher above the

title: "St. Peter's Basilica" content: inner one. A drawing by Michelangelo indicates that his early intentions were towards an ovoid dome, rather than a hemispherical one. In an engraving in Galasso Alghisi' treatise (1563), the dome may be represented as ovoid, but the perspective is ambiguous. Stefan du Pérac's engraving (1569) shows a hemispherical dome, but this was perhaps an inaccuracy of the engraver. The profile of the wooden model is more ovoid than that of the engravings, but less so than the finished product. It has been suggested that Michelangelo on his death bed reverted to the more pointed shape. However Lees-Milne cites Giacomo

title: "St. Peter's Basilica" content: della Porta as taking full responsibility for the change and as indicating to Pope Sixtus that Michelangelo was lacking in the scientific understanding of which he himself was capable. Helen Gardner suggests that Michelangelo made the change to the hemispherical dome of lower profile in order to establish a balance between the dynamic vertical elements of the encircling giant order of pilasters and a more static and reposeful dome. Gardner also comments "The sculpturing of architecture [by Michelangelo] ... here extends itself up from the ground through the attic stories and moves on into the drum and dome, the whole

title: "St. Peter's Basilica" content: building being pulled together into a unity from base to summit." It is this sense of the building being sculptured, unified and "pulled together" by the encircling band of the deep cornice that led Eneide Mignacca to conclude that the ovoid profile, seen now in the end product, was an essential part of Michelangelo's first (and last) concept. The sculptor/architect has, figuratively speaking, taken all the previous designs in hand and compressed their contours as if the building were a lump of clay. The dome "must" appear to thrust upwards because of the apparent pressure created by flattening the building's

title: "St. Peter's Basilica" content: angles and restraining its projections. If this explanation is the correct one, then the profile of the dome is not merely a structural solution, as perceived by Giacomo della Porta; it is part of the integrated design solution that is about visual tension and compression. In one sense, Michelangelo's dome may appear to look backward to the Gothic profile of Florence Cathedral and ignore the Classicism of the Renaissance, but on the other hand, perhaps more than any other building of the 16th century, it prefigures the architecture of the Baroque. Giacomo della Porta and Domenico Fontana brought the dome

title: "St. Peter's Basilica" content: to completion in 1590, the last year of the reign of Sixtus V. His successor, Gregory XIV, saw Fontana complete the lantern and had an inscription to the honour of Sixtus V placed around its inner opening. The next pope, Clement VIII, had the cross raised into place, an event which took all day, and was accompanied by the ringing of the bells of all the city's churches. In the arms of the cross are set two lead caskets, one containing a fragment of the True Cross and a relic of St. Andrew and the other containing medallions of the

title: "St. Peter's Basilica" content: Holy Lamb. In the mid 18th century, cracks appeared in the dome, so four iron chains were installed between the two shells to bind it, like the rings that keep a barrel from bursting. As many as ten chains have been installed at various times, the earliest possibly planned by Michelangelo himself as a precaution, as Brunelleschi did at Florence Cathedral. Around the inside of the dome is written, in letters high: Beneath the lantern is the inscription: On 7 December 2007, a fragment of a red chalk drawing of a section of the dome of the basilica, almost certainly

title: "St. Peter's Basilica" content: by the hand of Michelangelo, was discovered in the Vatican archives. The drawing shows a small precisely drafted section of the plan of the entablature above two of the radial columns of the cupola drum. Michelangelo is known to have destroyed thousands of his drawings before his death. The rare survival of this example is probably due to its fragmentary state and the fact that detailed mathematical calculations had been made over the top of the drawing. On 18 February 1606, under Pope Paul V, the dismantling of the remaining parts of the Constantinian basilica began. The marble cross that

title: "St. Peter's Basilica" content: had been set at the top of the pediment by Pope Sylvester and Constantine the Great was lowered to the ground. The timbers were salvaged for the roof of the Borghese Palace and two rare black marble columns, the largest of their kind, were carefully stored and later used in the narthex. The tombs of various popes were opened, treasures removed and plans made for re-interment in the new basilica. The Pope had appointed Carlo Maderno in 1602. He was a nephew of Domenico Fontana and had demonstrated himself as a dynamic architect. Maderno's idea was to ring Michelangelo's building

title: "St. Peter's Basilica" content: with chapels, but the Pope was hesitant about deviating from the master's plan, even though he had been dead for forty years. The "Fabbrica" or building committee, a group drawn from various nationalities and generally despised by the Curia who viewed the basilica as belonging to Rome rather than Christendom, were in a quandary as to how the building should proceed. One of the matters that influenced their thinking was the Counter-Reformation which increasingly associated a Greek Cross plan with paganism and saw the Latin Cross as truly symbolic of Christianity. Another influence on the thinking of both the Fabbrica

title: "St. Peter's Basilica" content: and the Curia was a certain guilt at the demolition of the ancient building. The ground on which it and its various associated chapels, vestries and sacristies had stood for so long was hallowed. The only solution was to build a nave that encompassed the whole space. In 1607 a committee of ten architects was called together, and a decision was made to extend Michelangelo's building into a nave. Maderno's plans for both the nave and the facade were accepted. The building began on 7 May 1607, and proceeded at a great rate, with an army of 700 labourers being

title: "St. Peter's Basilica" content: employed. The following year, the façade was begun, in December 1614 the final touches were added to the stucco decoration of the vault and early in 1615 the partition wall between the two sections was pulled down. All the rubble was carted away, and the nave was ready for use by Palm Sunday. The facade designed by Maderno, is wide and high and is built of travertine stone, with a giant order of Corinthian columns and a central pediment rising in front of a tall attic surmounted by thirteen statues: Christ flanked by eleven of the Apostles (except Saint Peter,

title: "St. Peter's Basilica" content: whose statue is left of the stairs) and John the Baptist. The inscription below the cornice on the tall frieze reads: The facade is often cited as the least satisfactory part of the design of St. Peter's. The reasons for this, according to James Lees-Milne, are that it was not given enough consideration by the Pope and committee because of the desire to get the building completed quickly, coupled with the fact that Maderno was hesitant to deviate from the pattern set by Michelangelo at the other end of the building. Lees-Milne describes the problems of the façade as being

title: "St. Peter's Basilica" content: too broad for its height, too cramped in its details and too heavy in the attic story. The breadth is caused by modifying the plan to have towers on either side. These towers were never executed above the line of the facade because it was discovered that the ground was not sufficiently stable to bear the weight. One effect of the facade and lengthened nave is to screen the view of the dome, so that the building, from the front, has no vertical feature, except from a distance. Behind the façade of St. Peter's stretches a long portico or "narthex"

title: "St. Peter's Basilica" content: such as was occasionally found in Italian churches. This is the part of Maderno's design with which he was most satisfied. Its long barrel vault is decorated with ornate stucco and gilt, and successfully illuminated by small windows between pendentives, while the ornate marble floor is beamed with light reflected in from the piazza. At each end of the narthex is a theatrical space framed by ionic columns and within each is set a statue, an equestrian figure of Charlemagne by Cornacchini (18th century) in the south end and Constantine the Great by Bernini (1670) in the north end. Five

