<p>Saddle Mountain is the tallest mountain in Clatsop County in the USA state of Oregon. Part of the Oregon Coast Range, Saddle Mountain is in Saddle Mountain State Natural Area in the northwest corner of Oregon. The peak is listed on Oregon’s Register of Natural Heritage Resources.</p><br>
<h2>Geology</h2><br>
<p>Saddle Mountain was created around 15 million years ago in the Pliocene epoch when lava flows poured down the old Columbia River valley. When the lava encountered the water at the Astoria Sea, great steam explosions and thermal shocks occurred to create a large pile of basalt rocks. The mountain consists of this volcanic breccia, which is a rock made up of broken basalt fragments that are fused together in a fine-grained matrix.</p><br>
<h2>History</h2><br>
<p>In modern time, the mountain has been viewed and described by a variety of European and American explorers. Beginning in 1788, these explorers included British captain John Meares, Lewis and Clark in 1805, and the Wilkes Expedition in 1841. Meares named the peak Mont de la Selle in 1788.</p><br>
<h2>Access</h2><br>
<p>The hike to the taller of the two peaks is a 6 mi round trip consisting of challenging terrain. Elevation gain is 1,603 ft and leads to a 360-degree view to the Pacific Ocean, Cascade Mountain peaks such as Mount Hood, and other peaks in the Coast Range. The lower peak&mdash;elevation 3,200 ft&mdash; to the east and south does not have trail access. The trail is steep at times along rock outcroppings, but does offer views that include wildflowers in bloom in the springtime.</p><br>
<p>Saddle Mountain is 7 mi off USA Route 26 about 65 mi west of Portland. The access road to the mountain and state park is paved. The area contains dense forests of spruce and hemlock, and some ancient lava flows.</p><br>
<p>is a strait separating Mayne Island in the south and Galiano Island in the north in the southern Gulf Islands, British Columbia, Canada. It connects the Trincomali Channel in the west and the Strait of Georgia in the east. The pass stretches 5.5 km from northeast to southwest with two roughly right angle bends at each end.</p><br>
<p>It was named for the USCS Active, a United States Navy survey vessel, the first steamer to navigate the pass in 1855.</p><br>
<p>Currently, the pass is used by BC Ferries&#39; passenger and vehicle ferry runs between Tsawwassen Ferry Terminal at Tsawwassen, Lower Mainland, the southern Gulf Islands and Swartz Bay Ferry Terminal at Swartz Bay, Vancouver Island. Because the pass is very narrow like a river, the ferries pass extremely close to its shores. It is also used by pleasure craft, fishing boats, freighters and freight ferries, making it very &#39;active&#39; commercially as well. However, strong eddies and tide rips are always present in the pass, making it a hazardous corridor for smaller vessels to transit.</p><br>
<p>A variety of wildlife may be seen in the pass, including harbour seals, sea lions, bald eagles, and orcas.</p><br>
<h2>Accidents in Active Pass</h2><br>
<p>*On 2 August, 1970, three people aboard the BC Ferry Queen of Victoria perished and the ship itself suffered close to $1 million damage when a Russian freighter, the Sergey Yesenin, struck it in Active Pass.</p><br>
<p>*On 9 August, 1979, the BC Ferry Queen of Alberni ran aground at Collinson Reef in Active Pass, causing the vessel to tip dramatically to one side. Extensive vehicle and ship damage occurred, as well as the casualty of a racehorse.</p><br>
<p>*On 6 November, 2015, a man jumped from the deck of a BC Ferry in Active Pass and swam to Galiano Island. He was later arrested after breaking into a cabin.</p><br>
<p>Cueva de La Pasiega, or Cave of La Pasiega, situated in the Spanish municipality of Puente Viesgo, is one of the most important monuments of Paleolithic art in Cantabria. It is included in the UNESCO schedule of Human Heritage since July 2008, under the citation "Cave of Altamira and palaeolithic cave art of Northern Spain."</p><br>
<p>It is located in the heart of the uniprovincial community, in the middle of the Pas River valley, around the cave of Hornos de la Pena and Monte Castillo, in the same group of caves as Las Monedas, Las Chimeneas, and the cave of El Castillo. The caves of Monte Castillo form an amazingly complete series, both as regards the material culture of the Old Stone Age and from an artistic point of view. La Pasiega is basically an enormous gallery, its known extent more than 120 meters, that runs more or less parallel to the slope of the mount, opening to the surface at six different places: six small mouths, the majority obstructed, of which two can be accessed for inspection. The principal gallery is approximately 70 meters and opens to deeper secondary galleries, winding and labyrinthine, which in places broaden out to form large chambers. Thus one refers to "room II-VIII", the room called "Gallery B", or "room 11" of "Gallery C", all with paleolithic decorations. The two last mentioned rooms contain some of the rock sanctuaries that will be mentioned below.</p><br>
<p>The recorded remains belong mainly to the Upper Solutrean and the Lower Magdalenian ages, although older objects are also found. Throughout the cave are many walls with paintings and with engraved or incised images. There are representations of equines (horses), cervids (deer, male and female) and bovines (cattle). There are also many abstract symbols (ideomorphs).</p><br>
<h2>Discovery</h2><br>
<p>The scientific discovery of the La Pasiega can be credited to Werner and Hugo Obermaier. While excavating the Cave of El Castillo in 1911, they received news that the workers knew of another cavity nearby, which villagers called "La Pasiega." The investigators soon confirmed that the cave contained rock paintings. Later, Henri Breuil, Hugo Obermaier, and Hermilio Alcalde del Río began their systematic study of the cave. However, the study could not be finished due to Henri Breuil&#39;s ongoing work on his magnum opus. A separate monograph was necessary, and was published in 1913. The study was crucial to advance prehistoric science in Spain.</p><br>
<p>"In the next decade, Alcalde del Río was to assist fully in the international project that the Institut de paléontologie humaine in París sponsored, in which Abbé Breuil and H. Obermaier were prominent. That is the period in which the cave of La Pasiega was discovered. This is the most important moment in the study of Cantabrian rock art. The fruits of this labour were to feature in the monumental joint publications on the caves of the region, issued in Monaco, in the general work (Alcalde del Río, Breuil and Sierra, 1911), and specifically on La Pasiega (Breuil, Obermaier and Alcalde del Río, 1913)" — Joaquín González Echegaray</p><br>
<p>In 1903 Alcalde del Río had discovered the cave El Castillo, and, as noted, Obermaier carried out excavations between 1910 and 1914. The excavations were continued at various times, intermittently, until our own times, by qualified specialists. Ultimately the investigation was taken up by the archaeologists Rodrigo de Balbín Behrmann and César González Sainz. After the discovery of "La Pasiega" and the first campaigns, the area was little visited — mainly owing to the difficult historical circumstances of Spain in the 1930s. After this, in 1952, while a eucalyptus plantation was being put in, another cave was found with a small monetary treasure of the 17th century: hence the new cave was called "Las Monedas": in it, however, was found a rock sanctuary with important pictures and drawings. In light of this, the engineer Alfredo García Lorenzo concluded that Monte Castillo held more secrets. Therefore, a geological survey was set in motion which resulted the following year in the discovery of another cave with rock paintings, "Las Chimeneas" ("The Chimneys"), and also other covachas of lesser importance such as "La Flecha", "Castañera", "Lago" etc.</p><br>
<h2>Other archeologists</h2><br>
<p>The cave, because it had remains of the primary Cantabrian Solutrean and Magdalenian epochs, provided the basis for a chronological series for the wall paintings. The excavations were old, most recently conducted by Dr. Jesus Carballo in 1951. There was a base level with ambiguous artefacts which, by their characteristics, seemed related to a possible Mousterian phase. Above that there rested a comparatively rich Solutrean level with very characteristic implements such as feuilles de laurier (leaf-points) and notched points with the finest working produced by light pressure-flaking, like light javelin points. This level could be attributed accurately to the Upper Solutrean. The most recent layer was also relatively rich, with various burins (borers), striker pins, and perforated objects of bone and that could belong to the Lower Magdalenian. Certainly, compared with the stratigraphical significance of El Castillo, La Pasiega is an archeological sequence of less organization, so far as the materials yet found are concerned. However they should certainly not be less valued for this.</p><br>
<h2>Cave paintings</h2><br>
<p>On the plan proposed by André Leroi-Gourhan, La Pasiega can be taken as a good example of the "Cave as Sanctuary", or to be more precise as a collection of sanctuaries of different epochs, arranged according to certain models. In fact this idea developed in the thoughts of the distinguished French prehistorian precisely when he visited the Cantabrian caves, while he was participating in a group of foreign investigators who were excavating in the cave of El Pendo during the 1950s. "I can definitely confirm that the study of the rock art of northern Spain was decisive in the master&#39;s ideas, which since then have become famous through his many publications." For Leroi-Gourhan, this type of cave has a rather complex spatial or topographical hierarchy in which it is possible to discern principal groups of animals (bos facing equus, forming a duality), which occupy the most conspicuous or preferred areas, complemented by secondary animals (deer, goat, etc.) and other more occasional species which however fulfil their subsidiary function: on the other hand it is usual that the ideomorphic symbols appear in peripheral or marginal areas, or in those which are difficult to reach:</p><br>
<p>Animals and symbols correspond, therefore, to the same basic formulae, logically binary and even defended by the fact that animals of the same species appear frequently in pairs, male and female, though the dispositivo is so complex that we ought not suppose an explanation purely based in the symbolism of fertility; the first element is the presence of two species A-B (horse-bison); confronted with two types of signs, masculine and feminine, an attempt to attribute to the horse and bison the same symbolic value or, at least, a bivalency of the same kind as that of the symbols of the two categories (S1 and S2)</p><br>
<p>It is supposed that there are exceptions to this rule, many variants which depend on regions and epochs, the metaphyical significance of which is not entirely clear in its general outline, but which should be explained in a particular way, also at La Pasiega.</p><br>
<p>Joaquín González Echegaray and later his fellow-workers have made various counts of the species of animal represented, one of which reckoned more than 700 painted forms in this cave, among others: 97 deer (69 females and 28 males), 80 horses, 32 ibex, 31 cattle (17 bison and 14 aurochs), two reindeer, a carnivorous animal, a chamois, a megaloceros, a bird and a fish; also there may be a mammoth and about 40 quadrupeds not clearly identified; also the ideomorphs, such as roof-shaped and other surprisingly varied symbols (more than 130), and very often including various anthropomorphs and hundreds of marks and partly erased traces.</p><br>
<h3>Gallery A, 1st Sanctuary</h3><br>
<p>To get into Gallery A it is necessary to descend by a little well, but originally one could go in by another entrance which, however, is now thoroughly blocked by stalactites and by collapses from outside. The gallery runs to a depth of 95 meters (from the present entrance), but it gets narrower and it is not possible to know whether it continues beyond. Entering into the cave, one passes a blocked entrance on the right, and between 60 and 70 meters depth appears the connection to Gallery B, slightly before the most interesting collection of pictures.</p><br>
<p>Then at a bit more than 75 meters it seems that the sanctuary (properly so-called) begins, with more than 50 deer (the majority female), the horses about half that number, and the cattle (aurochs and bison) fewer, strategically placed dominating the most visible places. In this sanctuary there have been found an anthropomorph, a vulva, linear and dotted symbols, a square and a great quantity of tectiforms, about as many as the deer.</p><br>
<p>The paintings can be put together in various groups, paying attention, above all, to dating criteria, but also technical and thematic sequence which unfolds like clockwork. These groups seem schematized with the semiotic zoological conventions unravelled by Leroi-Gourhan.Leroi-Gourhan, Consideraciones sobre la organización espacial de las figuras animales en el arte parietal paleolítico, in Símbolos, Artes y Creencias de la Prehistoria (Editorial Istmo, Madrid 1984), p.: 453) identifies the figures of animals and signs with the following notation:</p><br>
<p>The First Large Group is on the left hand wall of the gallery, including figures arranged as a double frieze with numerous deer, mostly female, and also plenty of horses and a bison which is at the centre of the composition. Between them are symbols which stress the association of the vulva and the rod, the male-female distinction. The group brings out the theme of Bison-Horse which can also be interpreted as the same type of dualism. The group is completed by another little group of horses, the remaining animals being in the centre and the upper part of the frieze, where there are only hinds and ideomorphs.</p><br>
<p>The techniques of execution include outlines for hinds and bison, linear drawing (between outline and modelling) and, only in two places, partial tinta plana (selective infilling) is used (for the heads of certain hinds). The dominant color, without any doubt, is red, but in a small way yellow and purplish red also appear. Engraving was not used in this group.</p><br>
<p>After this one finds a series of groupings of less organization, more or less connected with these, on the left wall of the gallery: in them appear every kind of figure that, certainly, complement the following group. They are clearly dominated by deer in association with some ideomorphs and a few cattle (possibly aurochs), which seem to stand in relation to the horses in the group which next appears round a corner.</p><br>
<p>The Second Large Group begins around a bend to the left, in the end area of the gallery, where it becomes narrow: it brings together figures on one side and the other. This time the horses and the deer are almost equal in number, as usual at La Pasiega, and fewer but not less important are the cattle, two of which are bison. Also there is a possible feminine anthopomorph and about thirty rectangular tectiform symbols, positioned in the way that seems to be usual in this type of cave sanctuary:</p><br>
<p>"The symbols, in general, occupy a separate space from the animals, either in the borders of the panels, or running into a niche or hollow, or a cranny more or less nearby. Even so, there are reasons to think that the signs are placed in relation to the same animals."</p><br>
<p>The cattle are concentrated on the right side, together with three of the horses, forming the nucleus of the binary dialectic arrangement of this second group, and moreover, there is also included with them the anthropomorph, all surrounded by the typical peripheral animals (deer) and ideomorphs. On the left wall, together with more deer, the other five horses which apparently stand in binary relation to the cattle painted before the bend, which have been mentioned in the earlier description. At the end of the gallery, which is starting to turn into a narrow defile, there are rectangular signs on either side.</p><br>
<p>Nearby, in a little recess there is a third group of lesser extent. In this are five deer, an ibex and a bovid, all complemented by seven quadrangular signs, one of them shaped like the segment of an orange. The arrangement seems clear in principle: the pictures of the two walls form two confrontations, on one side the bovid with some deer and ideomorphic signs; this confronts the horses which, in this way, align themselves with the bison, and the rest of the deer, the signs, and the goat.</p><br>
<p>All this large complex of paintings is predominantly in modeled outline drawing in red.</p><br>
<p>The Third Large Group is sited on a stalagmite formation which hangs from the vault (such as has the speleological name bandera), between the first group already described and the last, which will be described below. The two groups, although they are near to one another, are executed in a different technique giving rise to the suspicion that they were created in different periods. There are about ten hinds, also several horses (though not so many), two cattle and a square symbol. Coming from the entrance direction, one sees first most of the hinds, followed by the association of the horses, below which are the symbol and the remaining hinds.</p><br>
<p>The predominant technique, for its warmth and for its frequency of use, is the tinta plana -</p><br>
<p>the plane or block color – either combined with black lines forming an outline in a sort of two-color method (as occurs on one of the horses), or emphasized with engraved lines which define details (this can be seen on various hinds), or enclosed, with scraffito in the rock to add chiaroscuro textures, as happens with a hind painted in red. Three of the horses and the head of another are black, the square sign is yellow, and the remainder of the figures are red.</p><br>
<p>The Fourth (and last) Large Group, placed facing the group just described, is in a very close relationship to it, containing a similar number of deer and horses, together with a pair of bison. Among the various symbols an ideomorph in the shape of a hand is prominent, reminiscent of those at Santián, and a red sign which could well be meant for a grotesque bison head. In the central position appear a horse and a bison, forming the typical binary combination, at one end other bison and at the opposite end the remaining horses. There is no tinta plana, no engraving and no two-color work: on the contrary, it is predominantly (more or less modeled) outline work in red.</p><br>
<h3>Gallery B, 2nd Sanctuary</h3><br>
<p>Entering through Gallery A, after 60 or 70 meters, through a tunnel on the right, the first big room of Gallery B is met with. Fairly far away from the entrance which is used nowadays there are various old exits to the exterior which have become blocked with the passage of time. One of them has been made into an opening, but it is not known whether, in the epoch in which this area was decorated, any of these were usable, which would be a help in understanding the point of view which the prehistoric artists would have taken in conceptualizing the zonal arrangement and levels of the room&#39;s decoration.</p><br>
<p>The pictorial density of this room is less than in Gallery A, with which it is partly to be associated. Among its depictions there is a roughly equal number of deer and horses, with a lesser number of cattle, following the customary pattern of this cave. But it is outstanding for the originality of some of its other figures, including a fish, a large ibex and ideomorphs like rods, key-shapes and an unprecedented little group of symbols popularly known as "The Inscription".</p><br>
<p>So far as it has been possible to observe, the arrangement of all these figures amounts to a careful scheme of introduction to the main panels of Gallery A, supposing that this might have been the main entrance. At the entry (from Gallery A) is a little engraved hind, and later, signs of the kind named alfa by Leroi-Gourhan (that is to say, masculine), which appear on both sides of the gallery. Following the constructed entrance, on the right appears a fish, followed by a large male deer (stag) together with a little hind (both in black). Immediately before reaching the centre of the large room there appear signs on both sides, but this time they are of the beta type (feminine), red in color. The crowning feature of this sanctuary consists of three groups or panels which repeat the scheme of cattle-horse complemented by secondary animals or without them. There are three other panels in which only horses appear, several of them on the same stalagmite columns, others on the walls. In this nucleus a hand in positive depiction is emphasised, not mutilated, but with six fingers!: a grill-shaped symbol, some unidentified animal engraved in striated lines and the only male ibex of the room.</p><br>
<p>The techniques employed by the painters recall, partly, those of Gallery A (which is why they have come to be considered as related rooms): red painting, between modeled and outline, red block coloring (tinta plana), with some internal modeling achieved by scraffito to the underlying rock and by the addition of lines of the same color but in more intense shades. The most important difference is the copious use of engraving, both simple and striated, applied specially to the horses.</p><br>
<h3>Gallery C (room XI), 3rd Sanctuary</h3><br>
<p>Access to Gallery C is found, after entering the cave, by a way through to the left crossing Gallery D. Along there opens "Room XI" of Gallery C. This, in the same way as Gallery B, has direct communication with the outside, despite the fact that it is obstructed by rubble and rocks which have certainly been introduced. Once again, the perception of the arrangement of the pictures is changed for the observer by the problem of the blocked entrances, as we have noticed in the second Sanctuary.</p><br>
<p>Leroi-Gourhan differentiates two clear parts to this sanctuary, located in separate places within the same room, and with different themes, technique and chronology. In addition there are two ibexes in the original monograph indicated at number 67, produced in partial block color by a kind of modeling and black in color, a method which is not found in any of the remaining figures of the room.</p><br>
<p>The First Large Group of Room XI is the one found mainly around the presumed original entrance, now blocked. It contains mainly hinds, some stags, various cattle and a pair of horses, and also there is a goat. There are other symbols difficult to identify, some seeming to be animals, others anthropomorphs, and there is a positive hand impression colored black, dotted signs, rod signs, and other ideomorphs, among which stands out the so-called "Trampa" (a kind of column which encloses, behind a symbol, a bison and a hind (more will be said of this anon). The arrangement of this group seems to correspond to a threefold or ternary structure with variations: bos-equus-cervus with various signs or bos-equus-anthropomorph with signs. The truth is that the complexity of this panel is great, given the concentration of very varied figures.</p><br>
<p>Clearly the dominant technique is red outline drawing, but in one of the panels is also found, for some deer, striated engraving of very fine execution: also, there are various figures in black. In addition, there is two-color work on one of the cattle, in which red block painting and black lines are combined, this time a repainting of different date. The presumed anthropomorph seems to contain up to three colors, not a very usual thing in palaeolithic art (red, black and yellow). There are some yellow figures.</p><br>
<p>The Second Large Group is around the access area to Zone D, that is, on the opposite side of the room. The species represented show predominantly horses, followed by cattle, and fewer but certainly present are deer and ibex (for which the symbols are complementary to the foregoing group). The symbols are of indeterminate number, and are of distinct kind, including key-shaped and feather-shaped ones, and also barred and dotted ones. The reduction in number of the deer does not happen in any other parts of the cave, where they are in the majority, whereas the proportion of horses is increased.</p><br>
<p>Here the arrangement is also complex. All the ideomorphs are in the area nearest to the cave mouth, and the overlays show repaintings, maybe in distinct periods. There are three possible sub-groups of horses without cattle (only two of the compositions are the typical A-B which have been observed up to this point). However, there are plenty of isolated figures, above all round the entrance to the room from Zone D.</p><br>
<p>The dominant techniques are engraving of multiple lines, as if striated, and black painting: the yellows, reds and ochres are fewer. However, there is an example of the two-color work, in one representation, although it is not very prominent. As we have seen, the technique is also distinct from that of the earlier group and confirms the separation of the two areas within the room.</p><br>
<h3>Zone D</h3><br>
<p>This is an intermediate part of the cave, which is probably an extension of the sanctuary of Gallery C, like a grey area, with much fewer and more sporadic images among which there is little coherency, apart from a pair of small groups which continue to repeat the theme of the cattle and horse dualism.</p><br>
<h3>Differences between the sanctuaries</h3><br>
<p>Taken together, one can see clear differences between the various sanctuaries. That of Gallery A, which is the most substantial, has no engraved work apart from a few images in which it is combined with block color painting; on the other hand, tamponado method is very important, combined with other techniques of painting basically in red; the ibex is very scarce, but the deer are almost double in number to the horses and five times more frequent than the cattle. There are lots of rectangular tectiform ideomorphs.</p><br>
<p>In Gallery B, which has fewer images, one notices the absence of tamponado, while engraving (simple or striated) gains importance. The deer here are fewer, except in the room which was found in the 1960s; and the ideomorphs are completely different, with the so-called inscription outstanding for its uniqueness.</p><br>
<p>Gallery C has, so to say, two independent sanctuaries, both with striated engraving, but while the first present images which are mainly red, in the second they are mainly black; here the goats attain an importance not seen in the rest of the cave, and the ideomorphs are fairly unusual, particularly those painted in red.</p><br>
<p>Although both Gallery A and Gallery C have dual-color work, the methods are different in each case.</p><br>
<h2>The ideomorphs of La Pasiega</h2><br>
<p>The ideomorphs – and possible anthropomorphs – of La Pasiega are listed and classified as:</p><br>
<p>Dotted signs: These are the simplest symbols in the cave. Generally they appear in two forms, one of which has many dots, usually not associated with animals, but with other ideomorphs to which they are complementary. They are commonest in Galleries B and C, in the latter the groups of many dots seem related to deer, but the symbols are painted and the animals engraved, from which it is possible to deduce that they are of different periods.</p><br>
<p>In the second type, the dots can appear much more loosely grouped. Then it is certainly possible to associate them with animals without too much uncertainty. The small groups of dots always appear once or twice in each room combined with cattle. But there are two very distinct cases in Gallery A in which horses have an aureole of dots, and these are confronted one to the other as at the entrance to the room mentioned. The dotted forms are most common during the Solutrean period.</p><br>
<p>Linear signs: These are more varied and complex both in their morphology and in their associations (there are examples shaped like arrows, branches, feathers, simple lines called rods (bastoncillos), etc.). They are sometimes associated with hinds. For example, one of the foremost panels of gallery A has these kinds of ideomorphs associated with a vulva and a hind. In the second group of Gallery C there is a bison (panel 83) which may have a linear sign associated (it looks like a javelin, but that idea is very controversial), as well as some other symbol. At the side is a feather-shaped symbol grouped with other key-shaped (claviform) ones (discussed below) which were not identified in the original monograph (but became known through an article by Leroi-Gourhan).</p><br>
<p>Finally there is a series of signs involving rods which appear in the entries to Galleries B and C. Breuil interpreted this type of sign in relation to the topographical changes within the sanctuary, which is possible: they could be marks which the initiates followed, or which warned them of possible dangers such as clefts. Certainly the difficult areas of the cave when visited can be negotiated more easily thereby. For Leroi-Gourhan, they are male symbols in binary relation to the cave itself, which represents the female principle (discussed below).</p><br>
<p>Claviform signs: The signs called claviform (key-shaped) are fairly abundant, specially in gallery B and in Room XI, but are doubtful if not indeed non-existent in Gallery A. Those of Room XI are the most characteristic and may be associated with horses. One of these can be considered as what Leroi-Gourhan calls a coupled sign, made by uniting in the same ideomorph a line or bar (masculine) with a key-shape (feminine). The typology and chronology of these signs is very ample.</p><br>
<p>Polygonal signs are a varied group, a general category which includes rectangular, pentagonal and hexagonal signs. There is one in every room and, although they are few, one can draw comparisons with examples in other caves. for example there is a grill-shaped sign in Gallery B which can be compared with others in the cave of Aguas de Novales and of Marsoulas. In Gallery A there is a rectangular sign comparable to one which is found in one of the recesses at Lascaux. Lastly there is a sign formed by a pentagon and a hexagon side by side which, in the opinion of the specialist Pilar Casado, should be classified as a variant of the oval signs.</p><br>
<p>Tectiform signs: These are without any question the most abundant signs of this cave. They have a more or less rectangular shape, with and without additions, with and without internal divisions. Despite their frequency, these signs are absent from Gallery B. Breuil established a chronology and development through all of them; according to Leroi-Gourhan they belong to Style III and they have parallels in many caves of Spain and France, the nearest being the cave of El Castillo. At La Pasiega they are found in the end area and the narrow defile of Gallery A, and in the first large group of Room XI.</p><br>
<p>Unique signs:</p><br>
<p>La Trampa: Mentioning this strange pictorial group in his description of Gallery C, Breuil was the first to appreciate that really it is the result of painting a symbol like a rectangular black tectiform sign, of very evolved type, superimposed upon two older red figures. Leroi-Gourhan accepted that it was the result of combining paintings of different dates, but did not think it should be thought of as a developed tectiform sign: but he thought that the repainting was intentional and concerned the effect of enclosing the animals (the hind-quarters of a bison and the fore-parts, the head and forelegs of a deer) within the ideomorph; he included it all within Style III and interpreted it as a mithogram resulting from the combination of three symbols of femininity. Jordá Cerdá and Casado López do not admit of a female symbology in La Trampa, which they relate, rather, to other representations of sealed enclosures which occur in Las Chimeneas and La Pileta.</p><br>
<p>The Inscription of Gallery B is even more complex and unique than these signs; such that Breuil interpreted it as an authentic inscription which contained a coded message for initiates. Leroi-Gourhan goes to some lengths to explain that, being deconstructed, the figure is composed of feminine symbols. Jordá sees in it a typical sign in the form of a sack related to the sealed enclosures mentioned before, and to serpentine forms which appear at the end of its Middle Cycle. Casado López finds parallels at Marsoulas and Font de Gaume.</p><br>
<p>Human representations: This includes human images, more or less realistic, whether of a part or of the whole human anatomy. The foremost of the partial representations is the vulva: there can be identified three of oval, another rectangular and one triangular, very near La Trampa. Also in this group are the hands which are painted in different ways in la Pasiega: one of these is schematic, which is called a maniform, related, as said above, to those of Santian. There is also a red hand in positive (with six fingers and in relation to a rectangular grill sign). Finally there is another positive hand, but in black, with continuing lines which may be meant to represent an arm. After this come the presumed complete human representations or anthropomorphs.</p><br>
<p>The anthropomorphs can be counted as three (four if we count the lines which seem to complete the black hand already mentioned), and all of them are very debatable. The most doubtful of all is in Gallery A, which could be a female representation associated with fragmentary animals which are difficult to identify. Also debatable is another, that is executed in red tinta plana, with a globular form, located in Room XI. Very near is the one anthropomorph accepted as such by all investigators, namely a figure in varied colors: the body is outlined in red, with a large mouth; by contrast the skin is black, and there are added some horns, also black (in the opinion of the specialists these are re-paintings of different dates): lower down the figure has a linear ideomorph in yellow ochre which Breuil interpreted as a phallus. In relation to this human shape there are two external red symbols.</p><br>
<h2>Attempts of chronology</h2><br>
<p>The cave of La Pasiega offers many examples of overpaintings and repaintings, which allow attempts of a relative chronology: on the other hand, the great variety of techniques and colors employed make one think of a fairly extensive chronological sequence. The authors of the 1913 monograph ended by establishing three chronological phases which span practically the whole development of palaeolithic art: two Aurignacian phases, a Solutrean and a peak of two-color work (very rare in such paintings), which could be Magdalenian Later Henri Breuil, one of the authors of the monograph, increased the decorative phases to eleven, within the same chronological framework.</p><br>
<p>In 1968 came the analysis of Leroi-gourhan, who proposed a rather general chronology, which broadly was in agreement with González Echegaray. In both publications the decorations of the entire Gallery A and the first sub-sanctuary of Room XI are placed at the very start of Style III; whereas the second sub-sanctuary of the same room should be placed within the earliest Style IV. Leroi-Gourhan argued from the basis of comparing the works of Gallery A with Lascaux, although recognising that that is more archaic, suggested that they were contemporaneous. Recently, as a result of being able to apply absolute systems of dating to the paintings, it has been demonstrated that the style-classification proposed by Leroi-Gourhan, and some relative dating of other investigators, is shaky.</p><br>
<p>Jordá took on the task of revising the chronology of La Pasiega. His last publications place the decoration of this cave in his "Middle Cycle: Solutrean-Magdalenian", accepting integrally the eleven phases of Breuil, but without allowing (or at least seriously doubting) that any part of the decoration could really be Aurignacian. In the Solutrean phase of the Middle Cycle he includes the figures painted in red, and those with fine lines or outlines; also some of the figures in the tampanado method. The engravings of this period would be, according to Jordá, rare and crude. A little later come the incomplete red horses, but in a lively and realistic style, some of the ideomorphs and the so-called inscription. During the second part of his Middle Cycle, he says, of the Cantabrian Lower Magdalenian, the archaizing engraved contours continue, but there also appears the multiple and striated line drawing in the horses of Galleries B and C, and in the hinds of Gallery C. The painted figures can be red, with tamponado, outline or modelled line. But more important are the tinta plana red paintings treated with modelled chiaroscuro, sometimes associated with graved or black lines which complete them: These are the ones which express dynamism most of all (twisting of the neck, movement of the legs, etc.). For some authors, these figures are the most evolved. The bi-chromes are rare, and in the majority of cases we are dealing with later corrections in a different color to the original painting. Only a horse from gallery A, in the final group, could be considered an authentic bichrome, comparable to those of El Castillo. The most abundant ideomorphs are the quadrangular ones with internal divisions. Jordá maintains that, during the Middle Cycle, the anthropomorphs disappear, even though La Pasiega contains a few: according to the oldest authors four, and according to the most recent only one.</p><br>
<p>Periodicity of Palaeolithic Art</p><br>
<p>DateFormat=yyyy</p><br>
<p>Period=from:-36000 till:-8000</p><br>
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<p>from:start till:-31000 text:Châtelperronian</p><br>
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<p>from:-31000 till:-24250 text:Aurignacian</p><br>
<p>bar:Cultures width:25 color:kelleygreen align:center fontsize:S</p><br>
<p>from:-24250 till:-20950 text:Gravettian</p><br>
<p>bar:Cultures width:25 color:pink align:center fontsize:S</p><br>
<p>from:-20950 till:-17850 text:Solutrean</p><br>
<p>bar:Cultures width:25 color:drabgreen align:center fontsize:S</p><br>
<p>from:-17850 till:-9500 text:Magdalenian</p><br>
<p>bar:Breuil width:25 color:powderblue align:center fontsize:S</p><br>
<p>from:-32000 till:-20950 text: Aurignacian-Perigordian</p><br>
<p>bar:Breuil width:25 color:lavender align:center fontsize:S</p><br>
<p>from:-20950 till:-9490 text:Solutrean-Magdalenian</p><br>
<p>bar:Laming-Emperaire width:25 color:yellow2 align:center fontsize:S</p><br>
<p>from:-31950 till:-21551 text: Aurignacian-Perigordian</p><br>
<p>bar:Laming-Emperaire width:25 color:yellowgreen align:center fontsize:S</p><br>
<p>from:-21551 till:-13550 text:Solutrean-Magdalenian</p><br>
<p>bar:Laming-Emperaire width:25 color:dullyellow align:center fontsize:S</p><br>
<p>from:-13550 till:-9500 text:Magdalenian</p><br>
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<p>from:-31850 till:-21710 text: Aurignacian-gravettian</p><br>