title: "St. Peter's Basilica" content: portals, of which three are framed by huge salvaged antique columns, lead into the basilica. The central portal has a bronze door created by Antonio Averulino in 1455 for the old basilica and somewhat enlarged to fit the new space. To the single bay of Michelangelo's Greek Cross, Maderno added a further three bays. He made the dimensions slightly different from Michelangelo's bay, thus defining where the two architectural works meet. Maderno also tilted the axis of the nave slightly. This was not by accident, as suggested by his critics. An ancient Egyptian obelisk had been erected in the square

title: "St. Peter's Basilica" content: outside, but had not been quite aligned with Michelangelo's building, so Maderno compensated, in order that it should, at least, align with the Basilica's façade. The nave has huge paired pilasters, in keeping with Michelangelo's work. The size of the interior is so "stupendously large" that it is hard to get a sense of scale within the building. The four cherubs who flutter against the first piers of the nave, carrying between them two holy water basins, appear of quite normal cherubic size, until approached. Then it becomes apparent that each one is over 2 metres high and that real

title: "St. Peter's Basilica" content: children cannot reach the basins unless they scramble up the marble draperies. The aisles each have two smaller chapels and a larger rectangular chapel, the Chapel of the Sacrament and the Choir Chapel. These are lavishly decorated with marble, stucco, gilt, sculpture and mosaic. Remarkably, there are very few paintings, although some, such as Raphael's "Sistine Madonna" have been reproduced in mosaic. The most precious painting is a small icon of the Madonna, removed from the old basilica. Maderno's last work at St. Peter's was to design a crypt-like space or "Confessio" under the dome, where the cardinals and other

title: "St. Peter's Basilica" content: privileged persons could descend in order to be nearer to the burial place of the apostle. Its marble steps are remnants of the old basilica and around its balustrade are 95 bronze lamps. The design of St. Peter's Basilica, and in particular its dome, has greatly influenced church architecture in Western Christendom. Within Rome, the huge domed church of Sant'Andrea della Valle was designed by Giacomo della Porta before the completion of St Peter's Basilica, and subsequently worked on by Carlo Maderno. This was followed by the domes of San Carlo ai Catinari, Sant'Agnese in Agone, and many others. Christopher

title: "St. Peter's Basilica" content: Wren's dome at St Paul's Cathedral (London, England), the domes of Karlskirche (Vienna, Austria), St. Nicholas Church (Prague, Czech Republic), and the Pantheon (Paris, France) all pay homage to St Peter's Basilica. The 19th and early-20th-century architectural revivals brought about the building of a great number of churches that imitate elements of St Peter's to a greater or lesser degree, including St. Mary of the Angels in Chicago, St. Josaphat's Basilica in Milwaukee, Immaculate Heart of Mary in Pittsburgh and Mary, Queen of the World Cathedral in Montreal, which replicates many aspects of St Peter's on a smaller scale. Post-Modernism

title: "St. Peter's Basilica" content: has seen free adaptations of St Peter's in the Basilica of Our Lady of Licheń, and the Basilica of Our Lady of Peace of Yamoussoukro. As a young boy Gian Lorenzo Bernini (1598–1680) visited St. Peter's with the painter Annibale Carracci and stated his wish to build "a mighty throne for the apostle". His wish came true. As a young man, in 1626, he received the patronage of Pope Urban VIII and worked on the embellishment of the Basilica for 50 years. Appointed as Maderno's successor in 1629, he was to become regarded as the greatest architect and sculptor of

title: "St. Peter's Basilica" content: the Baroque period. Bernini's works at St. Peter's include the baldachin (baldaquin, from Italian: baldacchino), the Chapel of the Sacrament, the plan for the niches and loggias in the piers of the dome and the chair of St. Peter. Bernini's first work at St. Peter's was to design the baldacchino, a pavilion-like structure tall and claimed to be the largest piece of bronze in the world, which stands beneath the dome and above the altar. Its design is based on the "ciborium", of which there are many in the churches of Rome, serving to create a sort of holy space

title: "St. Peter's Basilica" content: above and around the table on which the Sacrament is laid for the Eucharist and emphasizing the significance of this ritual. These "ciboria" are generally of white marble, with inlaid coloured stone. Bernini's concept was for something very different. He took his inspiration in part from the baldachin or canopy carried above the head of the pope in processions, and in part from eight ancient columns that had formed part of a screen in the old basilica. Their twisted barley-sugar shape had a special significance as they were modeled on those of the Temple of Jerusalem and donated by the

title: "St. Peter's Basilica" content: Emperor Constantine. Based on these columns, Bernini created four huge columns of bronze, twisted and decorated with laurel leaves and bees, which were the emblem of Pope Urban. The baldacchino is surmounted not with an architectural pediment, like most baldacchini, but with curved Baroque brackets supporting a draped canopy, like the brocade canopies carried in processions above precious iconic images. In this case, the draped canopy is of bronze, and all the details, including the olive leaves, bees, and the portrait heads of Urban's niece in childbirth and her newborn son, are picked out in gold leaf. The baldacchino stands

title: "St. Peter's Basilica" content: as a vast free-standing sculptural object, central to and framed by the largest space within the building. It is so large that the visual effect is to create a link between the enormous dome which appears to float above it, and the congregation at floor level of the basilica. It is penetrated visually from every direction, and is visually linked to the "Cathedra Petri" in the apse behind it and to the four piers containing large statues that are at each diagonal. As part of the scheme for the central space of the church, Bernini had the huge piers, begun

title: "St. Peter's Basilica" content: by Bramante and completed by Michelangelo, hollowed out into niches, and had staircases made inside them, leading to four balconies. There was much dismay from those who thought that the dome might fall, but it did not. On the balconies Bernini created showcases, framed by the eight ancient twisted columns, to display the four most precious relics of the basilica: the spear of Longinus, said to have pierced the side of Christ, the veil of Veronica, with the miraculous image of the face of Christ, a fragment of the True Cross discovered in Jerusalem by Constantine's mother, Helena, and a

title: "St. Peter's Basilica" content: relic of Saint Andrew, the brother of Saint Peter. In each of the niches that surround the central space of the basilica was placed a huge statue of the saint associated with the relic above. Only "Saint Longinus" is the work of Bernini. (See below) Urban had long been a critic of Bernini's predecessor, Carlo Maderno. His disapproval of the architect's work stemmed largely from the Maderno's design for the longitudinal nave of St. Peters, which was widely condemned for obscuring Michelangelo's dome. When the Pope gave the commission to Bernini he therefore requested that a new design for the