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<p>from:-21710 till:-12550 text: Solutrean-magdalenian</p><br>
<p>bar:Jordá_(Spain) width:25 color:powderblue align:center fontsize:S</p><br>
<p>from:-12550 till:-9000 text: Final magdal.</p><br>
<p>bar:Leroi-Gourhan width:25 color:tan1 align:center fontsize:S</p><br>
<p>from:start till:-32000 text:Pre-Figurative</p><br>
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<p>from:-32050 till:-27000 text: 1st Period</p><br>
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<p>from:-27000 till:-19800 text: 2nd Period</p><br>
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<p>from:-19800 till:-15000 text: 3rd Period</p><br>
<p>bar:Leroi-Gourhan width:25 color:yellow2 align:center fontsize:S</p><br>
<p>from:-15000 till:-9400 text: 4th Period</p><br>
<p>González Echegaray and González Sáinz seem to have shared the general idea proposed by Leroi-Gourhan, which accepts that the works of La Pasiega belong to Styles III and IV. In fact, pretty much all of Gallery A and the first assemblage of Gallery C (room XI) belongs to Style III, in which predominates the red painting with simple lines or lined tamponados, also including the block colors and the addition of engraving or the bi-chrome work as a complement to model the volumes. For its part Style IV is present above all in Gallery B and in the second group of Gallery C: this phase has mainly the black color or drawn with a fine linear outlining, almost without modeling, but with an internal filling of scratches. The engraved forms are most abundant (simple linear marks, or repeated or striated lines, including scraffito).</p><br>
<p>The Lyndeborough Center Historic District, located in the town of Lyndeborough, New Hampshire, United States, consists of three structures: the Town Pound, Town Hall, and Congregational Church. The district was placed on the National Register of Historic Places in 1984. In 2010, by town meeting vote, this district became part of a larger, officially zoned local historic district.</p><br>
<h2>Town Pound</h2><br>
<p>The Town Pound is a square-shaped stone structure, open at the top and entered through a gate. It was constructed in 1774, and originally was topped with a wooden enclosure.</p><br>
<h2>Town Hall</h2><br>
<p>The Town Hall is Lyndeboroughs third completed hall, and the second to occupy a site in the Historic District. (The towns second Town Hall, a two-story, 50 by meetinghouse, occupied roughly the same site from c. 1769 until 1845.) The current hall is a -story Greek Revival building, constructed in 1845-46 as a 35 by building with a meeting hall and one anteroom at the southeast corner. In 1883, the town significantly enlarged the building by removing the west wall and adding a 12.5 ft addition to the back of the building and installing partitions to create the northeast anteroom (now used as a kitchen)and a small entry foyer.</p><br>
<p>In 1890, apparently at the urging of and with the help of the Pinnacle Grange (the local chapter of The National Grange of the Order of Patrons of Husbandry), the town increased the pitch of the roof, thereby adding space in the attic for dinners and other functions, and added an ell to the southwest corner. At this time a metal roof was added to the building, though it was removed in 1919. A metal ceiling was installed in the meeting room in 1913, an Arts-and-Crafts-style stage sometime between 1913 and 1919, and a second chimney behind the stage in 1920. (The piano now sitting against the stage wall dates from 1919.) A storage area was added to the back of the building in 1913. The attic was remodeled in 1934, and electricity was installed in the building in 1937. Since 1975, the building has appeared on Lyndeborough&#39;s unofficial town seal.</p><br>
<h2>Congregational Church</h2><br>
<p>The Greek Revival-style Congregational Church dates from 1837, when pressure from the Baptist Society resulted in the church moving out of the third town hall. According to Donovan and Woodward, in their History of Lyndeborough, the church steeple was shortened sometime in the nineteenth century when it was hit by lightning; in fact, exterior details suggest the entire steeple may have been rebuilt prior to or during the mid-1850s, when the church bell was added. The interior of the church was extensively remodeled in the 1890s, and the entire structure underwent major structural repairs in the mid-1980s. Since the merging of the Baptist and Congregationalist churches in town, the church has been under the control of the United Church of Lyndeborough. Currently it is used for summer services, as the building is not heated.</p><br>
<p>From 1837 until about 1920, horse sheds occupied the area between the Congregational Church and the Town Pound.</p><br>
<h2>Roads and stone walls</h2><br>
<p>Three roads pass through the Historic District: Center Road, which is a paved class-IV (state-maintained) road; Stone Bridge Road, which is an unpaved class-VI (unmaintained town) road; and an unnamed class-VI right-of-way connecting Center Road to a lower section of Stone Bridge Road. Center Road was created as a two-rod (33-foot) right-of-way sometime before 1770, and was widened to three rods (50 feet) as part of a project to create a road across Hillsborough County in 1800-1804. The right-of-way was widened in 1840 between New Road and Stone Bridge Road because of problems relating to blowing snow. The original section of Center Road, which ran much closer to the Old Town Hall, Town Pound, Congregational Church, and Congregational Parsonage, was not discontinued, but generally fell into disuse as a travelled road after 1840. It is now part of the town common.</p><br>
<p>Stone Bridge Road is a two-rod (33-foot) right-of-way that was constructed in 1770 to connect Lyndeborough Center (and the meetinghouse) to western Lyndeborough. The road connected to Putnam Hill Road, which allowed travel from the Town Hall to the site of the first town meetinghouse, into South Lyndeborough and through what later became the South Lyndeborough Village Common, and along Citizens&#39; Hall Road and Pettingill Hill Road before veering southward into Wilton.</p><br>
<p>The unnamed class-VI road appears as a road on an 1858 map of Hillsborough County, but like Stone Bridge Road, fell into disuse by 1892 (though it was never discontinued, and thus legally is still a public right-of-way). Under New Hampshire law it is a prescriptive road, created through "adverse possession" (continuous public use) over a 20-year period prior to January 1, 1968. Thus, the width of the right-of-way is legally undetermined, but is assumed to be two rods.</p><br>
<p>The stone walls behind the Town Pound, Town Hall, and former Town Barn date from about 1800. The stone wall along the east side of Center Road dates from 1840, when the road was moved to its current position.</p><br>
<h2>Town Common</h2><br>
<p>The Town Common between the current Town Hall and Congregational Church, and which runs in front of the church and Town Pound, was created in 1840 when Center Road was moved to its current location east of the original right-of-way. The right-of-way over the common was never discontinued, giving the town the right to use the common space for public purposes.</p><br>
<p>However, the remainder of the land around the Town Hall has been referred to as the "Common" since at least 1770, during construction of the original meetinghouse at this site. Originally the common extended from what today is the north side of the Town Pound to the north side of the Center Cemetery. (The cemetery was added around 1800.) However, the town sold a small portion of the common adjacent to the cemetery&#39;s north side in 1817 to pay for repairs to the original meetinghouse. Today that land—approximately one acre in area—is a privately owned apple orchard. Meanwhile, the area west of the meetinghouse became private property at an undetermined time in the 19th century, but was donated back to the town in 2001.</p><br>
<p>In 1940 the town added a flagpole to the common. The current fiberglass pole which replaced it dates from approximately 1999.</p><br>
<h2>Town Barn</h2><br>
<p>The historic district also includes a noncontributing (newer) structure, the Town Barn. Constructed c. 1938, the building housed the towns highway department until the mid-1980s. In 1997, the town rented it to the Lafayette Artillery Company for 99 years at $1 per year. It continues to serve as the Artillerys headquarters. The building occupies a site immediately adjacent to the former location of the town&#39;s old late-nineteenth-century hearse house.</p><br>
<h2>Controlling organizations</h2><br>
<p>Currently, several entities oversee the properties that compose the Lyndeborough Center Historic District. By state statute, the Board of Selectmen controls the Town Hall, Town Pound, common, and roads. The Lyndeborough Highway Department oversees general maintenance of the grounds. The local Cemetery Trustees oversee the cemetery (which is part of the local historic district, but is not part of the federally recognized historic district). The Lafayette Artillery Company rents the Town Barn. The United Church of Lyndeborough controls the church building, though technically the building continues to belong to the Congregational Society/United Church of Christ. From the late 1980s until 2010, the local Meetinghouse Committee recommended repairs to the Town House to the Board of Selectmen. Starting in 2010, the Lyndeborough Center Historic District Commission has overseen issues relating to historic preservation and zoning for the entire district, with special attention to the maintenance, repair, and restoration of the Town Hall. The commission adopted rules and regulations pertaining to the district on September 13, 2012. Finally, the Lyndeborough Trails Association has worked to improve Stone Bridge Road for the use of horse traffic.</p><br>
<h2>Local monuments controversy</h2><br>
<p>In 2009, a controversy erupted over the historic district when the Meetinghouse Committee, which at the time advised the Board of Selectmen on matters relating to the upkeep to the Town Hall, suggested that the Selectmen approve the permanent removal of the towns war memorials and Civil War-era Hartshorn Memorial Cannon to the historic district. The monuments were moved to the center temporarily, but who moved them—and on whose authority—remains unknown. Subsequently, in 2010, a town Monuments Committee determined that the move was not appropriate, as it created a new focal point which detracted from the historic districts authenticity. In April 2010, the Board of Selectmen voted to move the monuments to South Lyndeborough, from which they had been taken.</p><br>
<p>South Saddle Mountain is the tallest mountain in Washington County, Oregon, United States.</p><br>
<p>Part of the Oregon Coast Range, the peak is located in the Tillamook State Forest in the northwest section of the state of Oregon. It is the eighth-highest peak of the Oregon Coast Range.</p><br>
<h2>History</h2><br>
<p>South Saddle Mountain is one of 17 peaks in Oregon with the name Saddle. South Saddle was originally known as simply Saddle Mountain but in 1983 officially became South Saddle Mountain to avoid confusion with Saddle Mountain 33 mi to the north in Clatsop County.</p><br>
<h2>Geology</h2><br>
<p>Origins of the mountain begin in around 40 million years ago during the Eocene age when sandstone and siltstone formed in the region consisting of parts of the Northern Oregon Coast Range. Igneous rocks and basalt flows combined with basaltic sandstone to create much of the formations. Other sedimentary rock in the area formed more recently, around 20 million years ago. It is hypothesized that the region was an island during the Eocene era.</p><br>
<h2>Area and access</h2><br>
<p>The lower peak houses a microwave transmission tower, while the lower parts of the mountain are popular for bird watchers and off-road motorcycle enthusiasts.</p><br>
<p>This 110 ft tower includes amateur radio repeaters</p><br>
<p>and an AT&T microwave transmitter.</p><br>
<p>Surrounding the mountain are forests of western hemlock and Douglas fir trees. Fauna in the area include a variety of birds such as hermit warbler, sooty grouse, chestnut-backed chickadee, golden-crowned kinglet, Steller&#39;s jay, and Pacific-slope flycatcher.</p><br>
<p>South Saddle Mountain is approximately 7 mi due northwest of Henry Hagg Lake and due west of Forest Grove. From mile post 33 on Oregon Route 6 near Lees Camp, access is via Saddlemountain Road. Nine miles from Highway 6 is a gate, the summit is then 0.5 miles from that point. The lower peak containing the radio tower is in Tillamook County.</p><br>
<p>The River Lavant is a winterbourne that rises at East Dean and flows west to Singleton, then south past West Dean and Lavant to Chichester. From east of Chichester its natural course was south to the sea at Pagham, but the Romans diverted it to flow around the southern walls of Chichester and then west into Chichester Harbour.</p><br>
<p>In January 1994 heavy rainfall caused the River Lavant to burst its banks, causing extensive flooding in Chichester and surrounding villages and forcing the closure of the A27 and A259 roads. Military "Green Goddess" fire engines were stationed in the city for several weeks pumping out ground water through miles of pipes. When exceptionally high rainfall in the autumn of 2000 threatened renewed flooding of Chichester an emergency project was led by the Environment Agency, using emergency powers to build a relief channel to divert excess water back into the natural route of Pagham Rife. This brought forward work planned for 2001, compressing it into two weeks, and was completed days before the anticipated flood surge in the River Lavant occurred. The emergency work was subsequently made into a permanent relief channel, with sluices at Westhampnett.</p><br>
<h2>Further reading</h2><br>
<p>Ken Newbury; The River Lavant</p><br>
<p>The Nathan Appleton Residence, also known as the Appleton-Parker House, is a historic house located at 39–40 Beacon Street in the Beacon Hill neighborhood of Boston, Massachusetts. It was designated a National Historic Landmark for its association with revolutionary textile manufacturer Nathan Appleton , and as the site in 1843 of the wedding of his daughter Frances and poet Henry Wadsworth Longfellow. The house is an excellent early 19th century design of Alexander Parris.</p><br>
<h2>Description</h2><br>
<p>This pair of brick townhouses rise three stories, and are joined by a common firewall. When built in 1821, they were essentially mirror images of each other, differing in only relatively minor interior respects. Their main facades are each three bays wide, with the outer bay a rounded projection with two windows. The door to each unit occupied the center bay and is framed by a wooden surround and topped by a fanlight; a Doric portico provides shelter. At the top of each building a low balustrade conceals a low-pitched roof. In the 1870s a fourth floor was added; the original balustrades were retained. The rounded bays of number 39 were altered in the 1880s by the addition of a third window on each level, and what were originally single-story servant wings in the rear of each unit were extended and raised to three stories by later owners.</p><br>
<h2>History</h2><br>
<p>The property here had been owned by painter John Singleton Copley and much of the land had been purchased by Dr. John Joy, who headed a real estate company.</p><br>
<p>In 1819, Nathan Appleton and business partner Daniel Pinckney Parker bought a house that had been standing on the property and tore it down. They then had the twin house built, designed by architect Alexander Parris and numbered 39 and 40 Beacon Street. In 1843 Appleton&#39;s daughter Frances (Fanny) was married in this house to poet Henry Wadsworth Longfellow. Appleton was one of the great financial minds behind the early industrialization of New England, funding the Boston Manufacturing Company and developing a strategy for selling its products. He parlayed this early success into the later development of major industrial complexes at Lowell and Lawrence, Massachusetts, and also Manchester, New Hampshire. Appleton lived at 39 Beacon Street from 1821 until his death in 1861.</p><br>
<p>From 1914 to the 1990s it housed the Women&#39;s City Club of Boston. It has since been subdivided into condominiums. It was designated a National Historic Landmark in 1977, and is listed on the National Register of Historic Places.</p><br>
<p>The Lyceum Theatre is an Edwardian theatre in Heath Street, Crewe, Cheshire, England. It originated as a converted Roman Catholic Church in 1876. The church was replaced in 1887 by a purpose-built theatre, which burnt down in 1910. The theatre was rebuilt the following year, and was refurbished in 1994. It continues in use as a theatre, as of 2013 it is managed by HQ Theatres. The theatre is constructed in brick, and adjacent to it is a block containing the entrance and offices. Its interior contains decorated plasterwork.</p><br>
<h2>History</h2><br>
<p>The theatre stands on the site of a former Roman Catholic Church that had been built to serve Irish immigrants working on the local railway. In 1876 the congregation moved into a larger church in the town. The site was acquired by Thomas Cliffe, a local farmer, and he gave permission for Henry Taylor, a local printer, to convert the church into a theatre. Taylor wanted to have a "proper" theatre on the site and later built the New Lyceum Theatre, which opened on 21 November 1887.</p><br>
<h2>Architecture</h2><br>
<p>The theatre is recorded in the National Heritage List for England as a Grade II listed building, having been designated on 6 July 1976. It is constructed in Accrington-type brick with a slate roof. It is three storeys high and has a gabled façade, divided into five unequal bays. To its left is a two-storey, four-bay building incorporating the entrance and containing offices. Inside the theatre is an auditorium with a dress circle, gallery and boxes. The front of these is decorated with plasterwork, including cartouches and reclining figures. There is more plasterwork decoration on the proscenium arch and the ceiling rose.</p><br>
<h2>Present day</h2><br>
<p>The theatre arranges a regular programme of plays and shows. There is a restaurant on the premises, and the theatre also arranges exhibitions.</p><br>
<p>Lyceum Theatre is purported to be very haunted and was recently visited by the Most Haunted team.</p><br>
<p>Karatepe  is a late Hittite fortress and open-air museum in Osmaniye Province in southern Turkey lying at a distance of about 23 km from the district center of Kadirli. It is sited in the Taurus Mountains, on the right bank of the Ceyhan River. The site is contained within Karatepe-Aslantaş National Park.</p><br>
<h2>History</h2><br>
<p>The place was an ancient city of Cilicia, which controlled a passage from eastern Anatolia to the north Syrian plain. It became an important Neo-Hittite center after the collapse of the Hittite Empire in the late 12th century BC. Relics found here include vast historic tablets, statues and ruins, even two monumental gates with reliefs on the sills depicting hunting and warring and a boat with oars; pillars of lions and sphinxes flank the gates.</p><br>
<h2>Karatepe inscription</h2><br>
<p>The sites eighth-century BC bilingual inscription, in Phoenician and Hieroglyphic Luwian, reflects the activities of the kings of Adana from the "house of Mopsos", given in Hieroglyphic Luwian as mu-ka-sa- (often rendered as Moxos&#39;) and in Phoenician as Mopsos in the form mpš. It was composed in Phoenician and then translated to Hieroglyphic Luwian. This inscription has served archaeologists as a Rosetta stone for deciphering those glyphs.</p><br>