title: "St. Peter's Basilica" content: facade's bell towers to be submitted for consideration. Baldinucci describes Bernini's tower as consisting of "two orders of columns and pilasters, the first order being Corinthian" and "a third or attic story formed of pilasters and two columns on either side of the open archway in the center". Urban desired the towers to be completed by a very specific date: 29 June 1641, the feast day dedicated to Saints Peter and Paul. To this end an order was issued which stated that "all work should take a second seat to that of the campanile." The south tower was completed on

title: "St. Peter's Basilica" content: time even in spite of these issues, but records show that in the wake of the unveiling the Pope was not content with what he saw and he ordered the top level of Bernini's tower removed so that the structure could be made even grander. The tower continued to grow, and as the construction began to settle the first cracks started to appear followed by Urban's infamous public admonishment of his architect. In 1642 all work on both towers came to a halt. Bernini had to pay the cost for the demolition; eventually the idea of completing the bell towers

title: "St. Peter's Basilica" content: was abandoned. Bernini then turned his attention to another precious relic, the so-called "Cathedra Petri" or "throne of St. Peter" a chair which was often claimed to have been used by the apostle, but appears to date from the 12th century. As the chair itself was fast deteriorating and was no longer serviceable, Pope Alexander VII determined to enshrine it in suitable splendor as the object upon which the line of successors to Peter was based. Bernini created a large bronze throne in which it was housed, raised high on four looping supports held effortlessly by massive bronze statues of

title: "St. Peter's Basilica" content: four Doctors of the Church, Saints Ambrose and Augustine representing the Latin Church and Athanasius and John Chrysostom, the Greek Church. The four figures are dynamic with sweeping robes and expressions of adoration and ecstasy. Behind and above the Cathedra, a blaze of light comes in through a window of yellow alabaster, illuminating, at its center, the Dove of the Holy Spirit. The elderly painter, Andrea Sacchi, had urged Bernini to make the figures large, so that they would be seen well from the central portal of the nave. The chair was enshrined in its new home with great celebration

title: "St. Peter's Basilica" content: of 16 January 1666. Bernini's final work for St. Peter's, undertaken in 1676, was the decoration of the Chapel of the Sacrament. To hold the sacramental Host, he designed a miniature version in gilt bronze of Bramante's Tempietto, the little chapel that marks the place of the death of St. Peter. On either side is an angel, one gazing in rapt adoration and the other looking towards the viewer in welcome. Bernini died in 1680 in his 82nd year. To the east of the basilica is the "Piazza di San Pietro", (St. Peter's Square). The present arrangement, constructed between 1656

title: "St. Peter's Basilica" content: and 1667, is the Baroque inspiration of Bernini who inherited a location already occupied by an Egyptian obelisk which was centrally placed, (with some contrivance) to Maderno's facade. The obelisk, known as "The Witness", at and a total height, including base and the cross on top, of , is the second largest standing obelisk, and the only one to remain standing since its removal from Egypt and re-erection at the Circus of Nero in 37 AD, where it is thought to have stood witness to the crucifixion of Saint Peter. Its removal to its present location by order of Pope

title: "St. Peter's Basilica" content: Sixtus V and engineered by Domenico Fontana on 28 September 1586, was an operation fraught with difficulties and nearly ending in disaster when the ropes holding the obelisk began to smoke from the friction. Fortunately this problem was noticed by Benedetto Bresca, a sailor of Sanremo, and for his swift intervention, his town was granted the privilege of providing the palms that are used at the basilica each Palm Sunday. The other object in the old square with which Bernini had to contend was a large fountain designed by Maderno in 1613 and set to one side of the obelisk,

title: "St. Peter's Basilica" content: making a line parallel with the facade. Bernini's plan uses this horizontal axis as a major feature of his unique, spatially dynamic and highly symbolic design. The most obvious solutions were either a rectangular piazza of vast proportions so that the obelisk stood centrally and the fountain (and a matching companion) could be included, or a trapezoid piazza which fanned out from the facade of the basilica like that in front of the Palazzo Pubblico in Siena. The problems of the square plan are that the necessary width to include the fountain would entail the demolition of numerous buildings, including

title: "St. Peter's Basilica" content: some of the Vatican, and would minimize the effect of the facade. The trapezoid plan, on the other hand, would maximize the apparent width of the facade, which was already perceived as a fault of the design. Bernini's ingenious solution was to create a piazza in two sections. That part which is nearest the basilica is trapezoid, but rather than fanning out from the facade, it narrows. This gives the effect of countering the visual perspective. It means that from the second part of the piazza, the building looks nearer than it is, the breadth of the facade is minimized

title: "St. Peter's Basilica" content: and its height appears greater in proportion to its width. The second section of the piazza is a huge elliptical circus which gently slopes downwards to the obelisk at its center. The two distinct areas are framed by a colonnade formed by doubled pairs of columns supporting an entablature of the simple Tuscan Order. The part of the colonnade that is around the ellipse does not entirely encircle it, but reaches out in two arcs, symbolic of the arms of "the Catholic Church reaching out to welcome its communicants". The obelisk and Maderno's fountain mark the widest axis of the

title: "St. Peter's Basilica" content: ellipse. Bernini balanced the scheme with another fountain in 1675. The approach to the square used to be through a jumble of old buildings, which added an element of surprise to the vista that opened up upon passing through the colonnade. Nowadays a long wide street, the Via della Conciliazione, built by Mussolini after the conclusion of the Lateran Treaties, leads from the River Tiber to the piazza and gives distant views of St. Peter's as the visitor approaches, with the basilica acting as a terminating vista. Bernini's transformation of the site is entirely Baroque in concept. Where Bramante and

title: "St. Peter's Basilica" content: Michelangelo conceived a building that stood in "self-sufficient isolation", Bernini made the whole complex "expansively relate to its environment". Banister Fletcher says "No other city has afforded such a wide-swept approach to its cathedral church, no other architect could have conceived a design of greater nobility ... (it is) the greatest of all atriums before the greatest of all churches of Christendom." There are over 100 tombs within St. Peter's Basilica (extant to various extents), many located beneath the Basilica. These include 91 popes, Saint Ignatius of Antioch, Holy Roman Emperor Otto II, and the composer Giovanni Pierluigi da Palestrina.

title: "St. Peter's Basilica" content: Exiled Catholic British royalty James Francis Edward Stuart and his two sons, Charles Edward Stuart and Henry Benedict Stuart, Cardinal Bishop of Frascati, are buried here, having been granted asylum by Pope Clement XI. Also buried here are Maria Clementina Sobieska, wife of James Francis Edward Stuart, Queen Christina of Sweden, who abdicated her throne in order to convert to Catholicism, and Countess Matilda of Tuscany, supporter of the Papacy during the Investiture Controversy. The most recent interment was Pope John Paul II, on 8 April 2005. Beneath, near the crypt, is the recently discovered vaulted 4th-century "Tomb of the

title: "St. Peter's Basilica" content: Julii". (See below for some descriptions of tombs). Recently installed commemorative plaques read as follows: List of archpriests of the Vatican Basilica: St. Peter's Basilica The Papal Basilica of St. Peter in the Vatican (), or simply St. Peter's Basilica (), is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome. Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and the largest church in the world. While it is neither the mother church of the Catholic Church nor the cathedral

Answer: Peter

Answer: Simon Peter

Answer: Saint Peter the Apostle

Answer: Simon

Answer: Pope Peter

Answer: Peter

Answer: Saint Peter

Answer: Shimon

Answer: Petrus

Answer: Peter the Apostle

Answer: Simeon


Question: What is the conservation status of this plant? (The status is assigned by the international union for conservation of nature. Choose one among Endangered,Least Concern,Critically Endangered,extinct species,extinct in the wild,Vulnerable,Near Threatened,Data Deficient)

Instruction: Using the provided image, obtain documents that address the subsequent question:

title: Longan content: Longan Dimocarpus longan, commonly known as the longan (), is a tropical tree species that produces edible fruit. It is one of the better-known tropical members of the soapberry family (Sapindaceae), to which the lychee, rambutan, guarana, korlan, pitomba, Genip and ackee also belong. The fruit of the longan are similar to that of the lychee, but less aromatic in taste. It is native to Southern Asia. The longan (from Cantonese "lùhng-ngáahn" , literally "dragon eye"), is so named because it resembles an eyeball when its fruit is shelled (the black seed shows through the translucent flesh like a pupil/iris).

title: Longan content: The seed is small, round and hard, and of an enamel-like, lacquered black. The fully ripened, freshly harvested fruit has a bark-like shell, thin, and firm, making the fruit easy to peel by squeezing the pulp out as if one were "cracking" a sunflower seed. When the shell has more moisture content and is more tender, the fruit becomes less convenient to shell. The tenderness of the shell varies due to either premature harvest, variety, weather conditions, or transport/storage conditions. The Catalogue of Life and Plants of the World Online list: Depending upon climate and soil type the tree may

title: Longan content: grow to over in height, but it typically stands in height and the crown is round. The trunk is thick with corky bark. The branches are long and thick, typically drooping. The leaves are oblong and blunt-tipped, usually long and wide. The leaves are pinnately compounded and alternate. There are 6 to 9 pairs of leaflets per leaf and the upper surface is wavy and a dark, glossy-green. The Longan tree produces light-yellow inflorescences located at the end of branches. The inflorescence is commonly called a panicle and are long, and widely branched. The small flowers have 5 to 6

title: Longan content: sepals and petals that are brownish-yellow. The flower has a two-lobed pistil and 8 stamen. There are three flower types, distributed throughout the panicle; staminate (functionally male), pistillate (functionally female), and hermaphroditic flowers. Flowering occurs as a progression. The fruit hangs in drooping clusters that are circular and about wide. The peel is tan, thin, and leathery with tiny hairs. The flesh is translucent, and the seed is large and black with a circular white spot at the base. This gives the illusion of an eye. The flesh has a musky, sweet taste, which can be compared to the flavor

title: Longan content: of lychee fruit. The Longan tree is somewhat sensitive to frost. Longan trees prefer sandy soil. While the species prefers temperatures that do not typically fall below , it can withstand brief temperature drops to about . Longans usually bear fruit slightly later than lychees. The wild longan population have been decimated considerably by large-scale loggings in the past, and the species used to be listed as Vulnerable on the IUCN Red List. If left alone, longan tree stumps will resprout and the listing was upgraded to Near Threatened in 1998. Recent field data are inadequate for a contemporary IUCN

title: Longan content: assessment. The longan is believed to originate from the mountain range between Myanmar and southern China. Other reported origins include India, Sri Lanka, upper Myanmar, north Thailand, Kampuchea (more commonly known as Cambodia), north Vietnam and New Guinea. Its earliest record of existence draws back to the Han Dynasty in 200 BC. The emperor had demanded lychee and longan trees to be planted in his palace gardens in Shaanxi, but the plants failed. Four hundred years later, longan trees flourished in other parts of China like Fujian and Guangdong, where longan production soon became an industry. Later on, due to

title: Longan content: immigration and the growing demand for nostalgic foods, the longan tree was officially introduced to Australia in the mid-1800s, Thailand in the late-1800s, and Hawaii and Florida in the 1900s. The warm, sandy-soiled conditions allowed for the easy growth of longan trees. This jump-started the longan industry in these locations. Despite its long success in China, the longan is considered to be a relatively new fruit to the world. It has only been acknowledged outside of China recently in the last 250 years. The first European acknowledgement of the fruit was recorded by Joao de Loureiro, a Jesuit botanist, in

title: Longan content: 1790. The first entry resides in his collection of works, "Flora Cochinchinensis". Currently, longan crops are grown in southern China, Taiwan, northern Thailand, Malaysia, Indonesia, Cambodia, Laos, Vietnam, India, Sri Lanka, Philippines, Australia, the United States, and Mauritius. It is also grown in Bangladesh. The fruit is sweet, juicy and succulent in superior agricultural varieties. The seed and the shell are not consumed. Apart from being eaten fresh and raw, longan fruit is also often used in Asian soups, snacks, desserts, and sweet-and-sour foods, either fresh or dried, and sometimes preserved and canned in syrup. The taste is different from

title: Longan content: lychees; while longan have a drier sweetness, lychees are often messily juicy with a more tropical, sour sweetness. Dried longan are often used in Chinese cuisine and Chinese sweet dessert soups. In Chinese food therapy and herbal medicine, it is believed to have an effect on relaxation. In contrast with the fresh fruit, which is juicy and white, the flesh of dried longans is dark brown to almost black. Longan is commonly found in traditional Eastern folk medicine. This is not an unusual occurrence since, prior to the 1800s, longan was most prevalent in Asia. In ancient Vietnamese medicine, the

title: Longan content: "eye" of the longan seed is pressed against snakebites to absorb the venom. This was ineffective, but is still commonly used today. It is found commonly in most of Asia, primarily in China, Taiwan, Vietnam and Thailand. China, the main longan-producing country in the world, produced about 1,300 million tonnes of longan in 2010. Vietnam and Thailand had produced around 600 million and 500 million tonnes, respectively. Like Vietnam, Thailand's economy relies heavily on the cultivation and shipments of longan as well as lychee. This increase in the production of longan reflects recent interest in exotic fruits in other parts

title: Longan content: of the world. However, the majority of the demand comes from Asian communities in North America, Europe and Australia. The longan industry is very new in North America and Australia. Commercial crops have only been around for twenty years. In the United States, Longan is grown in Florida, Texas, Nevada, Georgia, California, Hawaii, and Arizona. They’re also grown in Australia, along the eastern coast. During harvest, pickers must climb ladders to carefully remove branches of fruit from longan trees. Longan fruit remain fresher when still attached to the branch, so efforts are made to prevent the fruit from detaching too