<p>As we learn from the inscription, its author is Azatiwada (or Azatiwata), the ruler of the town. He was also its founder; the inscription commemorates the town&#39;s foundation. He acknowledged himself as a subordinate of Awariku, the king of Adanawa (Adana), which was the ancient kingdom of Quwe. Azatiwataya seems to have been one of the frontier towns of Adanawa.</p><br>
<p>Another inscription of the same type, the Cinekoy inscription, was discovered more recently. It also mentions king Awariku, who may have been the same ruler, or part of the same dynasty.</p><br>
<h2>Troy theory</h2><br>
<p>According to a 2010 ZDF documentary featuring the writer and translator Raoul Schrott, the fortress and surrounding landscape at Karatepe significantly match Homer&#39;s descriptions of Troy in the Iliad. According to this theory, Homer may have used his knowledge of the legend of Troy and combined it into historical fiction, using his own experiences and access to writings as a scribe in the service of the Assyrians in Karatepe.</p><br>
<h2>Archaeology</h2><br>
<p>After the site was discovered in 1946, Karatepe was excavated from 1947 to 1957 by a team led by Helmuth Theodor Bossert (1889–1961), revealing the ruins of the walled city of king Azatiwataš.</p><br>
<p>Restoration work was then carried on for many years, which included some further soundings.</p><br>
<p>In the late 1990s, archaeological work, now led by Halet Çambel (1916–2014), was conducted on a palace at the site.</p><br>
<p>Estimates for the dating of Azatiwataš rule have ranged from the early 8th century BC to the early 7th century BC.</p><br>
<p>The artifacts are exhibited today in the Karatepe-Aslantaş Open-Air Museum, which is part of the Karatepe-Aslantaş National Park.</p><br>
<h2>Namesake</h2><br>
<p>In the 2004 exploration of Mars, "Karatepe" was the name given to a site designated for entering the Endurance crater to investigate the layering of the bedrock.</p><br>
<p>Hornos Island  is a Chilean island at the southern tip of South America. The island is mostly known for being the location of Cape Horn. It is generally considered South America&#39;s southernmost island, but the Diego Ramírez Islands are farther south. The island is one of the Hermite Islands, part of the Tierra del Fuego archipelago.</p><br>
<p>The Chilean Navy maintains a station on the island, consisting of a residence, utility building, chapel, and lighthouse. A short distance from the main station is a memorial, including a large sculpture featuring the silhouette of an albatross, in honour of the sailors who died while attempting to "round the Horn".</p><br>
<p>The island is within the Cabo de Hornos National Park.</p><br>
<h2>Geology</h2><br>
<p>The composition of the island is mainly of Cretaceous granite with Jurassic volcanic rocks in the northwest. The lower areas of the island are filled with peat moss.</p><br>
<h2>Climate</h2><br>
<p>Mean Temperature: 5.3° Celsius</p><br>
<p>Maximum Temperature: 20.5° Celsius (February 1996)</p><br>
<p>Minimum Temperature: -14.5° Celsius (June 1992)</p><br>
<p>Mean Relative humidity: 86.4%</p><br>
<p>Mean Wind Direction: 264°</p><br>
<p>Mean Wind Speed: 84 knots</p><br>
<p>Maximum Wind Speed: 119 knots (August 1995)</p><br>
<p>Rainfall (yearly mean): 697.5 mm.</p><br>
<p>Maximum Rainfall: 1263.2 (1990)</p><br>
<p>Bhojtal, formerly known as Upper Lake, is a large lake which lies on the western side of the capital city of Madhya Pradesh, Bhopal. It is a major source of drinking water for the residents of the city, serving around 40% of the residents with nearly 30 e6impgal of water per day. Bada talaab, along with the nearby Chhota Talaab, meaning small lake in Hindi, constitute Bhoj Wetland, which is now a Ramsar site.</p><br>
<h2>History</h2><br>
<p>According to the local folklore, Bhojtal is said to have been built by the Paramara Raja Bhoj during his tenure as a king of Malwa (1005–1055). He is also said to have established the city of Bhopal (also named after him, then as Bhojpal) to secure the eastern frontier of his kingdom. There is a legend why they built the lake. Once king Bhoj suffered from skin disease and all Vaidyas (Doctor in English) failed to cure him. Then, one day a saint told the king to build a tank to combine 365 tributaries and then have a bath in it to wipe out the skin disease. Bhoj called upon his engineers to build up a huge tank. They spotted a place near river Betwa, which was 32 km away from Bhopal. It was found that it has only 359 tributaries. A Gond Commander Kalia fulfilled this shortage. He then gave the address of an invisible river. After merging the tributaries of this river the number 365 was completed.</p><br>
<p>The lake was created by constructing an earthen dam across the Kolans River. An eleven gate dam called the Bhadbhada dam was constructed at Bhadbhada in 1965 at the southeast corner of the Lake, and now controls the outflow to the river Kaliasote.</p><br>
<p>The lake was known as the Upper Lake or Bada Talab ("Big Pond") until March 2011 it was renamed to Bhojtaal in honour of the Great King Raja Bhoj who built it. A huge statue of Raja Bhoj, standing with sword, was also installed on a pillar on one corner of the lake to cement the name of Bhopal as the city of lakes</p><br>
<p>In July 2016 :Bhopal Upper Lake dam gates opened so early in July after 38 years.</p><br>
<h2>Geography</h2><br>
<p>Bhojtal is situated on the west central part of Bhopal city and is surrounded by Van Vihar National Park on the south, human settlements on the east and north, and agriculture fields on the west. It has an area of 31 km, and drains a catchment or watershed of 361 km. The watershed of the Upper Lake is mostly rural, with some urbanized areas around its eastern end. The Kolans was formerly a tributary of the Halali River, but with the creation of the lake using an earthen dam and a diversion channel, the upper reach of the Kolans River and Bada Talaab now drain into the Kaliasote River.</p><br>
<h2>Social and cultural significance</h2><br>
<p>Since the construction of the lake in the 11th century, Bhopal city has grown around it. The people are religiously and culturally attached to the lakes. The lakes meet their needs of water supply and they wash clothes in them (very harmful for the lake ecosystem), cultivate water chestnut in Bhojtal and lotus in Chhota Talaab. The idols of gods and goddesses are also immersed in the lake during religious festivals, though the local administration is advising devotees not to do so. The Takia island in Upper lake has a tomb of the Shah Ali Shah Rahamatullah Alla, which has religious and archaeological significance.</p><br>
<h2>Economy and entertainment</h2><br>
<p>The fishing rights to Bhojtal have been given on long lease by the Bhopal Municipal Corporation to a co-operative consisting of some 500 fishermen families. Fishing is mainly done on its south-eastern shores. The lake also serves as the source of water for irrigating a large area. There are 87 villages in its catchment area in the Bhopal as well as Sehore districts. Agriculture is the main source of livelihood for people in these areas and most farmers have livestock as well. While some farmers have large landholdings, many farmers are small and marginal farmers with only a few acres of land.</p><br>
<p>Bhojtal attracts tourists due to its scenic beauty. The National Sailing School was established at the Boat Club on its eastern side. This club offers various water sports such as kayaking, canoeing, rafting, water skiing, parasailing etc. A number of operators provide facilities for exciting trips by sail, paddle and motor boats. Van Vihar National Park, situated on the south-eastern side of the lake, attracts tourists. The road passing through it has on one side the animals in their natural habitats, and on the other hand is the scenic beauty of the lake.</p><br>
<p>The other major attraction close to the lake is the Bhopal Zoo on the bank of the lake. This makes the lake a complete entertainment location for all visitors. The zoo is kept in quite natural way.</p><br>
<h2>Biodiversity</h2><br>
<p>The two lakes support flora and fauna. White stork, blacknecked stork, barheaded goose, spoonbill etc., that have been rare sightings in the past, have started appearing. A recent phenomenon is the gathering of 100-120 sarus cranes in the lake. The largest bird of India, sarus crane (Grus antigone) is known for its size, majestic flight and lifetime pairing.</p><br>
<h3>Flora</h3><br>
<p>106 species of Macrophytes (belonging to 87 genera of 46 families), which includes 14 rare species and 208 species of Phytoplankton comprising 106 species of Chlorophyceae, 37 species of Cyano phyceae, 34 species of Euglenophyceae, 27 species of Bacilariophyceae and 4 species of Dinophyceae.</p><br>
<h3>Fauna</h3><br>
<p>105 species of zooplanktons, which includes (Rotifera 41, Protozoa 10, Cladocera 14, Copepoda 5, Ostracoda 9, Coleoptera 11, and Diptera 25). There are 43 species of fish (natural and cultured), 27 kinds of birds, 98 species of insect and more than 10 species of reptiles and amphibians (including 5 species of tortoise).</p><br>
<h2>Threat</h2><br>
<p>The lake is shrinking and being polluted due to human activities in recent times. The waste and drainage generated by nearby city of Bhopal is dumped in lake affecting its ecology.</p><br>
<p>Diamond Craters is a monogenetic volcanic field in southeastern Oregon, about 40 mi southeast of the city of Burns. It consists of a 27 square miles area of basaltic lava flows, cinder cones, and maars. The reexamination of radiocarbon dates from older studies and interpretation of paleomagnetic data and new radiocarbon dates limits the eruption of volcanic vents in this volcanic field to the time period between 7320 and 7790 calendar years B.P.</p><br>
<p>Diamond Craters and the nearby Diamond post office were named after the Diamond Ranch, established in the area by the pioneer Mace McCoy. The ranch used a diamond-shaped brand, hence the name.</p><br>
<p>In the 1970s, Diamond Craters was a source of controversy between the Bureau of Land Management and commercial stonecutters who were illegally removing slabs of lava to sell as veneer for fireplaces, home exteriors, and chimneys. Geologists familiar with the area cited the craters&#39; unusual research value, a "museum of basaltic volcanic features" apt to be destroyed by slab harvesting and associated heavy equipment. In 1982, the area gained additional protection when it was designated an Outstanding Natural Area.</p><br>
<h2>Notable vents</h2><br>
<p>The Old Constitution House is a historic house at 16 North Main Street in Windsor, Vermont. It is the birthplace of the Vermont Republic and the Constitution of the State of Vermont. A mid-18th century building built in a simple Georgian architectural style, the Old Constitution House was originally called the Windsor Tavern, and belonged to Elijah West at the time of the signing of the constitution. The house is a Vermont State Historic Site, and is administered by the Vermont Division for Historic Preservation. It is also listed on National Register of Historic Places, separately since March 11, 1971 as well as a part of the Windsor Village Historic District since April 23, 1975.</p><br>
<h2>History</h2><br>
<p>The land presently identified as Vermont had multiple claims upon it in the 18th century. British Royal governors from New Hampshire and New York claimed portions of the area, and settlers from Connecticut and Massachusetts had claimed land and begun settlement. In 1764 British King George III ruled that New York had jurisdiction of the area, even though most of its settlement had taken place under New Hampshire-issued grants. Settlers faced continuing competing claims and demands for tax from both New Hampshire and New York, and exorbitant costs to transfer grants from New Hampshire to New York. The conflict continued and grew, and Ethan Allen and the Green Mountain Boys formed a militia aligned primarily against the New York colony and its governor.</p><br>
<p>In January 1777 representatives of the grants met in convention at Westminster. The convention declared its independence from all external forces, and adopted the name "New Connecticut." The group reconvened on June 4, 1777 at Windsor, a letter by Dr. Thomas Young of Philadelphia, who supported the attempt of independence, was read. Young urged the adoption of the name "Vermont" and the creation of a constitution for Vermont.</p><br>
<p>On July 2, 1777 a constitutional convention met in Windsor at Elijah Wests tavern. A new constitution, taking inspiration from Benjamin Franklins constitution for the Commonwealth of Pennsylvania, was drafted. This constitution went further than Pennsylvanias in establishing civil liberties. It became the first constitution in the new world to outlaw slavery and indentured servitude, it provided universal manhood suffrage without requirement of property ownership, and required the free education of its citizens, male and female, at public expense. The constitutional convention continued for several days, hammering out the distribution of powers, the rights of three co-equal branches of government, and the rights of the citizens. During this period the British, under Lieutenant General John Burgoyne captured Fort Ticonderoga, and Mount Independence. Settlers in Vermonts western towns were panicked and began to flee. The American forces in the form of the Continental Army slowed the British advance, giving the Green Mountain Boys time to respond in force.</p><br>
<p>On the morning of July 8, 1777 news of the British advances had panicked the convention, several called for adjournment and suggested reconvening later. A violent thunderstorm with heavy downpour kept delegates in West&#39;s Tavern and the document was completed, and signed. The Vermont Republic was begun, and continued for fourteen years. In 1791 Vermont joined the federal union, becoming the first state admitted after the original thirteen.</p><br>
<h2>Preserving the Old Constitution House</h2><br>
<p>Elijah West&#39;s tavern was originally located near the center of town. It continued to function as a tavern until 1848 when it was converted to space for a store and light manufacturing. Around 1870 the house was moved to a side street and became a residential tenement. In 1890 the house was converted to a warehouse.</p><br>
<p>In 1901 efforts to preserve the Old Constitution House began. In 1911 a group called the Old Constitution House Association was formed towards acquiring and restoring the house. Shortly after the house was donated by its owners, the Fay family, to the association, and property for the house&#39;s present location was given by William M. Evarts. By 1914 sufficient funds for the restoration had been raised, and work began under the direction of architect Sheldon Newton.</p><br>
<p>The Old Constitution House Association continued to operate the house as a museum until 1961 when it transferred ownership to the Vermont Division for Historic Preservation. The house has been restored to approximate a tavern with period rooms showing a tavern room, dining room, tea parlor and guest rooms. Many of the historic items have been donated by descendants of the delegates and by the Daughters of the American Revolution.</p><br>
<p>Minnetonka Cave is one of the larger limestone caves in the state of Idaho. It is located in Cache National Forest in Bear Lake County, Idaho, United States, above the village of St. Charles . Tours through the cave are offered from Memorial Day  through Labor Day by Scenic Canyons Recreational Services, the concessionaire that holds the special use permit from the United States Forest Service. The half-mile route through the cave is lined with stalactites and stalagmites.</p><br>
<p>The cave is a hibernaculum to five different species of bats. One species, the Townsend&#39;s Big-eared Bat (Corynorhinus townsendii), while not on the endangered species list is on the lists of both the State of Idaho and the Forest Service as a species of concern.</p><br>
<p>Hooker Falls is a 14-foot  waterfall located in the DuPont State Forest, southeast of Brevard, North Carolina.</p><br>
<h2>Geology</h2><br>
<p>Hooker Falls flows on the Little River through the DuPont State Forest. It is one of 4 major waterfalls on the Little River in this area, the others being High Falls, Triple Falls, and Bridal Veil Falls.</p><br>
<h2>History</h2><br>
<p>Hooker Falls has been known for years to local residents and was named for Edmund Hooker, who operated a mill below the falls in the late 1800s. At the time, it was named Mill Shoals Falls. The Falls was seen in the movie Last of the Mohicans as the falls the characters go over in canoes.</p><br>
<p>In the 1990s, DuPont Forest was sold to the State of North Carolina, and as DuPont has completed cleanup of various areas, those areas have been made open to the public.</p><br>
<h2>Visiting Hooker Falls</h2><br>
<p>Visitors may park at the Hooker Falls parking area, and then hike the short Hooker Falls Trail for roughly 1/4 mile. There are 2 views of the falls, the first overlooking the falls from above, and a second view from across the plunge pool that lets you view the entire falls.</p><br>
<p>DuPont State Forest may also allow access to the falls to handicapped persons. Contact the DuPont State Forest for more information.</p><br>
<h2>Nearby falls</h2><br>
<p>Triple Falls</p><br>
<p>High Falls</p><br>
<p>Bridal Veil Falls</p><br>
<p>Wintergreen Falls</p><br>
<p>Connestee Falls and Batson Creek Falls</p><br>
<p>Key Falls</p><br>
<p>Glen Cannon Falls</p><br>
<p>Turley Falls</p><br>
<p>Moore Cove Falls is a waterfall in Pisgah National Forest in Western North Carolina, located near Brevard.</p><br>
<h2>Natural history</h2><br>
<p>The name comes from Moore Cove, and was named for Adam Q. Moore, who purchased the property. In 1891, the property was sold to George W. Vanderbilt for $155 to become part of the Pisgah National Forest.</p><br>
<h2>Geology</h2><br>
<p>The waterway is Moore Creek, which flows through the Pisgah National Forest. The falls flows over an overhanging bluff that allows visitors to walk behind the falls. The creek occasionally dries to a trickle.</p><br>
<h2>Visiting the waterfall</h2><br>
<p>The waterfall is open to the public and are accessible beginning at a parking area on the side of USA Highway 276, approximately 6.6 miles north of the intersection of 276, USA Highway 64, and NC Highway 280 in Brevard, North Carolina. Visitors may take a moderate-difficulty ¾-mile (1.2 km) trail to the falls.</p><br>
<p>As with all waterfalls, hikers must exercise caution. While the area around the bottom of the falls is flat and generally not dangerous, unofficial paths lead to the top of the falls and are treacherous. On April 29, 2007, a hiker fell from the top of the falls to his death. On November 22, 2016, another hiker fell from the top of the falls to his death.</p><br>
<h2>Nearby falls</h2><br>
<p>There are several sliding falls along the trail to Moore Cove. At Moore Cove, there is a smaller, nearly identical waterfall on the side of the cove opposite the trail. It is much more difficult to get to, and is usually not attractive for waterfall tourists.</p><br>
<p>Looking Glass Falls</p><br>
<p>Slick Rock Falls</p><br>
<p>Sliding Rock</p><br>
<p>Cedar Rock Falls</p><br>
<p>Cove Creek Falls</p><br>
<p>Daniel Ridge Falls</p><br>
<p>Twin Falls</p><br>
<p>Log Hollow Falls</p><br>
<p>Falls on Log Hollow Branch</p><br>
<p>Key Falls</p><br>