title: Longan content: early. Mechanical picking would damage the delicate skin of the fruit, so the preferred method is to harvest by hand. Knives and scissors are the most commonly used tools. Fruit is picked early in the day in order to minimize water loss and to prevent high heat exposure, which would be damaging. The fruit is then carefully placed into either plastic crates or bamboo baskets and taken to packaging houses, where the fruit undergo a series of checks for standards. The packaging houses are well-ventilated and shaded to prevent further decay. The process of checking and sorting are performed by

title: Longan content: workers instead of machinery. Any fruit that are split, under ripe, or decaying are disposed of. The remaining healthy fruit are then prepped and shipped to markets. In terms of distribution, many companies add preservatives to canned longan. Regulations control the preserving process. So far, the only known preservative added to canned longan is sulfur dioxide to prevent discoloration. Fresh longan that is shipped worldwide is exposed to sulfur fumigation. Tests have shown that sulfur residues remain on the fruit skin, branches, and leaves for a few weeks. This violates many countries' limits on fumigation residue, but efforts have been

title: Longan content: made to reduce this amount. Potassium chlorate has been found to cause the longan tree to blossom. However, this causes stress on the tree if it is used excessively, and eventually kills it. Longan Dimocarpus longan, commonly known as the longan (), is a tropical tree species that produces edible fruit. It is one of the better-known tropical members of the soapberry family (Sapindaceae), to which the lychee, rambutan, guarana, korlan, pitomba, Genip and ackee also belong. The fruit of the longan are similar to that of the lychee, but less aromatic in taste. It is native to Southern Asia.

Answer: Near Threatened

Answer: NT

Answer: Near Threatened

Answer: LR/nt


Question: What is the immediately prior item that this organization follows in a series?

Instruction: Using the provided image, obtain documents that address the subsequent question:

title: "British Aerospace" content: British Aerospace British Aerospace plc (BAe) was a British aircraft, munitions and defence-systems manufacturer. Its head office was at Warwick House in the Farnborough Aerospace Centre in Farnborough, Hampshire. Formed in 1977, in 1999 it purchased Marconi Electronic Systems, the defence electronics and naval shipbuilding subsidiary of the General Electric Company plc, to form BAE Systems. The company was formed in the United Kingdom as a statutory corporation on 29 April 1977 as a result of the Aircraft and Shipbuilding Industries Act. This called for the nationalisation and merger of the British Aircraft Corporation, Hawker Siddeley Aviation, Hawker Siddeley Dynamics

title: "British Aerospace" content: reduced to 5%. The Orange shareholding was a legacy of the 30% stake in Hutchison Telecommunications (UK) Ltd when Hutchison exchanged its own shares for a mobile phone company (Microtel Communications Ltd) from BAe. BAeSEMA, Siemens Plessey and GEC-Marconi formed UKAMS Ltd in 1994 as part of the Principal Anti-Air Missile System (PAAMS) consortium. UKAMS would become a wholly owned subsidiary of BAe Dynamics in 1998. In 1995 Saab Military Aircraft and BAe signed an agreement for the joint development and marketing of the export version of the JAS 39 Gripen. In 1996 BAe and Matra Defense agreed to merge

title: "British Aerospace" content: their missile businesses into a joint venture called Matra BAe Dynamics. In 1997 BAe joined the Lockheed Martin X-35 Joint Strike Fighter team. The company acquired the UK operations of Siemens Plessey Systems (SPS) in 1998 from Siemens AG. DASA purchased SPS' German assets. Defence consolidation became a major issue in 1998, with numerous reports linking various European defence groups – mainly with each other but also with American defence contractors. It was widely anticipated that BAe would merge with Germany's DASA to form a pan-European aerospace giant. A merger deal was negotiated between Richard Evans and DASA CEO Jürgen

Answer: Hawker Siddeley

Answer: Siemens Plessey

Answer: British Aircraft Corporation

Answer: Hawker Siddeley

Answer: Siemens Plessey

Answer: Hawker Siddeley Group Limited

Answer: British Aircraft Corporation

Answer: BAC

Answer: Hawker Siddeley Aircraft Co.


Question: Who found this aircraft?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

title: Beechcraft content: Beechcraft Beechcraft is a brand of Textron Aviation since 2014. Originally, it was a brand of Beech Aircraft Corporation, an American manufacturer of general aviation, commercial, and military aircraft, ranging from light single-engined aircraft to twin-engined turboprop transports, business jets, and military trainers. Beech later became a division of Raytheon and later Hawker Beechcraft before a bankruptcy sale turned its assets over to Textron (parent company of Beech's cross-town Wichita rival, Cessna Aircraft Company). Beech Aircraft Company was founded in Wichita, Kansas, in 1932 by Walter Beech as president, his wife Olive Ann Beech as secretary, Ted A. Wells as

title: Beechcraft content: vice president of engineering, K.K. Shaul as treasurer, and investor C.G. Yankey as vice president. The company began operations in an idle Cessna factory. With designer Ted Wells, they developed the first aircraft under the Beechcraft name, the classic Beechcraft Model 17 Staggerwing, which first flew in November 1932. Over 750 Staggerwings were built, with 270 manufactured for the United States Army Air Forces during World War II. Beechcraft was not Beech's first company, as he had previously formed Travel Air in 1924 and the design numbers used at Beechcraft followed the sequence started at Travel Air, and were then

title: Beechcraft content: purchased by Raytheon Company on February 8, 1980. Ted Wells had been replaced as chief engineer by Herbert Rawdon, who remained at the post until his retirement in the early 1960s. In 1994, Raytheon merged Beechcraft with the Hawker product line it had acquired in 1993 from British Aerospace, forming Raytheon Aircraft Company. In 2002, the Beechcraft brand was revived to again designate the Wichita-produced aircraft. In 2006, Raytheon sold Raytheon Aircraft to Goldman Sachs creating Hawker Beechcraft. Since its inception Beechcraft has resided in Wichita, Kansas, also the home of chief competitor Cessna, the birthplace of Learjet and of

Answer: Ted A. Wells

Answer: T. A. Wells

Answer: Ted A. Wells

Answer: T. Arthur Wells

Answer: Ted Wells

Answer: Theodore Arthur Wells

Answer: Theodore Wells


Question: What product does this organization produce?

Instruction: Retrieve documents that provide an answer to the question alongside the image:

title: "British Aerospace" content: British Aerospace British Aerospace plc (BAe) was a British aircraft, munitions and defence-systems manufacturer. Its head office was at Warwick House in the Farnborough Aerospace Centre in Farnborough, Hampshire. Formed in 1977, in 1999 it purchased Marconi Electronic Systems, the defence electronics and naval shipbuilding subsidiary of the General Electric Company plc, to form BAE Systems. The company was formed in the United Kingdom as a statutory corporation on 29 April 1977 as a result of the Aircraft and Shipbuilding Industries Act. This called for the nationalisation and merger of the British Aircraft Corporation, Hawker Siddeley Aviation, Hawker Siddeley Dynamics

title: "British Aerospace" content: or company. On 26 September 1985, the UK and Saudi Arabian governments signed the Al-Yamamah arms deal with BAe as prime contractor. The contracts, extended in the 1990s and never fully detailed, involved the supply of Panavia Tornado strike and air defence aircraft, Hawk trainer jets, Rapier missile systems, infrastructure works and naval vessels. The Al Yamamah deals are valued at anything up to £20 billion and still continue to provide a large percentage of BAE Systems' profits. In 1986, With Alenia Aeronautica, CASA and DASA, BAe formed Eurofighter GmbH for the development of the Eurofighter Typhoon. On 22 April

title: "British Aerospace" content: to produce the Avro RJ series, an evolution of the BAe 146. In mid-1992 BAe wrote off £1 billion of assets, largely as part of redundancies and restructuring of its regional aircraft division. This was largest asset write-off in UK corporate history. The General Electric Company (GEC), later to sell its defence interests to BAe, came close to acquiring BAe at this time. BAe cut 47% of its workforce (60,000 out of 127,000), 40,000 of which were from the regional aircraft division. Evans decided to sell non-core business activities which included The Rover Group, Arlington Securities, BAe Corporate Jets, BAe

title: "British Aerospace" content: reduced to 5%. The Orange shareholding was a legacy of the 30% stake in Hutchison Telecommunications (UK) Ltd when Hutchison exchanged its own shares for a mobile phone company (Microtel Communications Ltd) from BAe. BAeSEMA, Siemens Plessey and GEC-Marconi formed UKAMS Ltd in 1994 as part of the Principal Anti-Air Missile System (PAAMS) consortium. UKAMS would become a wholly owned subsidiary of BAe Dynamics in 1998. In 1995 Saab Military Aircraft and BAe signed an agreement for the joint development and marketing of the export version of the JAS 39 Gripen. In 1996 BAe and Matra Defense agreed to merge

title: "British Aerospace" content: Australian Senate Inquiry into the health and flight safety issues relating to oil fumes on the BAe 146. The film also contains an Australian Senator speech about money being paid by BAe for silence on the fumes issue. British Aerospace British Aerospace plc (BAe) was a British aircraft, munitions and defence-systems manufacturer. Its head office was at Warwick House in the Farnborough Aerospace Centre in Farnborough, Hampshire. Formed in 1977, in 1999 it purchased Marconi Electronic Systems, the defence electronics and naval shipbuilding subsidiary of the General Electric Company plc, to form BAE Systems. The company was formed in the

Answer: aircraft

Answer: aerial vehicle

Answer: aircraft

Answer: individual aircraft


Question: In which year did this bridge officially open?

Instruction: Obtain documents that correspond to the inquiry alongside the provided image:

title: Zubizuri content: Zubizuri The Zubizuri (Basque for ""white bridge""), also called the Campo Volantin Bridge or Puente del Campo Volantin, is a tied arch footbridge across the Nervion River in Bilbao, Spain. Designed by architect Santiago Calatrava, the bridge links the "Campo Volantin" right bank and "Uribitarte" left bank of the river. Opened in 1997, the bridge's unusual design consists of a curved walkway which is supported by steel suspension cables from an overhead arch. The structure of the bridge is painted white and the bridge deck consists of translucent glass bricks. Access ramps and stairways are located on both banks. The

Answer: 1997

Answer: 1997

Answer: 1996

Answer: 1998


Question: What product does this item produce?

Instruction: Using the provided image, obtain documents that address the subsequent question:

title: Marimba content: Marimba The marimba () is a percussion instrument consisting of a set of wooden bars struck with yarn or rubber mallets to produce musical tones. Resonators or pipes suspended underneath the bars amplify their sound. The bars of a chromatic marimba are arranged like the keys of a piano, with the groups of two and three accidentals raised vertically, overlapping the natural bars to aid the performer both visually and physically. This instrument is a type of idiophone, but with a more resonant and lower-pitched tessitura than the xylophone. A person who plays the marimba is called a "marimbist" or

title: Marimba content: a "marimba player". Modern uses of the marimba include solo performances, woodwind and brass ensembles, marimba concertos, jazz ensembles, marching band (front ensembles), drum and bugle corps, and orchestral compositions. Contemporary composers have used the unique sound of the marimba more and more in recent years. Xylophones are widely used in music of west and central Africa. In Latin America, enslaved Africans recreated them in the 16th and 17th centuries. The name "marimba" stems from Bantu "marimba" or "malimba", 'xylophone'. According to some Western sources, the word 'marimba' is formed from "ma" 'many' and "rimba" 'single-bar xylophone,' however the use

title: Marimba content: of the term marimba and/or derivative terms is not present in any West African language. The instrument itself is present, but is called balafon or heri in Mali and/or Guinea, while it is known as gyil among the Akan peoples in and around Ghana. The word marimba and derivative words is used widely in East, Central and Southern Africa. A survey of the literature on the African marimba and related instruments, like the Xylorimba, likembe and ilimba indicate a relationship between the word marimba and the various lamellaphones found all over Central and East Africa. Other sources credit the creation

title: Marimba content: of the marimba and the kalimba to Queen Marimba of the Wakambi people, who live south of Lake Victoria. In the Shona language "imba" means song. Kuimba is to sing. Marimba, is said to be the "mother of song" and the creator of all the instruments, including the marimba. Mama means mother in Kiswahili, so it makes perfect sense that the word mother would be combined with the word "imba" which is the unconjugated verb for 'sing'. The karimba is also said to have been created by Queen Marimba. In much of East & Central Africa the karimba is seen

title: Marimba content: as a hand-held version of the marimba. Diatonic xylophones were introduced to Central America in the 16th or 17th century. The first historical record of Mayan musicians using gourd resonator marimbas in Guatemala was made in 1680, by the historian . It became more widespread during the 18th and 19th centuries, as Mayan and Ladino ensembles started using it on festivals. In 1821, the marimba was proclaimed the national instrument of Guatemala in its independence proclamation. In 1850, Mexican marimbist Manuel Bolán Cruz (1810-1863), modified the old bow marimba, by the wooden straight one, lengthening the legs so that the

title: Marimba content: musicians could play in a standing mode, expanded the keyboard and replaced the gourd resonators by wooden boxes. In 1892, Mexican musician expanded marimba to include the chromatic scale by adding another row of sound bars, akin to black keys on the piano. The name "marimba" was later applied to the orchestra instrument inspired by the Latin American model. In the United States, companies like Deagan and Leedy company adapted the Latin American instruments for use in western music. Metal tubes were used as resonators, fine-tuned by rotating metal discs at the bottom; lowest note tubes were U-shaped. The marimbas

title: Marimba content: were first used for light music and dance, such as Vaudeville theater and comedy shows. Clair Omar Musser was a chief proponent of marimba in the United States at the time. French composer Darius Milhaud made the ground-breaking introduction of marimbas into Western classical music in his 1947 "Concerto for Marimba and Vibraphone". Four-mallet grip was employed to play chords, enhancing interest for the instrument. In the late 20th century, modernist and contemporary composers found new ways to use marimba: notable examples include Leoš Janáček ("Jenufa"), Carl Orff ("Antigonae"), Karl Amadeus Hartmann, Hans Werner Henze ("Elegy for Young Lovers"), Pierre