<p>Corbin Creek Falls is a waterfall in North Carolina on Corbin Creek near Upper Whitewater Falls. As with most of North Carolina&#39;s waterfalls, it is in the mountainous area of the state. There is a cluster of falls in the area where the borders of Georgia and the Carolinas come together. Corbin Creek Falls is part of that group, very close to the South Carolina border.</p><br>
<h2>Natural history</h2><br>
<p>Corbin Creek Falls is viewable in the same area as Upper Whitewater Falls. Corbin Creek Falls cascades 600 ft over the course of a half mile. However, not all of the falls can be seen from one location, and the hike to the falls is very difficult.</p><br>
<p>There is some debate as to the height of the falls. Kevin Adams&#39; book North Carolina Waterfalls lists the height as over 400 feet. lists the falls as "tumbling 600 feet", but states that it would hesitate to call the falls a 600-foot waterfall. Google Earth, from the first dropoff at lat 35.037517, long -83.011653 indicate a starting elevation of 2,716 feet, and a closing elevation of 2,060 feet at 35.032859, -83.013340, giving a height of 656 ft.</p><br>
<h2>Visiting the Falls</h2><br>
<p>Visitors to the falls must pay a $2 fee to view the falls. There are winter and spring views from platforms and paths at Whitewater Falls.</p><br>
<p>The area surrounding the falls is sufficiently treacherous that hiking off-trail in the area is strongly discouraged by park rangers.</p><br>
<h2>Nearby Falls</h2><br>
<p>Upper Whitewater Falls</p><br>
<p>Lower Whitewater Falls</p><br>
<p>Trinity Episcopal Church is located at 16 East Fourth Street, at the northern end of the main commercial street in Covington, Kentucky, Madison Avenue. This historic church was founded November 24, 1842, in a third floor of a brick building near the Covington market. The cornerstone of the first church was June 24, 1843 and the first service was on June 30, 1844. The church has served the people of Covington and Cincinnati, Ohio through wars and floods. The church is active today, with a large congregation at its Fourth and Madison Avenue location. The Rev. Peter D&#39;Angio is the Rector and the Rev. Linda Young is the associate Rector. It is the second largest parish in the Episcopal Diocese of Lexington.</p><br>
<p>Trinity Episcopal Church was placed on the National Register of Historic Places on March 1, 1982. This was because it is an excellent example of how medieval techniques in architectural design affected Episcopal church building in the United States in the 19th Century, in a style known as Gothic Revival.</p><br>
<h2>History</h2><br>
<p>Trinity Episcopal Church, a member of the Episcopal Diocese of Lexington, was officially founded in 1829, although the first Episcopal church in Kentucky was built in 1796 in central Kentucky, known as "The Episcopal Society". The first Trinity Episcopal Church in Covington was a wooden structure with external walls of board and batten built in 1843, after $350 was spent to purchase the land.</p><br>
<p>The current building was constructed between 1857 and 1859. The timber and truss roof lies above a brick and stone masonry structure. An 1871 expansion had to be rebuilt in 1872 due to fire, with the mayor of Covington giving land to Trinity Episcopal Church in 1872 to assist. In 1885 a two-story guild hall was constructed to serve the church. Further additions in 1887 and 1888 included a new western front and a new nave bay, which allowed for a new baptistery and entry bell tower. The last enhancements to the building were in 1961 and 1962, which included an L-shaped annex of brick used for classrooms and offices.</p><br>
<p>Governor of Kentucky and Senator, John W. Stevenson, belonged to Trinity Episcopal Church during his lifetime. The first public library in Covington was built by Trinity Episcopal Church. Trinity Episcopal Church also started the Baker-Hunt Foundation, to teach both adults and children to appreciate art.</p><br>
<p>The Ohio River flood of 1937 reached Trinity Episcopal, causing extensive water damage on the bottom floor. The Church struggled to pay for repairs.</p><br>
<h2>Description</h2><br>
<p>Brass, decorative windows, and wood carvings enhance the chancel, nave, sacristy, sanctuary, and south transept.</p><br>
<p>The James Whitcomb Riley Museum Home, one of two homes known as the James Whitcomb Riley House on the National Register of Historic Places, is a historic building in the Lockerbie Square Historic District of Indianapolis, Indiana at 528 Lockerbie Street. It was named a National Historic Landmark in 1962.</p><br>
<h2>History</h2><br>
<p>An Indianapolis baker, John R. Nickum, had the building built in 1872. Nickum had the money to build the house as he had supplied the Union Army in Indianapolis with hardtack, a form of cracker despised by soldiers, during the Civil War. Nickum&#39;s daughter, Magdalena, and her husband Charles Holstein, a lawyer, would possess it when, in 1893, they invited noted poet James Whitcomb Riley to live with them. Riley had a bedroom on the second floor in this building for 23 years, helping the Holsteins with expenses.</p><br>
<p>After Riley and the Holsteins died, William Fortune bought it in 1916. He would later, presumably at the behest of Booth Tarkington, transfer ownership to the James Whitcomb Riley Memorial Association five years later. Due to so little time having passed from Rileys death to its preservation, most of the items of the household items of Rileys day, except for the kitchen, remain within the domicile.</p><br>
<p>Due to Rileys fame, it is the best known of the domiciles in the Lockerbie Square Historic District. The Riley Childrens Foundation operates the museum. Noted items are the wicker chair which he frequently used after his stroke in 1911, and the bed on which he died on July 22, 1916.</p><br>
<h2>Structure notes</h2><br>
<p>The structure is a two-story brick house on a stone foundation and full basement that is considered an excellent example of Italianate architecture typical of the neighborhood&#39;s homes built in the 1860s and 1870s. Slate shingles cover a roof which has wide overhanging eaves and decorated brackets, and is low-pitched hipped. Other features of the house are a central tower with oval-glazed paired doors, and masonry crowns atop tall narrow windows and inverted U-shaped windows on the highest floor. Water pumps took water from the well to tanks within the attic that could supply water to different rooms in the house. The interior woodwork is all hand-carved solid hardwoods. The lighting was originally fueled by gas, but is now powered by electricity. Speaking tubes were installed so that the staff could receive orders in the kitchen from other parts of the house.</p><br>
<p>File:James Whitcomb Riley House - Charles L. Holstein House.jpgJames Whitcomb Riley House in 1975</p><br>
<p>File:James Whitcomb Riley Museum Home marker.JPGMarker denoting the home&#39;s NHL status</p><br>
<p>File:James Whitcomb Riley Museum Home rear.JPGRear of the House</p><br>
<p>Weeks Falls is a waterfall on the South fork of the Snoqualmie River, located just south of Interstate 90 at exit 38. The falls are at the end of the road that goes past the Olallie State Park ranger headquarters.</p><br>
<p>From the gravel parking lot, there is a paved accessible overlook to see the falls and a small area around the hydro-electric plant. Also, there is a 1/4 mile accessible interpretive trail nearby.</p><br>
<p>Weeks Falls has a small hydroelectric plant operated by CHI West which generates about 4.3 Megawatts peak.</p><br>
<p>It&#39;s unusual because it operates without a dam. Instead, water is being drawn from the river above the falls and run down an underground channel to the generation unit at the bottom of Weeks falls.</p><br>
<p>The Rock Paintings of Sierra de San Francisco are prehistoric rock art pictographs found in the Sierra de San Francisco mountain range in Mulegé Municipality of the northern region of Baja California Sur state, in Mexico.</p><br>
<h2>History</h2><br>
<p>The pictographs are likely the artistic products of the Cochimi people in the Baja California peninsula. This group became culturally extinct in the nineteenth century but is comparatively well known through the writings of eighteenth-century Jesuit missionaries. These paintings on the roofs and walls of rock shelters in the Sierra de San Francisco were first discovered by Europeans in the eighteenth century by the Mexican Jesuit missionary José Mariano Rotea.</p><br>
<p>According to some native beliefs recorded by the Jesuits and others, the paintings were drawn by a race of giants—a supposition that has been discarded by scientific investigators since the late nineteenth century. This belief may have been suggested by the larger-than-life size of many of the human (as well as animal) figures. Some observers have speculated that the paintings had meanings relating to hunting magic, religious practices, or ancestor worship, but there is no consensus on these interpretations. Animal species including deer, wild sheep, rabbit, puma, lynx, whale, turtle, fish, and birds are depicted. There are also abstract elements of various forms. A growing body of radiocarbon dates relating to the paintings has suggested ages from as early as 5500 BCE to as late as European contact in the eighteenth century.</p><br>
<h2>Geography</h2><br>
<p>The pictographs are at around 250 sites, which are located east of the El Vizcaino Biosphere Reserve. Access to the paintings is difficult due to the isolated location, which also has helped to minimize vandalism and destruction of the out cropping.</p><br>
<h3>Landmark</h3><br>
<p>The area has one of the most important concentration of Pre-Columbian art on the Baja California Peninsula. It is of exceptional quality at both national and international standards: for the high quality, extent, variety and originality of human and animal representations, remarkable colors, and excellent state of preservation.</p><br>
<p>In 1989 the rock paintings of Sierra de San Francisco were nominated for, and in 1993 became, a World Heritage Site.</p><br>
<p>The Dial Range is a small mountain range in northwest Tasmania, south of the town of Penguin near the coast. It extends about 14 km north to south and 4-5 km west to east. It is bordered on the east and south by the Leven River, with the Gunns Plains to the south.</p><br>
<p>There are approximately 52 km² of state owned land in the range. Of this, 43.54 km² is state forest and forest reserve managed by Forestry Tasmania. Two smaller areas are managed by the Parks and Wildlife Service, the Mount Montgomery and Ferndene state reserves. The remaining 5.07 km², comprising two land parcels contiguous with the reserves, have been proposed as a Nature Recreation Area. Dial Range: recreation and management map - produced by Forestry Tasmania, Office of Sport & Recreation, Parks & Wildlife Service, Central Coast Council</p><br>
<p>Map Scale 1:25,000. 2001</p><br>
<p>The Dial Range is close to the small town of Penguin.</p><br>
<p>Mountains in the range, from north to south, are:</p><br>
<p>* Mount Montgomery</p><br>
<p>* Mount Dial</p><br>
<p>* Mount Gnomon</p><br>
<p>* Mount Duncan</p><br>
<p>* Mount Riana</p><br>
<p>* Mount Lorymer</p><br>
<p>Bickerton Island is 13 km west of Groote Eylandt and 8 km east of the mouth of Blue Mud Bay in eastern Arnhem Land, in the Northern Territory of Australia. It is about 21 by 21 kilometres in size, with deep bays and indentations, and has an area of 215 km. The largest bays are South Bay and North Bay. Bickerton Island was named by Matthew Flinders for Admiral Sir Richard Bickerton, Bt.</p><br>
<p>Flinders actually called it "Bickertons Island", and noted as follows in Voyage to Terra Australis II: "In passing the south side of Bickertons Island, we observed in it a deep bight or bay which would afford shelter in the north-west monsoon, if there be depth sufficient for a ship; and the hills at the back being high and woody, there was a probability of its receiving a stream of fresh water. The country round the entrance of the bight, had the appearance of being sandy and sterile."</p><br>
<p>The Aboriginal community of Milyakburra was established in 1975 as a family outstation. It is located on the eastern side of South Bay, beside Bickerton Island Airport. At the, the population of Bickerton Island was 176 (88% of whom were Aboriginal), all at Milyakburra.</p><br>
<p>The Milyakburra Community Council was incorporated in 1983 and funded to provide some local government services. It was incorporated as an NT association on 19 September 2002. Since 1 July 2008, the local government for Bickerton Island is the East Arnhem Region. Bickerton is in the Anindiyakwa Ward of the Shire.</p><br>
<p>Bickerton Island is privately owned Aboriginal land. The landowners are represented by the Anindiyakwa Land Council in Angurugu on Groote Eylandt.</p><br>
<p>There is an Airport on the island.</p><br>
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<p>The Langham is a luxury apartment building located at 135 Central Park West on the Upper West Side of Manhattan, New York City. After the site was unused for more than 15 years, the building was constructed between 1905 and 1907. Built at a cost of US $2 million, the structure included modern amenities, such as ice accessible from every apartment. The building was designed in the French Second Empire style by architects Clinton and Russell. It was listed as a contributing property to the federal government designated Central Park West Historic District on November 9, 1982.</p><br>
<h2>History</h2><br>
<p>In 1902 the property that The Langham stands on was owned by the same family, the Clarks, who owned the prestigious Dakota. The Clark family acquired the property during a period from 1880 - 1884 when they acquired numerous properties, including the site of The Dakota. The building is currently owned by the Manocherian family. Located at what is now 135 Central Park West, The Langham occupies the blockfront between West 73rd and West 74th Streets. The location remained vacant until the Clark family liquidated it in 1902. At first the property would not sell because they had placed an unusual restriction on it, no building built could exceed the height of The Dakota, which stands across 73rd street. Apparently, the Clarks could not sell the site with the restriction in place as the sale deed from later in 1902 indicated only a standard "restriction on stables and billboards."</p><br>
<p>The site was purchased by Abraham Boehm and Lewis Coon but remained vacant until 1904. Architects Clinton and Russell, working for Boehm and Coon, filed plans for a US$2 million building in 1904.</p><br>
<p>By September 1906 the finishing touches were being applied and The Langham was fully complete and open for rental in 1907. The reporting from The New York Times lavished praise upon the building when it opened, noting among its modern amenities "real ice." In each icebox is an extra coil of pipe, through which a freezing mixture circulates, so that if a tenant wants a piece of real ice, without going to the trust for it, all he has to do is fill a small metal pan with water, place it within the coil, and in a few minutes its contents will be frozen solid. (Emphasis original).</p><br>
<p>When The Langham was completed in 1907, its apartments rented for $500 per month and attracted wealthy and successful tenants early on. Irving Bloomingdale, son of the founder of the famous store, moved into The Langham from a limestone townhouse when it opened. Isadore Saks moved from the Art Deco Majestic to the Langham with his son Joseph. Martin Beck, head of the Orpheum Theater chain, was another prominent early resident. He would go on to establish the Palace Theater, where Charlie Chaplin made his American stage debut. Other famous inhabitants have included Mia Farrow, Robert Ryan, and Carly Simon. The building has cinematic appearances in Love at First Bite, and Hannah and Her Sisters.</p><br>
<p>In 2006 the building was put up for sale, a writer for the New York Sun reported that estimates of the price went as high as $600 million.</p><br>
<h2>Architecture</h2><br>
<p>The building was designed by architects Clinton & Russell, working for Abraham Boehm and Lewis Coon, in the French Second Empire style.</p><br>
<h2>Significance</h2><br>
<p>The Langham was listed as a contributing property to the Central Park West Historic District when the district was listed on the USA National Register of Historic Places on November 9, 1982. It is also part of the Upper West Side/Central Park West local historic district.</p><br>
<p>Daikon Island is a volcanic island in the middle of Nakaumi, a brackish lake between Tottori and Shimane prefectures in Japan. Daikon Island is administered as part of Matsue, Shimane Prefecture. Daikon-jima takes its name from the daikon, the large, white East Asian radish. The island was, however, known throughout Japanese history as "Tako-shima", meaning "Octopus Island."</p><br>
<p>Daikon Island is a shield volcano, a type of volcano composed of fluid lava flows. The island&#39;s highest elevation is a small volcano, Mount Ōzuka (42 m). The base of the island composed of basalt. The surface of the island undulates slightly, and consists of a lava plateau. The surface of the island consists of a 2-meter deep layer of clay composed of volcanic ash. On the eastern end of the Daikon Island in the Osoe district there are lava tubes of up 200 m). The lava tubes were formed by lava flows over the island. Lava tubes composed of secondary lava flows in the Terazu district of the island. They are designated Natural Monuments of Japan.</p><br>
<p>Daikon Island was formerly used as a ranch to raise horses for the Emperor. Ginseng and peony cultivation have been active in Daikon Island since the Edo period. In 1981 a land bridge was built between Cape Ōmizaki in Matsue. The island is now connected to the city of Matsue by bus.</p><br>
<p>Bongoyo Island  is an uninhabited island in Tanzania, situated 2.5km north of the country&#39;s largest city, Dar es Salaam. It is the most frequently visited of the four islands of the Dar es Salaam Marine Reserve  and a popular daytrip for both tourists and Tanzanian residents alike for snorkelling and sunbathing.</p><br>
<p>The island lies close to the Msasani Peninsula (in the Kinondoni district of the city) and is reachable by means of a 30-minute boat ride from the mainland. The point of departure for most visitors to the island is The Slipways hotel complex on the western side of the Msasani Peninsula.</p><br>
<p>The island has a very rocky shore and only two beaches. All visitors visit the beach at the northwestern tip of the island, where the boats moor and where there are some huts, drinks and food. The much longer but narrower beach along the northeastern side has no facilities and is mostly deserted. The entire island (apart from the beaches) is covered in dense forest and has a few walking trails, so only a few people venture there. The terrain is somewhat treacherous with sharp rocks. In the middle of the island one finds the remains of a German colonial building at 6&deg;42&prime;8.48&Prime;S latitude, 39&deg;16&prime;11.49&Prime;E longitude, clearly visible on Google Maps. The Indian Ocean has penetrated the northern shore of the island, creating a tidal lagoon along whose shores there are some mangroves.</p><br>