title: Marimba content: Boulez ("Le marteau sans maître") and Steve Reich. Marimba bars are typically made of either wood or synthetic material. Rosewood is the most desirable, while Padauk is a popular affordable alternative. Bars made from synthetic materials generally fall short in sound quality in comparison to wooden bars, but are less expensive and yield added durability and weather resistance, making them suitable for outdoor use; marimbas with wooden bars are usually played inside because the bars are susceptible to pitch change due to weather. Bubinga ("Guibourtia demeusei") and mahogany have also been cited as comparable to rosewood in quality for use

title: Marimba content: as marimba bars. The specific rosewood, "Dalbergia stevensonii", only grows in Southern Guatemala and Belize, formerly the British Honduras. This wood has a Janka rating of 2200, which is about three times harder than Silver Maple. The bars are wider and longer at the lowest pitched notes, and gradually get narrower and shorter as the notes get higher. During the tuning, wood is taken from the middle underside of the bar to lower the pitch. Because of this, the bars are also thinner in the lowest pitch register and thicker in the highest pitch register. In Africa, most marimbas are

title: Marimba content: made by local artisans from locally available materials. Marimba bars produce their fullest sound when struck just off center, while striking the bar in the center produces a more articulate tone. On chromatic marimbas, the accidentals ("black keys") can also be played on the extreme front edge of the bar, away from the node (the place where the string goes through the bar) if necessary. Playing on the node produces a sonically weak tone, and the technique is only used when the player or composer is looking for a muted sound from the instrument. There is no standard range of

title: Marimba content: the marimba, but the most common ranges are 4.3 octaves, 4.5 octaves and 5 octaves; 4, 4.6 and 5.5 octave sizes are also available. The range of the marimba has been gradually expanding, with companies like Marimba One adding notes up to F above the normal high C (C) on their 5.5 octave instrument, or marimba tuners adding notes lower than the low C on the 5 octave C. Adding lower notes is somewhat impractical; as the bars become bigger and the resonators become longer, the instrument must be taller and the mallets must be heavier in order to produce

title: Marimba content: a tone rather than just a percussive attack. Adding higher notes is also impractical because the hardness of the mallets required to produce the characteristic tone of a marimba are much too hard to play with in almost any other, lower range on the instrument. The marimba is a non-transposing instrument with no octave displacement, unlike the xylophone which sounds one octave higher than written and the glockenspiel which sounds two octaves higher than written. Part of the key to the marimba's rich sound is its resonators. These are tubes (usually aluminum) that hang below each bar. In the most

title: Marimba content: traditional versions, various sizes of natural gourds are attached below the keys to act as resonators; in more sophisticated versions carved wooden resonators are substituted, allowing for more precise tuning of pitch. In Central America and Mexico, a hole is often carved into the bottom of each resonator and then covered with a delicate membrane taken from the intestine of a pig to add a characteristic "buzzing" or "rattling" sound known as "charleo". In more contemporary-style marimbas, wood is replaced by PVC tubing. The holes in the bottoms of the tubes are covered with a thin layer of paper to

title: Marimba content: produce the buzzing noise. The length of the resonators varies according to the frequency that the bar produces. Vibrations from the bars resonate as they pass through the tubes, which amplify the tone in a manner very similar to the way in which the body of a guitar or cello would. In instruments exceeding octaves, the length of tubing required for the bass notes exceeds the height of the instrument. Some manufacturers, such as DeMorrow and Malletech, compensate for this by bending the ends of the tubes. This involves soldering smaller straight sections of tubes to form "curved" tubes. Both

title: Marimba content: DeMorrow and Malletech use brass rather than aluminium. Others, such as Adams and Yamaha, expand the tubes into large box-shaped bottoms, resulting in the necessary amount of resonating space without having to extend the tubes. This result is achieved by the custom manufacturer Marimba One by widening the resonators into an oval shape, with the lowest ones reaching nearly a foot in width, and doubling the tube up inside the lowest resonators. Resonator tuning involves adjusting "stops" in the tubes themselves to compensate for temperature and humidity conditions in the room where the instrument is stored. Some companies offer adjustment

title: Marimba content: in the upper octaves only. Others do not have any adjustable stops. Still some companies (Malletech and DeMorrow) offer full range adjustable stops. On many marimbas, decorative resonators are added to fill the gaps in the accidental resonator bank. In addition to this, the resonator lengths are sometimes altered to form a decorative arch, such as in the Musser M-250. This does not affect the resonant properties, because the end plugs in the resonators are still placed at their respective lengths. The mallet shaft is commonly made of wood, usually birch, but may also be rattan or fiberglass. The most

title: Marimba content: common diameter of the shaft is around . Shafts made of rattan have a certain elasticity to them, while birch has almost no give. Professionals use both depending on their preferences, whether they are playing with two mallets or more, and which grip they use if they are using a four-mallet grip. Appropriate mallets for the instrument depend on the range. The material at the end of the shaft is almost always a type of rubber, usually wrapped with yarn. Softer mallets are used at the lowest notes, and harder mallets are used at the highest notes. Mallets that are

title: Marimba content: too hard will damage the instrument, and mallets that might be appropriate for the upper range could damage the notes in the lower range (especially on a padouk or rosewood instrument). On the lower notes, the bars are larger, and require a heavier mallet to bring out a strong fundamental. Because of the need to use varying hardnesses of mallets, some players, when playing with four or more mallets, might use graduated mallets to match the bars that they are playing (softer on the left, harder on the right). Some mallets, called "two-toned" or "multi-tonal", have a hard core, loosely

title: Marimba content: wrapped with yarn. These are designed to sound articulate when playing at a loud dynamic, and broader at the quieter dynamics. Modern marimba music calls for simultaneous use of between two and four mallets (sometimes up to six or eight), granting the performer the ability to play chords or music with large interval skips more easily. Multiple mallets are held in the same hand using any of a number of techniques or "grips". For two mallets in each hand, the most common grips are the Burton grip (made popular by Gary Burton), the Traditional Grip (or "cross grip") and the

title: Marimba content: Musser-Stevens grip (made popular by Leigh Howard Stevens). Each grip is perceived to have its own benefits and drawbacks. For example, some marimbists feel the Musser-Stevens grip is more suitable for quick interval changes and mallet independence, while the Burton grip is more suitable for stronger playing or switching between chords and single-note melody lines. The Traditional Grip gives a greater dynamic range and freedom of playing. The choice of grip varies by region (the Musser-Stevens grip and the Burton grip are more popular in the United States, while the traditional grip is more popular in Japan), by instrument (the