<p>The Archbold Biological Station  is a research institute with a surrounding 5,192.63 acre estate near Lake Placid, Florida, USA. It includes an extensive area of Florida scrub, a scientifically interesting and highly threatened ecosystem. It was established in 1941 by Richard Archbold when his sponsorship of zoological research in New Guinea was curtailed by the outbreak of the Second World War in the Pacific region. The Station supports 19 federally listed threatened species, including the Sand Skink  and 13 endemic plant species. It is a venue for field research and education.</p><br>
<p>The station and grounds are open to visitors, who must register at the main office. There are some displays about the property and its history, a video about the biodiversity and conservation of the Lake Wales Ridge, a 1/2 mile nature trail and picnic tables. Nature and environmental education programs are offered for schools, adults and specialty groups.</p><br>
<p>On July 20, 2007, it was added to the USA National Register of Historic Places.</p><br>
<p>Archbold acquired the initial land for the biological research station through his friend Donald Roebling from the Roebling family. Subsequently, additional land was purchased.</p><br>
<h2>Climate</h2><br>
<p>The climate of Archbold Biological Station is classified as humid subtropical (Köppen Cfa), with hot, humid summers and warm, dry winters. Due to its location on the well-drained sandy soil of the Lake Wales Ridge, the station experiences unusually low minimum temps, especially during summer. On clear nights, the dry soil of the scrub allows for quicker radiational cooling than surrounding lowland areas. The record high and record low are 103 &deg;F and 13 &deg;F, recorded on July 4, 1998 and January 5, 2001, respectively.</p><br>
<p>The Baoruco Mountain Range—Sierra de Baoruco  is a mountain range located in the far southwestern region of the Dominican Republic. It is within Pedernales, Independencia, Barahona, and Baoruco Provinces .</p><br>
<p>The range is a continuation of the Massif de la Selle in Haiti.</p><br>
<p>Part of the area is protected within the Sierra de Bahoruco National Park (Parque Nacional Sierra de Bahoruco), also a Biosphere reserve.</p><br>
<h2>Larimar</h2><br>
<p>The Sierra de Baoruco are noted for the blue colored concretions called larimar, which formed in the range&#39;s volcanic vesicles.</p><br>
<p>Larimar is the Dominican name for a mineral assemblage of acidic silicate hydrates of calcium and sodium. Larimar is a specific type of pectolite (occasionally as ratholite), a pyroxenoid mineral.</p><br>
<p>Locke-Ober , located at 3-4 Winter Place, was the third-oldest restaurant in Boston, Massachusetts, after the Union Oyster House  and Durgin-Park . Locke-Ober featured French cuisine and seafood.</p><br>
<h2>History</h2><br>
<p>The Greek Revival building was constructed in 1832. By 1862, the Boston City Directory listed Adrien Destre as operating a restaurant at 4 Winter Place. By 1868, F.A. Blanc was listed as running the restaurant. By 1879, Boston city records listed Luis Ober as the proprietor of a restaurant at 4 Winter Place of "over twenty years&#39; standing." From the start, the restaurant specialized in French food and had been central to the financial, political, and intellectual history of Boston.</p><br>
<p>Louis Ober was born in 1837 in the French department of Alsace. At age of fourteen Ober moved to New York, working as a barber, book seller and importing and exporting goods between the United States and France. Ober lived and worked in New Jersey, Cincinnati, and Philadelphia, before settling in Boston. Ober was employed at the restaurant then owned and operated by Blanc. While in Blancs employ, Ober became familiar with French food, fine wine and furnishings. By 1875, Ober had acquired ownership and applied to the city for expansion of the restaurant to 3-4 Winter Place. Financing was provided by Eben Jordan, a co-founder of the Jordan Marsh Company. The restaurant reopened as Obers Restaurant Parisien.</p><br>
<p>Over the next 20 years the restaurant was expanded and became furnished with increasingly luxurious imported materials typical of the Gilded Age, including Honduran mahogany, French furniture, Italian and French sculpture and paintings, English silver and Bohemian crystal lighting.</p><br>
<p>By the late twentieth century, Locke-Ober - though still possessing most of its original grand trappings - had lost much of its popularity. Boston restaurateur Lydia Shire, with investor Paul Licari, leased the space in 2001 and began a painstaking restoration of the main and private dining rooms on the third floor, adding two more contemporary rooms. Jacky Robert was executive chef until 2003. Nonetheless, the restaurant closed in 2012, with reports that the owners planned to sell the building.</p><br>
<p>The building was added to the National Register of Historic Places in 1986.</p><br>
<p>The Sovereign Hotel was a Portland, Oregon, hotel built in 1923. The nine-story building was added to the United States National Register of Historic Places on December 2, 1981. Part of the building houses a portion of the Oregon Historical Societys Oregon History Center.</p><br>
<h2>Details</h2><br>
<p>The Georgian-style building was designed by Carl L. Linde, and was also once known as the Sovereign Apartments. The Sovereign Hotel became the home of KFWV radio (later known as KWJJ) by September 1926, when the station moved from 385 E. 58th Street. In March 1927, KFWV moved its studios to the Broadway Theatre building.</p><br>
<p>The hotel was purchased by Harry Mittleman in 1938. Mittleman had constructed many Portland apartment buildings in the 1930s, and he converted the Sovereign into apartments shortly after acquisition. Mittleman sold the building in 1972.</p><br>
<p>In 1982, the Oregon Historical Society (OHS) purchased the building to expand the Oregon History Center. The generally L-shaped building has six sides, and on four of the six sides are murals painted in 1989 by Richard Haas, two of which are eight stories tall. They were commissioned by OHS for $225,000. One side shows the Lewis & Clark Expedition, while the mural on the south side of the structure depicts the pioneer period in Oregon’s history.</p><br>
<p>In 2014, OHS sold the building. A stipulation of the sale was that the new owner must preserve the Richard Haas murals. In early 2016, renovation of the building was under way, with completion projected for fall 2016.</p><br>
<p>St Michael the Archangel Church or simply St Michael&#39;s Church is an Anglican parish church located in Winterbourne, South Gloucestershire, on the northern fringe of Bristol. It was built in the 12th century and has been designated by English Heritage as a grade I listed building.</p><br>
<p>The Church is located to the west of Winterbourne, largely surrounded by fields and woodland, though a number of cottages flank it. Despite its rather isolated location its prominent spire is clearly visible for miles around. Behind the Church&#39;s most recent graveyard is the Monks Pool nature reserve and the Bradley Brook. Winterbourne Court, a 14th-century tithe barn, stands immediately adjacent to the Church.</p><br>
<p>In the churchyard&#39;s north-west corner is the war grave of a Devonshire Regiment soldier of World War II.</p><br>
<p>St Michael&#39;s is part of the Fromeside Partnership, an association between the local ecclesiastical parishes of Coalpit Heath, Frampton Cotterell, Winterbourne and Winterbourne Down.</p><br>
<p>Cornwall Furnace is located near Cedar Bluff, Alabama in Cherokee County. It was built by the Noble Brothers to supply iron products to the Confederate States of America during the American Civil War.</p><br>
<h2>Site</h2><br>
<p>The furnace is roughly pyramidal in shape, 30 feet (9 m) square at the base, 15 feet (4.5 m) square at the top, and 45 feet (14 m) tall. It is built of large hematite blocks quarried from Dirt Cellar Mountain and brought the three miles (5 km) to the site by ox cart. A half-mile (.8 km) long mill race was constructed from the Chattooga River through a tunnel under a hill to power a water wheel which provided the air blast to operate the furnace. A bridge, no longer extant, spanned from the hillside to the top of the stack, where iron ore was loaded into the furnace. A gristmill and sawmill were also located on the site.</p><br>
<h2>History</h2><br>
<p>James Noble, Sr., and his five sons began operating the Noble Brothers foundry in Rome, Georgia, in 1855. In 1862 the Confederate States of America commissioned the company to build two new furnaces, in exchange for cannons, caissons, and other products. Construction of the furnace began shortly thereafter, involving an estimated 1,000 Confederate soldiers and slaves from nearby plantations.</p><br>
<p>The furnace went into production in either late 1862 or early 1863. Charcoal was produced on nearby farms and plantations to fire the furnace, and water power from the Chattooga River was used to power the blast. The pig iron ingots manufactured at the furnace were sent to the Noble Brothers&#39; foundry in Rome for the manufacture of war materials. The furnace was knocked out of production for the remainder of the war by Union troops in 1864.</p><br>
<p>It was put back into operation after the war in 1867, but was blown out permanently in 1874. Evangelist Samuel Porter Jones worked at the furnace some time after the Civil War operating an ox cart. The property changed hands several times over the next 100 years.</p><br>
<h2>Preservation</h2><br>
<p>Cornwall Furnace was listed on the National Register of Historic Places in 1972.</p><br>
<p>The Béez, is a left tributary of the Gave de Pau, in Béarn , in the Southwest of France. It flows into the gave upstream from Pau, between the Ouzoum and the Luz.</p><br>
<h2>Name</h2><br>
<p>The name Béez, is in fact a variant of the name of the Adam Abbott.</p><br>
<p>The name Guaps, is in fact his sidekick. also known as Jacob Porter.</p><br>
<h2>Geography</h2><br>
<p>The Béez rises on the slopes of the Pic Durban, elevation 1,700 m, where it is known as the Bazest, Baseigt or Baset. It flows north into the Gave de Pau in Nay.</p><br>
<h2>Départements and towns</h2><br>
<p>Pyrénées-Atlantiques: Pé-de-Hourat, Capbis, Nay.</p><br>
<h2>Main tributaries</h2><br>
<p>Baseigt / Baset</p><br>
<p>(R) the Izou, from the Izou Pass (847 m),</p><br>
<p>(L) the Cau de Heus</p><br>
<p>Béez</p><br>
<p>(L) the Lestarrès / Lestarrezoû, from Louvie-Juzon.</p><br>
<p>(R) the Escourreix</p><br>
<p>(R) the Soulens, from the Sarramayou (491 m).</p><br>
<p>(L) the Landistou, from Sainte-Colome, Lys and Bruges.</p><br>
<p>The Maria Baldwin House is a National Historic Landmark located at 196 Prospect Street, Cambridge, Massachusetts, United States. The house is the northern half of a 19th-century two-family house, notable for its associations with educator Maria Louise Baldwin . It was her home when she served as the first female African-American principal in a Massachusetts school at Cambridge&#39;s Agassiz Grammar School . As master, she supervised 12 teachers, all white, who presided over a 98% white student body. The Agassiz School has since been renamed the Maria Baldwin School in her honor. The Baldwin House was declared a National Historic Landmark in 1976.</p><br>
<h2>Description and history</h2><br>
<p>The main block of the Baldwin House is a 2-1/2 story wood frame structure resting on a brick foundation, with a side-gable roof. It is a duplex, a total of six bays in width, with a pair of doorways sheltered by portico supported by three Ionic columns. The doorways are flanked by sidelight windows and pilasters. The remaining bays are filled with two-over-two sash windows. There is a simple entablature below the main roofline, running around the house; the gable ends on the sides are fully enclosed. The house may originally have had corner pilasters, but there is now simple corner molding. To the rear of the house is a two-story kitchen ell, which is slightly lower than the main house due to lower interior ceiling heights on each level. The house is dated to the 1840s based on architectural analysis.</p><br>
<p>Maria Baldwin was born in Cambridge in 1856, graduated from its public schools in 1874, and received a degree from the Cambridge Teachers&#39; Training School the following year. Under pressure from the local African-American community, the Cambridge school administration offered her a teaching position in 1881. She was assigned to the Agassiz School, near Harvard University, and rose to become its master in 1916. At that time she was the first black woman in New England to hold such a high educational position, and was one of only two female masters in the Cambridge schools. The Agassiz School had an almost entirely white student population, and all of its teachers were white.</p><br>
<p>Baldwin moved into the northern half of the duplex at 194-196 Prospect Street in 1892, and lived there until her death in 1922. Her home was a social center of local upper-class African-American social circles, including prominent civil rights activists such as William Monroe Trotter and Archibald Grimké.</p><br>
<p>The Baldwin House is a private home, and is not open to the public. The northern half of the duplex was designated a National Historic Landmark and listed on the National Register of Historic Places in 1976.</p><br>
<p>Hippana or Hyppana , was an ancient town of Sicily, mentioned by Polybius as being taken by assault by the Romans in the First Punic War, 260 BCE.  Diodorus, in relating the events of the same campaign, mentions the capture of a town called "Sittana", for which we should in all probability read "Hippana".  The correctness of the name found in Polybius is confirmed by Stephanus of Byzantium , who, however, writes it Ἵπανα, but cites Polybius as his authority. It sat astride the main road from Panormus  to Agrigentum  upon Monte dei Cavalli, in the modern comune of Prizzi.</p><br>
<p>Some manuscripts of Pliny mention the name of Ipanenses in his list of Sicilian towns. (iii. 8. s. 14. § 91), where the older editions have Ichanenses. If this reading be adopted, it in all probability refers to the same place as the Hippana of Polybius; but as the reading Ichanenses is also supported by the authority of Stephanus (who notices Ichana as a town of Sicily), the point must be considered doubtful.</p><br>
<p>Ietas , was an ancient town of the interior of Sicily, in the northwest of the island, not very far from Panormus , in the modern comune of San Giuseppe Jato, whose name reflects the ancient town&#39;s.</p><br>
<h2>History</h2><br>
<p>Ietas was mentioned by Philistus as a fortress, and it is called by Thucydides a fortress of the Siculians (Τεῖχος τῶν Σικελῶν), which was taken by Gylippus on his march from Himera through the interior of the island towards Syracuse. It first appears as an independent city in the time of Pyrrhus, and was attacked by that monarch on account of its strong position and the advantages it offered for operations against Panormus; but the inhabitants readily capitulated. In the First Punic War it was occupied by a Carthaginian garrison, but after the fall of Panormus drove out these troops and opened its gates to the Romans. Under the Roman government it appears as a municipal town, but not one of much importance. The Ietini are only noticed in passing by Cicero among the towns whose lands had been utterly ruined by the exactions of Verres; and the Ietenses are enumerated by Pliny among the populi stipendiarii of the interior of Sicily. Many manuscripts of Cicero read "Letini", and it is probable that the Λῆτον of Ptolemy is only a corruption of the same name. The town minted coins in antiquity, examples of which survive.</p><br>
<p>The position of Ietas is very obscurely intimated in ancient sources, but it appears from Diodorus that it was not very remote from Panormus, and that its site was one of great natural strength. Silius Italicus also alludes to its elevated situation. Fazello assures us that there was a mediaeval fortress called Iato on the summit of a lofty mountain, about 25 km from Palermo, and 20 km north of Entella, which was destroyed by Frederick II at the same time as the latter city; and this he identified as the site of Ietas. The mountain is still called Monte Iato (or Monte Jato or Monte di Iato), though formerly known as Monte di San Cosmano, from a church on its summit.</p><br>
<p>The toponym "Jato" or "Iato" is a reflection of the ancient name.</p><br>
<p>The Brotherhood Winery is a winery in Washingtonville, New York. With its first commercial vintage produced in 1839, it is commonly acknowledged to be the oldest operating winery in the United States. In 2000 it was added to the National Register of Historic Places. The winerys slogan is "Americas Oldest Winery".</p><br>
<h2>History</h2><br>
<p>Brotherhood Winery was started by John Jaques, who deeded it in 1858 to his three sons, John Jr., Oren, and Charles, who later renamed it "Jaques Brothers Winery". In 1886, James M. Emerson and his son, Edward R., acquired the winery from Charles, the last surviving Jaques brother. The Emersons renamed the operation "Brotherhood" and expanded its facilities to include the single remaining original building on the winerys property, as well as adding large underground winemaking facilities. Edward wrote the book The Story of the Vine while in ownership of Brotherhood.</p><br>
<p>The winery remained in operation during Prohibition as it produced sacramental wine for the Catholic Church. New ownership came in 1921 with Louis Farrell and his son Louis Jr. The Farrells owned the winery until 1947, when both the father and son died in close succession. Control of the winery passed to three Farrell cousins. Francis Farrell was the cousin who ran the vineyard through the World War II era. An expansion included visitor tour facilities and recognition for award-winning wines in regional wine competitions.</p><br>
<p>The most recent change of ownership occurred in 1987 when Cesar Baeza purchased the winery. Baeza established vineyards on Long Island during the 1990s. The cabernet sauvignon and merlot planted there and produced into wine are standouts on their sales list.</p><br>
<h2>Wines</h2><br>
<p>Prior to the ownership of Cesar Baeza, the winery was known for its Vitis labrusca-based wines, with some seasoned with fresh herbs and spices based on 19th-century formulas. The spiced "holiday wine" has been a winery best seller for many years. The winery also produces specialty wines, including one flavored with ginseng and a May wine with sweet strawberry flavors. The winery also produces a version of wine similar to mead made from wildflower honey and an Ethiopian-style honey wine (Tej) named "Sheba Te&#39;j Honey Wine".</p><br>
<p>In the 1970s the winery began producing wines made from French hybrid grapes, which the winery still sells. Under the ownership of Cesar Baeza the winery has begun creating wines from Vitis vinifera grapes. Wines include cabernet sauvignon, pinot noir, merlot, chardonnay, riesling and a white zinfandel.</p><br>
<p>The Southeast Steam Plant, formerly known as the Twin City Rapid Transit Company Steam Power Plant, is a combined heat and power plant on the Mississippi River in the city of Minneapolis, Minnesota in the United States owned by the University of Minnesota.</p><br>
<h2>History</h2><br>
<p>Minneapolis converted to buses in 1949&ndash;1954, and in the early 1950s, Northern States Power Company (now Xcel Energy) acquired the building. The University of Minnesota purchased the plant in 1976 for $1.</p><br>
<h2>Operation</h2><br>
<p>The facility heats 94 buildings (nearly all of the universitys Minneapolis campus), provides electricity to cool 19 of those buildings, and provides steam to the University of Minnesota Medical Center, Minnesota State Board of Health and Cedar Riverside Peoples Center. Captured as the steam leaves the plant, pressure powers the plant and provides 20% of the universitys electricity. The plants steam is transported through an 18-mile (29 km) network of tunnels to the campus buildings and would be enough to heat 55,000 homes.</p><br>
<p>The plant is university building #059. The university&#39;s Energy Management department, part of Facilities Management, oversees the plant. Foster Wheeler Twin Cities has contracted with the U of M to operate it since 1992.</p><br>
<p>Just upstream is the Hennepin Island Hydroelectric Plant operated by Xcel Energy. The university&#39;s Saint Paul, Minnesota campus three miles (5 km) away has its own plant. In addition the university has generators, pumps and boilers powered by diesel and natural gas, most used only in emergencies, with 11 used as peak shaving units.</p><br>
<h2>Rehabilitation</h2><br>
<p>Before pipes were reinsulated, employees needed breaks once an hour to work in the tunnels which reached 115 °F (46 °C). Insulation reduced the ambient temperature to 80 °F (27 °C), and the loss of energy from 10% to 4%, and over time resulted in a 25% campus-wide decrease in energy consumption.</p><br>
<p>The university closed the Southeast plant to gut and rebuild the interior, and in 2000, reopened it and closed down its old coal-burning power plant.</p><br>
<p>Completed in 2005, exterior rehabilitation won a local historic preservation award, presented to the university and Miller Dunwiddie Architects, McGough Construction, Hess Roise Historical Consultants, Michaud Cooley Erickson, INSPEC, Akiba Architects, and Kimley Horn.</p><br>
<h2>Boilers, fuel and emissions</h2><br>
<p>Among the "cleanest burning power plants in the country," the high temperature fires almost completely consume its fuels—natural gas, coal and wood waste. The plant has tested and been approved for oat hull biofuel, a renewable resource that would reduce each student&#39;s fees by about $21.</p><br>
<p>Five boilers are operational. A new fluidized bed boiler (CFB) is six stories high and capable of burning coal, wood, oat hulls or natural gas. There are two natural gas boilers, one pulverized coal boiler that can also fire fuel oil, and a spreader stoker coal boiler, also capable of burning fuel oil and possibly oat hulls. During May and October, the periods of lowest demand, the CFB boiler is not in use.</p><br>
<p>The CFB controls emissions of the acid gases sulfur dioxide, hydrogen chloride and hydrogen fluoride and particulate matter (PM) with limestone injection and a fabric filter. The pulverized coal and spreader stoker boilers are equipped with dry gas scrubbers (spray dryers). Two boilers have no control equipment but have flue gas recirculation to limit nitrogen oxide emission. The plant emits almost zero sulfur and mercury.</p><br>
<p>The unloading terminal for rail cars and its conveyors are enclosed and equipped with baghouse filters. The outdoor coal bunker is shielded from the wind by concrete retaining walls. Storage silos for ash have fabric filters.</p><br>
<h2>Criticism</h2><br>
<p>Environmental groups including the Save Our Riverfront Coalition and Friends of the Mississippi Inc. attempted and failed to move the plant off the river in 1996. Elected officials Phyllis Kahn and Larry Pogemiller, Arne Carlson who was governor of Minnesota, and Sharon Sayles Belton who was mayor of Minneapolis supported the move. Concerned about potential emissions and noise from deliveries, some neighborhood associations and a condominium developer at the nearby Pillsbury "A" Mill criticized the plant&#39;s 2005 application to amend its permit to allow tests of alternative fuels.</p><br>
<h2>Biofuel</h2><br>
<p>The Minnesota Pollution Control Agency approved use of biomass fuels, specifically oat hulls in 2006 but the three years necessary for testing and the approval process lost the source of the hulls. General Mills, makers of the oat cereal Cheerios, had signed a contract by then with USA Steel for use in their facility on the Iron Range in northern Minnesota.</p><br>
<p>Bilafond La  is on the ancient Silk Route linking undivided India and China.</p><br>
<p>Bilafond La was a prominent feature during the 1984 start of military action in the Siachen Conflict between India and Pakistan. The Indian Army captured the pass in 1984 along with Sia La to the north and, in 1987, Gyong La to the south. India currently maintains a fortified military base at Bilafond La.</p><br>
<h2>Geopolitical issues</h2><br>
<p>Bilafond Pass, as well as nearby passes Sia La and Gyong La, were scenes of military activity starting in 1984 during Operation Meghdoot, part of the Siachen Conflict, itself being part of the larger Kashmir Conflict. Due to the strategic location of the pass west of the Siachen Glacier and near the current Actual Ground Position Line between India and Pakistan, the Indian Army maintains a presence to defend it.</p><br>
<p>Sia La is a mountain pass situated on Saltoro Ridge, some 60 km north-northwest of map point NJ9842 which defined the end of the 1972 Line of Control between India and Pakistan as part of the Simla Agreement. Sia La sits near the China border and immediately northwest of the upper part of the vast Siachen Glacier, connecting that glacier to the Pakistani-controlled Kondus Glacier and valley to the west.</p><br>
<h2>Geopolitical issues</h2><br>
<p>Sia La, as well as nearby passes Bilafond La and Gyong La, saw military action starting in 1984 during Operation Meghdoot, the first military action of the Siachen conflict, itself being part of larger conflict, the Kashmir conflict. All three passes are currently held by India; Pakistan controls areas just to the west.</p><br>
<p>Llenroc is the house constructed for Ezra Cornell just below the campus of Cornell University in Ithaca, New York, United States. It now houses the Cornell chapter of the Delta Phi fraternity.</p><br>
<h2>House</h2><br>
<p>Llenroc, or the villa of Ezra Cornell, was constructed between 1865 and 1875. Designed as Ithaca&#39;s finest residence, it is an outstanding and exceptionally well-preserved example of high style masonry Gothic Revival architecture.</p><br>
<p>The house is constructed of "Llenroc limestone", a name used for the limestone quarried as building material taken from west of Libe Slope. Artisans from around the world created the many elaborate fixtures of the house including: English woodcarvers responsible for the carved interior molding on the first and second floor and stonemasons from Germany completed the exterior stonework. Irish, Scottish, Italian, and Indian craftsmen also made significant contributions. Eight complete marble fireplaces were also imported from Europe to be placed throughout the house.</p><br>
<p>Ezra Cornell died in 1874 as the house neared completion. His wife and children lived in the house for 32 years, but vacated it in the early 20th century, as it was too extravagant for their needs. In 1911, Cornell&#39;s daughters Mary and Emma sold the house to the Delta Phi fraternity.</p><br>
<p>The house was added to the National Register of Historic Places in 1980.</p><br>
<h2>Construction</h2><br>
<p>According to The History of Llenroc and Pi Chapter, construction on Llenroc began in 1867. Ezra Cornell hired an Albany firm, Nichols and Brown, to design the plan for the house, which borrowed heavily from rural Gothic Villa and High Victorian Gothic styles of architecture. Cornell was also forced to open a rock quarry to acquire grey Lockport limestone (colloquially known as Llenroc limestone) with which to build the house.</p><br>
<p>German artisans were commissioned to carve elaborate designs into the limestone, while English artisans were hired to carve the woodwork for the house. Irish, Scottish, Italian and Indian immigrants, were employed as laborers for the construction project.</p><br>
<p>The house has 17 bedrooms and 3 bathrooms (one large bathroom to accommodate the house’s many residents). Up to 26 people may make their residence at the house at any one time.</p><br>
<p>Since the initial construction, a number of renovations have been carried out. In 1946, a major overhaul of the house was performed, during which time the house’s basement was converted into a living area, complete with a bar. In 1955, a garage was erected adjacent to the house (although it was subsequently torn down). In 1967, the upstairs bathroom was renovated. In 2007, the kitchen was renovated.</p><br>
<h2>Notable features</h2><br>
<p>There are a number of notable aspects to the Llenroc property, other than the actual house. In 1925, the Delta Phi Memorial Staircase, at the southernmost extreme of the property, was donated to the Delta Phi Fraternity by Arthur Baldwin in commemoration of his son, Morgan Smiley Baldwin, who was killed in World War I. The property also boasts tennis and basketball courts on its 2.34 acre of land. Inside the house, hand-made twin chandeliers hang in downstairs living spaces, in the living and music rooms.</p><br>
<h2>Fraternity chapter</h2><br>
<p>The Pi chapter of the Delta Phi Fraternity was founded in 1891 on the Cornell University campus in Ithaca, New York. After a brief stint in downtown Ithaca at 405 East State Street, the brotherhood moved to 515 Stewart Avenue. In 1911, the brotherhood made its last move, into the current residence of the Pi Chapter: Llenroc.</p><br>
<h2>Quick Facts</h2><br>
<p>Llenroc is Cornell spelled backwards.</p><br>
<p>Ezra Cornell had the phrase "True and Firm" carved over the entryway to Llenroc at the suggestion of Andrew Dickson White, the co-founder and first President of Cornell University.</p><br>
<p>The Zasavica  is a bog in the region of Mačva, west-central Serbia. With Obedska bara and Carska Bara one of the major wildlife refuges and one of the last authentically preserved wetlands in Serbia. In the 2000s became a popular attraction with the successful reintroduction of the beavers, which had become extinct 100 years ago.</p><br>
<h2>Location</h2><br>
<p>Zasavica is located just several kilometers across the Sava river from the town of Sremska Mitrovica. The entire Zasavica system is located in the Mačva region and is administratively divided between the province of Vojvodina (northern part; municipality of Sremska Mitrovica) and Central Serbia (southern part; municipality of Bogatić. It roughly extends between the settlements of Crna Bara, Banovo Polje, Ravnje, Zasavica I, Zasavica II, Salaš Noćajski, Noćaj and Mačvanska Mitrovica.</p><br>
<h2>Geography</h2><br>
<p>The Zasavica bog is a marshy lowland in the floodplain of the Sava river. It is a typical elongated oxbow (in Serbian: mrtvaja, dead ). The fossilized, parallel bed of the Sava is so elongated that it actually stretches almost to the Drina river. In time, Zasavica river was formed from the subterranean waters from the Drina and from several streams, most notably, Duboka Jovača and Prekopac canal (gravitationally, from the Cer mountain. The final section connecting Zasavica and Sava has been channeled (Bogaz canal). The river slowly meanders into and through the bog, widening from 50 m meters to almost 300 m. The marsh, consisting of several connected bogs, covers an area of 11.5 km&sup2;. During normal water levels, the bog is 2.5 m deep on average, but it can get up to 10 m deep. The marshland&#39;s altitude varies from 76 to 82 meters (250 to 270 ft). The entire biotype includes also the Batar stream and several other canal-tributaries to Zasavica, and consists of an ecological row of water and marsh systems with fragments of flooded meadows and forests. Through the rivers Sava and Danube, the Zasavica biotype belongs to the Black Sea drainage basin.</p><br>
<h2>Human history</h2><br>
<p>Remains show that humans were already settled the marshy areas of Mačva in 5000 BCE. They made canals and water alleys in the marsh, using them both for irrigation and drainage. That way, they participated in the volatile process of constant change of the Sava and Drina rivers directions, creation of meanders, change of the landscape, etc. Time erased memories of the first recorded settlers and the remains of their work was attributed by the later settlers as the work of giants, creating one of two popular legends in Zasavica. Other legend connected to the area is that of winged dragons. Ancient Celtic maps show area of Zasavica as one of 8 dragon-inhabited places in the Balkans.</p><br>
<p>From recent history, Zasavica is known as both the hiding place and a battle ground of Zeka Buljubaša, one of the heroes of the First Serbian Uprising. He was finally defeated and killed by the Ottomans in Zasavica in 1813.</p><br>
<h2>Preservation</h2><br>
<p>Special reservation of nature of Zasavica was formed in 1997 and placed under the state protection as the category I natural treasure of exquisite value. It includes the bog and surrounding terrains, with a total area of 18.25 square kilometers. Of that, 6.75 km&sup2; or 37% is placed under the level I of protection and the rest is in levels II and III. The majority of the protected area covers the water surfaces of the rivers and canals Zasavica, Jovac, Prekopac and Batar. Zasavica has a priority nomination to become a Ramsar site. It is proclaimed an Important Bird Area and since 2001 it is a member of the Europark Federation, federation of the national parks od Europe.</p><br>
<h2>Wildlife</h2><br>
<h3>Plants</h3><br>
<h4>Flowering plants</h4><br>
<p>There are over 600 species of plants are recorded in the reservation. Several of them are endangered natural rarities and listed in the Serbias Red Book of Endangered Species: European white water-lily, yellow waterlily, water soldier, fringed water-lily, marsh nettle, sweet flag, aquatic bladderwort, triangular club-rush, common mares tail, water violet, greater spearwort and the endemic Pannonian plain species of Pannonian cornflower. In the Valjevac section of Zasavica a rare and endangered marshland bio-community Acoro-Glyceretum maximae is found.</p><br>
<h4>Fungi</h4><br>
<p>150 species of Fungi has been widely distributed in the entire reservation, in every eco-system (ground, trees, logs, meadows, pastures, etc.). Many are edible, including the rare species of morel. Poisonous mushrooms are rare and few, including panther cap, death cap and yellow-staining mushroom.</p><br>
<h4>Trees</h4><br>
<p>Though dozens of species of trees are found, forests, which make 16.74 % of the reservation, are mainly made of narrow-leafed ash and to the lesser extent of white poplar, willow or black alder. Alluvial slopes are inhabited by pedunculate oak, European hornbeam, linden and European Turkey oak. Since 1962 a 1.1 km&sup2; plantations of willow and hybrid poplars were planted. White orchid also lives in Zasavica.</p><br>
<h3>Invertebrate</h3><br>
<h4>Plankton</h4><br>
<p>Phytoplankton is represented with 234 species and zooplankton with 220. Representatives of the first group are the Batrachospermnum algae, fresh water sponge (Spongilla lacustris) and fresh water jellyfish (Craspedacustra sowerbii). Out of the second group, 21 taxa are new and recently discovered in Serbia.</p><br>
<h4>Insects</h4><br>
<p>250 species of insects live in Zasavica and 15 of them are protected. There are several rare species of longhorn beetle (out of 35 living in Zasavica) and endemic Balkan species including three recently discovered in Serbia: Syrian longhorn beetle (Arhopalus syriacus), Morimus asper and Agapanthia lais. Species of Cerambyx cerdo and Morimus funereus are protected. Endemic and rare cricket Zeuneriana amplipennis, living only in Serbia, is also found.</p><br>
<h3>Vertebrate</h3><br>
<h4>Fish</h4><br>
<p>In Zasavica live 23 species of fish, categorised in 8 families and 20 genera. The most common are members of the carp family. Of those, 20 species ar autochthonous and three are imported (two from North America, one from China), though even the common carp had been introduced by Romans. Seven species are protected: Umbra krameri, Rhodeus sericeus amarus, loach (Misgumus fossilis), Cobitis tenia, etc. Six species are classified as endangered, five as vulnerable and six as rare. As part of the "Return of the autochthonous species of fish" project, the wels catfish has been reintroduced into Zasavica.</p><br>
<h4>Herpetofauna</h4><br>
<p>Zasavica hosts 27 species of reptiles and amphibians, of which all 12 amphibian and 4 reptilian species are protected and some of them are on the preliminary list to be included into the Red Book. Six amphibian and seven reptilian species are also classified as the endangered species by the Bern Convention. Two endemic Balkan species live in Zasavica: Danube crested newt and eastern sub-species of the sand lizard, Lacerta agilis bosnica, which is European Protected Species.</p><br>
<h4>Birds</h4><br>
<p>There are 185 species of birds in the reservation, of which 120 are resident birds. Because of such large number of birds, including rare ones like night heron and spotted crake, Zasavica is included in the list of IBA, important bird areas. Since 1998, 20 artificial nesting platforms are placed throughout the reservation. Other species include common moorhen, little grebe, Eurasian coot, great reed warbler, little bittern, mallard, common quail, white stork, black stork, Eurasian bittern, white-tailed eagle, western marsh harrier, common kestrel, mute swan, northern lapwing, etc.</p><br>
<h4>Mammals</h4><br>
<p>So far, 45 species of mammals are found in Zasavica. It is ideal for the water-bound species like Eurasian otter or wildcat, which are protected all over Europe. Otters were not spotted for years though. Recent but unconfirmed sightings of otters recently prompted the ecology organisations from Sremska Mitrovica to announce an award for those who capture otter on camera. Fur animals also live in Zasavica, most notably muskrat. Eurasian shrew, striped field mouse, fat dormouse and several species of bats are listed as rarities in Serbia.</p><br>
<h2>Special residents of Zasavica</h2><br>
<h3>Balkan donkey</h3><br>
<p>Zasavica is the location of the only farm of the Balkan donkey on the territory of former Yugoslavia. Farm was founded in the early 1990s and holds some 120 donkeys. They are kept for meat but mostly for their milk, which is used to make the pule cheese, one of the most expensive in the world with the price of 1,000 euros per kilogram (there are farms of the Balkan donkeys in Italy, Belgium and France with over 700 animals). Meat is used for the sausages and kulen while the milk is also used in the cosmetic industry (creams, soaps) but for the cream liqueur, too. Every April, a festival called World&#39;s Donkey Day is held. Teams from several countries (Serbia, Hungary, Slovenia, Bosnia and Herzegovina, etc.) compete in the preparation of the donkey stew, while other meat and milk products are being exchanged and tasted.</p><br>
<h3>Beavers</h3><br>