title: Marimba content: Burton grip is less likely to be used on marimba than on a vibraphone) and by the preference of the individual performer. Six-mallet grips consist of variations on these three grips. Six mallet marimba grips have been used for years by Mexican and Central American marimbists, but they are generally considered non-standard in the Western classical canon. Keiko Abe has written a number of compositions for six mallets, including a section in her concerto "Prism Rhapsody". Other marimbists/composers using this technique include Rebecca Kite (who commissioned composer Evan Hause to write Circe, a major work for six mallets, in 2001),

title: Marimba content: Dean Gronemeier, Robert Paterson, and Kai Stensgaard. Paterson's grip is based on the Burton grip, and his grip and technique have been called the Paterson grip, and even the Wolverine grip. Paterson states that his technique differs from others in that there is less emphasis places on block chords on the lower bank of notes (the naturals or white notes) and more emphasis on independence, one-handed rolls, and alternations between mallets 12-3 or 1-23 in the left hand (or 45-6 or 4-56 in the right hand, respectively), and so on. In 2012, Paterson released the world's first all six-mallet marimba

title: Marimba content: album entitled Six Mallet Marimba, demonstrating these techniques via works Paterson has written. Ludwig Albert published at first a work for 8 mallets and demonstrated the Ludwig Albert 8 mallet grip based on the traditional grip from 1995. This list represents an incomplete selection of Western classical compositions for the instrument: Traditional marimba bands are especially popular in Guatemala where they are the national symbol of culture, but are also strongly established in the Mexican states of Chiapas, Tabasco and Oaxaca. They are also very popular in other Central American nations like Honduras, El Salvador, Nicaragua and Costa Rica, as

title: Marimba content: well as among Afro-Ecuadorians and Afro-Colombians. There have been numerous jazz vibraphonists who also played the marimba. Notable among them are Gary Burton, David Friedman, Stefon Harris, Bobby Hutcherson, Joe Locke, Steve Nelson, Red Norvo, Dave Pike, Gloria Parker, Dave Samuels and Arthur Lipner. Marimbaist and vibraphonist Julius Wechter was the leader of a popular 1960s Latin-flavored band called Baja Marimba Band and Herb Alpert and his Tijuana Brass made frequent use of the marimba. Marimba was played famously by Brian Jones in the Rolling Stones' songs "Under My Thumb" and "Out of Time". "Island Girl" by Elton John and

title: Marimba content: "Moonlight Feels Right" by Starbuck also prominently feature the instrument. Ruth Underwood played an electrically amplified marimba in Frank Zappa's The Mothers of Invention. Art Tripp played the marimba on several of Captain Beefheart & the Magic Band's albums, most notably on "Lick My Decals Off, Baby" and "The Spotlight Kid". Victor Feldman played the marimba on several of Steely Dan's early albums. It is played at the start of "Mamma Mia" by ABBA. One of the most popular songs to feature a marimba is "Shape of You" by Ed Sheeran, where marimba is part of the tropical house effects,

title: Marimba content: and The Psychedelic Furs 1982 song "Love My Way" which features the marimba, originally played by Todd Rundgren, throughout. It is also featured on Toto's 1982 hit song "Africa." Percussionist Evelyn Glennie has collaborated with Björk and can be heard playing the marimba on "Post" and "Telegram", as well as "Oxygen". Thompson Twins included marimba in their many 1980s works. Jack White played marimba on "The Nurse", a song on The White Stripes' album "Get Behind Me Satan". In 2003, Marina Calzado Linage recorded an album bridging the gap between academic and popular music, "Marimba de Buenos Aires", featuring music

title: Marimba content: by Ástor Piazzolla. In 2009, Canadian musician Spencer Krug, working under the moniker Moonface, released a 20-minute continuous piece called "Dreamland EP: Marimba And Shit-Drums" with Jagjaguwar. The recording consists entirely of marimba, drums and vocals and comprises many movements and recurring themes. Vincent Montana Jr. played the marimba on one of the great socially conscious soul songs of the early 1970s "People Make the World Go Round" by The Stylistics. The experimental band Coil (band) used the marimba in its later performances such as Selvaggina, Go Back into the Woods and studio albums The Ape of Naples and Black

title: Marimba content: Antlers. The flapamba is a musical instrument in the percussion family. It consists of tuned wooden bars pinched on one side (over the node), and mounted over resonator boxes. Sliding the bars slightly forward or backward affects their tuning. Unlike marimba or xylophone however, the sound is not as focused tonally, as it is a bit more percussive (closer to tuned log drums). Part of what makes the flapamba’s characteristic sound is the tuning; for instance, the resonators are not tuned to the bars as in other standard keyboard percussion instruments. Renowned studio percussionist Emil Richards bought his original flapamba

title: Marimba content: from Professional Drum Shop in Hollywood in the late 1960s or early 1970s, and added it to his giant instrument collection, the Emil Richards Collection. The staff at the store convinced him to buy it, as they told him that they were getting out of the percussion rental business since Emil was dominating much of the work in town. Emil couldn't find any info on the history or maker of the flapamba when he purchased it, but nevertheless he started using it on recording sessions, as the chromatic layout of the instrument made it an easy transition from other keyboard

title: Marimba content: mallet instruments. He used the softest mallets possible or the meat of the fingers to get a warm, resonant, wooden sound. This original flapamba had a range from middle C (C), up two full octaves. In the 2000s, Emil decided that he would like the flapamba to have an additional lower range, so specialty mallet craftsman Chris Banta made new bars spanning F to C, and dubbed this the "bass flapamba". He also replaced the bars on the original set to maintain continuity of sound between both sets, and changed the finish to a blonde color from the original set's

title: Marimba content: brown. Both sets combined have a range from F–C. Emil's flapamba has been heard on countless soundtracks and other recordings, such as on the television shows "Lost", "Daktari", and "Kung Fu". Elmer Bernstein used it on his soundtrack for "McQ". The beginning of the Steely Dan track "Rikki Don't Lose That Number" features Victor Feldman playing the flapamba, but his contribution was cut from the original ABC single version. Marimba The marimba () is a percussion instrument consisting of a set of wooden bars struck with yarn or rubber mallets to produce musical tones. Resonators or pipes suspended underneath the

Answer: marimba music

Answer: marimba

Answer: marimba music


Question: Which place is this bird endemic to?

Instruction: With the provided image, gather documents that offer a solution to the question:

title: "Caspian tern" content: Asia, Africa, and Australasia (Australia and New Zealand). North American birds migrate to southern coasts, the West Indies and northernmost South America. European and Asian birds spend the non-breeding season in the Old World tropics. African and Australasian birds are resident or disperse over short distances. In 2016, a nest of the Caspian tern was found in the Cape Krusenstern National Monument in northwestern Alaska, 1,000 miles further north than any previous sighting. This development was part of a general trend in Alaska of species moving to the north, a tendency ascribed to global warming. The global population is about

Answer: New Zealand

Answer: nz

Answer: Dominion of New Zealand

Answer: New Zealand

Answer: Aotearoa

Answer: NZ

Answer: Aotearoa New Zealand

Answer: NZL