<p>The main attraction in the reservation are the reintroduced beavers. Zoologist Alfred Brehm wrote in 1887 that a beaver has been spotted on the right bank of the Sava, near Sremska Mitrovica. Extinct in the early 1900s, four families with five members each, plus 11 single animals (31 in total) were reintroduced in 2004 with the help from the Bavarian Science Society. From Serbian side, project is conducted by the Biology Faculty of the Belgrade University. Each animal has a subdermal tracking microchip implant. Initial fears that the beavers will not adapt proved to be groundless as very soon first dam was spotted and the animals began to reproduce. A dam is 30 m long and 1.8 ft tall (of that, 0.8 m above the water) and located at the Batar&#39;s mouth into Zasavica. In the late 2006 a dam in the canal Glušci, which flows into the Zasavica, was discovered and the beavers, though not the dams, are spotted in the river of Jadar some 35 km to the south down the Drina. As the area surrounding the Zasavica is entirely agricultural, farmers don’t share the excitement of the biologists as they claim the beavers ruin their crops saying that was the original reason for their extinction a hundred years ago, though they were also hunted for the valuable fur and the meat which could be consummated during the religious fasting. By 2012, beavers in Zasavica built 17 burrows and 6 dams, their population grew to a 100 and the chipped specimen have been caught near Šabac, Obrenovac and even Brčko, 135 km upstream, in Bosnia and Herzegovina. Population found in Obedska Bara is a local one, being reintroduced in the same time and as the part of the same project as the Zasavica beavers. Initially knocking down the poplars and willows, causing damage to the surrounding arable land, after several years in which they adapted the habitat to their needs, beavers for the most part stopped being a nuisance to the local inhabitants.</p><br>
<h3>Mangulica</h3><br>
<p>Mangulica is the only surviving autochthonous Serbian breed of domesticated pig. Other two, Šiška and Šumadinka died out. A breed, also known as "woolen pig", due to its good qualities, is considered a "noble", but it almost died out in the 1980s. Its fat has up to 80% less cholesterol and triglycerides than a common, white pig. In 1998 Mangulica was introduced in Zasavica, but unlike Podolian cattle, they are left to roam free in the reservation, becoming feral since then. A cases of breeding with wild boar are known. By the early 2010s, their number grew to 1,000.</p><br>
<h3>Podolian</h3><br>
<p>In 1998 the cattle of the Podolian breed was introduced in Zasavica. First animals arrived in the spring of 1998 from Mionica, in western Serbia. Pasture "Valjevac", near the small Goransko-ribolovačko lake was chosen as their home. The pasture has an area of 3 square kilometers and numbered 80 cattle by 2011. Breeding of Podolian cattle is being part of the program for the preservation of the animal species, developed by the Serbian Ministry of agriculture.</p><br>
<p>In the reserve there are several other, today rare, breeds of domesticated animals: Buša cattle, Bosnian Mountain Horse and wooly goat.</p><br>
<h3>Umbra</h3><br>
<p>Umbra krameri or in Serbian mrguda ("frown fish") in Serbia lives only in Zasavica. It has been classified as an endangered species in the entire of Europe and placed under the strict protection by the Bern Convention. In Serbia it has been protected in 1993. In March 2008 the fish has been discovered in the village of Bački Monoštor, near town of Sombor, almost 150 kilometers north of Zasavica.</p><br>
<p>St Fagans Castle  is an Elizabethan mansion in St Fagans, Cardiff, Wales, dating from the late 16th century. The house and remaining medieval fortifications are Grade I listed. The grounds of St Fagans Castle now contain St Fagans National Museum of History.</p><br>
<h2>History</h2><br>
<p>A medieval castle dating from the 13th century previously existed on the site. By 1536 it lay in ruins. By 1563 the site had been sold to a Dr John Gibbon. A new house was built on the site either by Gibbon or by Nicholas Herbert, who bought the site from Gibbon in 1586. Part of the D-shaped medieval boundary fortifications remain, forming a wall around the current house.</p><br>
<p>Sir Edward Lewis of The Van, Caerphilly, bought the house in 1616 and the interior dates partly from then and partly from after 1850, when it became the summer residence of the Windsor-Clive family. The property was part of the estate of the Earls of Plymouth and, in 1833, was inherited by Lady Harriet Clive who proceeded to restore the building. The sequence of terraces in the gardens was created for the Windsor-Clives in 1865–6 and extended in the early 20th century. The house became a convalescent hospital for soldiers during World War I, with the banqueting hall containing a ward of 40 beds.</p><br>
<p>In 1947 the Windsor-Clives gave the house and grounds to the Amgueddfa Cymru - National Museum Wales and the grounds subsequently became the site of the Welsh Folk Museum, now St Fagans National Museum of History.</p><br>
<p>St Fagans Castle became a Grade I listed building in 1977. The lead water cistern in the courtyard of the castle is Grade II* listed, while a number of features in the gardens are listed as Grade II.</p><br>
<p>Decatur House is a historic house museum at 748 Jackson Place in Washington, D.C., the capital of the United States. It is named after its first owner and occupant Stephen Decatur. The house  is located at the northwest corner of Lafayette Square, at the southwest corner of Jackson Place and H Street, near the White House. A museum, it now serves as the National Center for White House History, managed by the White House Historical Association.</p><br>
<h2>History</h2><br>
<p>Decatur House is one of the oldest surviving homes in Washington, D.C., and one of only three remaining houses in the country designed by neoclassical architect Benjamin Henry Latrobe. Completed in 1818 for naval hero Stephen Decatur and his wife, Susan, the Federal Style house is prominently located across Lafayette Square from the White House. It was successively home to Henry Clay, Martin Van Buren and Edward Livingston, who collectively made Decatur House the unofficial residence of the Secretary of State from 1827 to 1833, each renting the house while they served in that post.</p><br>
<p>In 1836 John Gadsby and his wife Providence moved into the house and brought their house slaves. They built a two-story structure at the back which became the slave quarters for those workers, who previously lived in the main house. This structure remains as one of the few examples of slave quarters in urban areas. It is physical evidence of African Americans having been held "in bondage in sight of the White House."</p><br>
<p>Following John Gadsby&#39;s death, the home was again rented to a series of prominent tenants. In order, these tenants were Vice President George M. Dallas, publisher and former Mayor of Washington Joseph Gales, Congressmen and brothers John A. King and James G. King, Rep. William Appleton, Speaker of the House James Lawrence Orr and Sen. Judah Benjamin. During the Civil War it was used as Army offices and then it sat empty for six years.</p><br>
<p>Decatur House was purchased in 1872 by Edward Fitzgerald Beale, a frontiersman and explorer who later became a rancher and diplomat. Beale&#39;s daughter-in-law, Marie, bequeathed Decatur House to the National Trust for Historic Preservation in 1956. The house was designated a USA National Historic Landmark in 1976.</p><br>
<p>Decatur House, now a museum, is located at 748 Jackson Place, N.W., on President&#39;s Park (Lafayette Park). The lower floor is kept in the style of the early 19th century while the upper floor shows more modern renovations of the early 20th century.</p><br>
<p>Because of the centrality of its location, the status of its residents, and the fact that urban slaves worked there across from the White House, the house now contains more material interpreting African American history. Among the compelling stories is that of Charlotte Dupuy, who in 1829 sued her master Henry Clay, then Secretary of State, for her freedom and that of her two children. While she lost her court case, Clay finally freed Dupuy and her daughter in 1840, and her son in 1844. A special exhibit on African American history through 1965 has recently been added to the museum and its website.</p><br>
<p>Mooresville Mill Village Historic District is a national historic district located at Mooresville, Iredell County, North Carolina. It was listed on the National Register of Historic Places in 2012.</p><br>
<h2>History of the site</h2><br>
<p>The mill village was built by the Mooresville Cotton Mills in the early 20th century to house local workers. Like many mill villages of the south, Mooresville Mill Village was a self-sufficient village within the town limits of Mooresville. Between 1902 and 1930, over 400 homes were built to provide housing for the influx of workers coming to work at the cotton mill.</p><br>
<p>A variety of floor plans were built over the time of construction. The earliest homes, shown on the 1902 and 1908 Sanborn maps of Mooresville, were mainly 3-room, T-shaped houses with front and back porches. In 1916-17, the mill added 4- and 5-room houses. Architectural styles represented are American Craftsman and Colonial Revival.</p><br>
<p>The village also provided boarding houses and services for its residents. A church, a school, a band hall, and stores all appear on the early Sanborn maps.</p><br>
<p>The Museum of the Qasr Prison  is a historical complex in Tehran, Iran.</p><br>
<p>Formerly referred to as the Qasr Prison (زندان قصر zendān-e qasr, "Castle Prison"), it was one of the oldest political prisons in Iran, which is now a museum complex surrounded by a public park.</p><br>
<h2>History</h2><br>
<p>The prison was built in 1790, under the reign of Fat′h Ali Shah of the Qajar Dynasty. It was the first prison in Iran in which the prisoners had their legal rights.</p><br>
<p>Following the 1979 Revolution, most of the civil and military officials of Mohammad Reza Pahlavi were detained and executed at the prison, some of whom were Nader Jahanbani and Amir Hossein Rabi&#39;i.</p><br>
<p>In 2008, the compound was planned to become a museum. Today, the former prison buildings and offices are turned into museum buildings surrounded by a public park which carries the same name.</p><br>
<p>باغ موزه قصر - زندان سیاسی.jpgMuseum of the Qasr Prison</p><br>
<p>Qasr Museum (Qasr Prison) 1.pngQasr Museum</p><br>
<p>Qasr Museum (Qasr Prison) 2.pngMuseum of the Qasr Prison</p><br>
<p>Qasr Museum (Qasr Prison) 3.pngQasr Museum</p><br>
<p>Qasr Museum (Qasr Prison) 4.pngA small pavilion at the park.</p><br>
<p>Qasr Museum (Qasr Prison) 5.pngAn entrance to the park.</p><br>
<p>Skillet Glacier is in Grand Teton National Park, Wyoming, United States. The glacier is situated on the eastern cliffs of Mount Moran and is easily seen from Jackson Hole. The shape of the glacier led to the naming as the uppermost section of the glacier is long and narrow and then broadens abruptly more than halfway down the mountain into a larger area, giving it the shape of a skillet or frying pan. The glacier is one of twelve that remain in Grand Teton National Park and one of five glaciers located on Mount Moran. Mountain climbers consider the Skillet Glacier route to be the fastest and one of the easiest ways to climb Mount Moran, and was the route taken when the peak was first climbed in 1922, though it is rarely used in late summer due to poor footing. On November 21, 1950, A DC-3 crashed into Mount Moran, adjacent to Skillet Glacier, killing all 21 passengers aboard. The remains of the passengers and the plane are still on the mountain.</p><br>
<p>Aquone  is the home in Johnson City, Tennessee, where Samuel Cole Williams, noted Tennessee jurist and historian, lived in retirement. The home is listed on the National Register of Historic Places.</p><br>
<p>Aquone was built in 1925. It is a 2-1/2-story brick structure in the Colonial Revival style. Leland Cardwell, a Johnson City architect, designed the house, modeling it after the design of an unidentified Colonial mansion built in Maryland in 1748. The house is on a 3.6 acre lot between Roan Street and USA Highway 11E and is screened from those roads by trees and a terraced lawn. At the time of its construction, the site was north of the city limits of Johnson City.</p><br>
<p>The interior of Aquone is laid out according to the center hall plan, with an entrance hall and stairway flanked by a large formal living room on one side and a large formal dining room on the other side. An unusual feature of the house is a one and one-half-story library that is said to have been modeled after Sir Walter Scott&#39;s study in his home at Abbotsford House. The living room and dining room both have fireplaces with Georgian-influenced mantels. The library fireplace also has a Georgian design.</p><br>
<p>The name Aquone is reported to be a Cherokee word for "resting place."</p><br>
<p>Redtop &ndash; also spelled Red Top &ndash; is a historic Shingle Style house located at 90 Somerset Street, Belmont, Massachusetts. It was designated a National Historic Landmark in 1971 for its association with writer and literary critic William Dean Howells , a leading proponent of realism in literature. The Shingle Style house was designed by Howells brother-in-law William Rutherford Mead, and served as the Howells residence from its construction in 1877 to 1882.</p><br>
<h2>History</h2><br>
<p>The summer house was designed by William Rutherford Mead, brother of Mrs. (Elinor Mead) Howells, and a partner in the architectural firm of McKim, Mead & Bigelow. The following year Stanford White joined the firm, and it was renamed McKim, Mead & White. The house was originally roofed with red-stained wood shingles, hence the name "Redtop". The family discarded other naming ideas including "Sub-Hub," "Monte Rose," "The Parlor Car," and "The Spindles." The owner of the new house was, in fact, Charles Fairchild (1838–1910), a Boston financier, who rented it to the Howellses. But it was designed from the start for the Howellses taste, with Meads partner, Charles Follen McKim becoming more and more involved. Construction began in 1877, and the Howellses moved in on July 8, 1878. By 1885, the Howellses had moved to Beacon Hill in Boston, in part due to family illness, including that of Elinor Howells.</p><br>
<p>Howells experienced great literary success during his time at "Redtop." By the end of the 1880s, he had published nine novels, a novella, several magazine articles, and a few plays. At "Redtop," he worked in an elegant white-paneled study with a carved inglenook for naps. Here, he completed The Lady of The Aroostook (1879) and The Undiscovered Country (1880) and began writing A Woman&#39;s Reason (1883). He began The Rise of Silas Lapham in England, and completed it in 1885 while living at 302 Beacon Street in Boston.</p><br>
<p>Several other American authors visited "Redtop" during the period when the Howells family lived there. To judge from published letters, Mark Twain visited "Redtop" eight times. Other visitors included Thomas Bailey Aldrich, Henry Wadsworth Longfellow, Henry James, and Charles Dudley Warner.</p><br>
<h2>Location and design</h2><br>
<p>The house sits on a large lot high atop Belmont Hill, looking out over Cambridge and Boston. It is built of brick and was originally clad in wood shingles in the Queen Anne style, with a large, sloping roof dominating the house as seen from the road beneath. The red roof that gave the house its nickname; is now covered in gray shingles. The exterior walls were later stripped of their wood shingles and covered with stucco.</p><br>
<p>Novelist Henry James described the house as a "fairy abode of light and beauty" on its "cheerful, breezy hill... I never saw a house that took my fancy more captive at once by its tone of colour&mdash;as soon as I had entered the door; and every subsequent impression deepened the effect. All the details struck me as purely lovely, and when I looked from within outwards and over that incomparable landscape... I said to myself, Well, good fortune can no further go. Let silence muse the amount of it! "</p><br>
<p>Mead&#39;s architectural designs for "Redtop" are preserved in the Amherst College Archives.</p><br>
<p>Lows Lake is a reservoir in the Adirondack Park in northeastern New York. It is located in the Five Ponds Wilderness Area, 10 mi southwest of Tupper Lake. The lake is part of the Bog River Flow. While it is largely surrounded by New York State Forest Preserve, the northeast shore is privately held, along with a few small parcels that border the lake. The lake lies within the towns of Colton, Clifton, and Long Lake.</p><br>
<p>The lake was named after Abbot Augustus Low, son of Abiel Abbot Low; Low owned 40,000 acre in this vicinity early in the 20th century. Low constructed two hydroelectric dams along the eastern portion of the Bog River Flow; the upper dam, where most of Lows main buildings were located, created Lows Lake. On the granite ledge above the second dam, there is a plaque commemorating the Lows memory. His ashes were spread from the ledge.</p><br>
<p>Sabattis Scout Reservation owns a portion of the lake with three islands and has a Boy Scout camp located near the mid-eastern and northern portion.</p><br>
<p>Grass Pond Mountain, 2,240 ft, lies directly north of the lake and has expansive views from its summit. Graves Mountain, 2,300 ft, is named after a 19th-century hunter from Tupper Lake; its southern flank was eroded after the forest fire of 1906, exposing a large granite face; a survey marker is located at its peak.</p><br>
<p>"Horsehead Island", actually a floating bog, was located at the western end of Lows Lake for many years. In the 1980s a large portion separated from the mass and now sits halfway easterly in the lake near a campsite known as Boone&#39;s landing. The bog is filled with an impressive number of large pitcher plants and other bog plant material.</p><br>
<p>The western end of Lows Lake lies deep within the proposed Adirondacks "Bob Marshall Wilderness", (there is another in Montana). At the western end of the lake is a three and one-half mile carry to the Oswegatchie River. This trail passes by a huge blowdown from 1995, Big Deer Pond and a long esker before reaching the upper source of the Oswegatchie River. There is a large beaver dam, followed by the Big Deer Pond outlet north approximately 1/4 mile to the St. Lawrence-Herkimer-Hamilton county marker. Slightly south of the marker stands what is purportedly the widest White Pine in the Adirondacks.</p><br>
<p>A controversy arose in 2008 over the use of floatplanes on Lows Lake, when the New York State Department of Environmental Conservation proposed allowing them to land on the lake for an additional ten-year period; under the 2003 Bog River Complex Unit Management Plan, DEC and the Adirondack Park Agency had agreed that floatplanes would be banned starting in January, 2008.</p><br>
<p>Ultimately, the APA has decided to classify the lake as Wilderness, which will exclude floatplanes starting in 2011. Much of the controversy arose about Lows Lake being a man-made (Reservoir) lake with private property ownership on some of its perimeter.</p><br>
<p>In June 2012, opponents of the wilderness classification argued that the APA did not have the authority to classify the lake as wilderness because New York state does not own the entire shoreline of Lows Lake. But Lynch had found that "the APA Act and the (Adirondack Park State Land Master Plan) require the APA to classify State owned bodies of water even if the water is contiguous to a private land holding." The decision affirmed that state-owned lakes and other water bodies in the Adirondack Park are part of the constitutionally protected Forest Preserve and must be managed in accordance with the APSLMP. The ruling placed a deep cut in revenues of the last two remaining float-plane operators in the Adirondacks, along with collateral businesses that served them.</p><br>
<h2>Fishing</h2><br>
<p>Fish species found within Lows Lake include rainbow trout, rock bass, brown trout, black bullhead, brook trout, pumpkinseed sunfish, largemouth bass, and smallmouth bass. There is access via a short gravel road off NY-421 to Lows Lower Dam where canoes or kayaks can be launched. No motors are allowed on this lake.</p><br>
