<p>Rockland is the home of Virginia&#39;s Rust family, near Leesburg, Virginia. The property was acquired by General George Rust from the heirs of Colonel Burgess Ball in 1817. General Rust built the present brick residence about 1822, incorporating an older frame house as a rear service wing.</p><br>
<p>General Rust was involved in the Baltimore area during the War of 1812 and was a member of the Virginia House of Delegates in 1818-1819 and 1820-1823. On his death in 1849 the house passed to his son, Colonel Armistead Thompson Mason Rust. Born at Rockland in 1820, Colonel Rust attended West Point and served with the Confederate 19th Virginia Infantry during the American Civil War. On Colonel Rusts death in 1887, his son Henry Bedinger Rust inherited the property. Henry enlarged the house in 1908 to its present configuration. The house continues to be owned by the Brown family, descendants of the Rusts through Henrys daughter Elizabeth Fitzhugh Rust Brown.</p><br>
<p>The Federal style house has a central hall, single pile plan, extended by the 1908 additions to a double-pile plan. A one story Roman Doric portico was added to the south elevation in 1908, while the rear (east) elevation has a Roman Doric porch across its width. The property includes a number of outbuildings, including a brick overseers residence, brick servants quarters, a smokehouse, a small barn, a farm supervisor&#39;s house and a variety of twentieth century buildings.</p><br>
<p>Rockland was listed on the National Register of Historic Places in 1987.</p><br>
<p>The Tolland Green Historic District is a historic district that includes the town green, Tolland Green, of the New England town of Tolland, Connecticut. The green is a long and narrow strip of land oriented in a north-south direction. The district includes the green and the surrounding properties. The historic district contains 55 contributing buildings and one other site, and is located primarily along Merrow Road  from just south of Cider Mill Road in the south, past the Tolland Green, then widening in the north to encompass both Tolland Stage Road  and the street known as Tolland Green to roughly Dunn Hill Road.</p><br>
<p>Around the Green are several 18th- and 19th-century houses, and civic and religious buildings. Route 195 serves as the west boundary while the street known as Tolland Green serves as the east boundary. Route 74 goes through from east to west cutting the Green into two halves.</p><br>
<p>On either side of the green at the south end are two town halls, the Old Town Hall (1879) and the present Town Hall (1909). The Congregational Church, the Old Tolland County Court House (1822; separately listed on the National Register and now a library), the Board of Education building (in a converted residence built in 1830), and the Old Tolland Jail (now a museum) are located near the intersection where the Route 74 cuts through the green. The remaining buildings are residential, most dating from the 18th and 19th centuries.</p><br>
<p>The district is significant for its landscape qualities, for its historical associations, and for its architecture.</p><br>
<p>The houses at 37–47 North Fifth Street in Hudson, New York, United States, are a row of six Italianate buildings. They were built around 1870 by Freeman Coons, a local builder.</p><br>
<p>They are an intact example of late 19th-century worker housing in the city, restored at the end of the 20th century by a local community housing group after decades of neglect. In 2003 they were listed on the National Register of Historic Places. They are currently used by a local drug rehabilitation program.</p><br>
<h2>Property</h2><br>
<p>Five of the row&#39;s six houses are identical two-story, three-bay frame structures with a continuous gable roof shingled in asphalt. They have distinctive Italianate features such as bracketed cornices, two-over-two sash windows and paneled entrance reveals.</p><br>
<p>All the east (front) facades are sided in clapboard, and all windows have paired louvered shutters. The basement on the west elevation is exposed, giving the appearance of a third story. On the inside, they are divided into two or three apartments, some with only a single room.</p><br>
<p>The exception to the plan is 47 North Fifth, which is three stories high and twice as deep, with its exposed basement giving it an apparent fourth floor. On its north side is a wraparound storefront, topped by a rounded louvered vent in the gable end. There are two flat-roofed additions, one a single story and the other two, on this end. Both have dentilled cornices.</p><br>
<h2>History</h2><br>
<p>Whaling, the industry that had started Hudson, had declined by the mid-19th century. Manufacturing began to replace it, requiring more labor and growing the citys population. These workers needed housing. The citys grid plan was mostly developed but there were still open spaces on its edges, near the factories.</p><br>
<p>In the years after the Civil War, local builder Freeman Coons and his partners, a local family-owned lumber business, bought the land on the undeveloped section of North Fifth north of State Street. They built the houses, which they intended to be rental properties, between 1869 and 1871 in a vernacular take on the then-popular Italianate architectural style, and then sold them.</p><br>
<p>The 1870 census records three buildings on the row, Nos. 43, 45 and 47, as finished and occupied. Ten years later, however, the 1880 census lists only two. The records from these censuses do show that the occupants at the time were workingmen and their families, as Coons and his partners had intended.</p><br>
<p>Over the next century, the houses remained intact and unaltered, but went into decline much as the city itself did, even after the nearby downtown rebounded when it attracted antique shops and art galleries following its 1985 designation as a historic district. In the late 1990s Housing Resources of Columbia County (HRCC), whose offices were just around the corner, started the North Fifth Street Revitalization Project to address this "pocket of blight." Its goal was to acquire the neglected properties on the block, including the rowhouses, and restore them to create homeownership opportunities and reverse the downward trends in the neighborhood.</p><br>
<p>Through a combination of $2 million in state and local grants, HRCC was able to acquire and restore most of the block, including the rowhouses. During this process, it was approached by Twin County Alcohol and Substance Abuse Services, which was looking for both office space and apartments for its clients, recovering addicts who had returned to living independently but still needed outpatient treatment. HRCC decided to adapt the rowhouses for this purpose, eventually creating 6,000 ft&sup2; of office space and rooms for Twin County. The work was finished in 2002.</p><br>
<p>The Robert E. Lee Hotel in St. Louis, Missouri, also known as Auditorium Hotel, Evangeline Home, or Railton Residence, is a Romanesque style building. It was listed on the National Register of Historic Places in 2007.</p><br>
<p>It was designed in 1927 by architect Alonzo H. Gentry and was built during 1927-28. It is a 14-story building with a cast concrete structural framework and red brick walls.</p><br>
<p>It was originally opened as the Robert E. Hotel. Purchased by the Salvation Army in 1939 for $1.</p><br>
<p>Later, as Evangeline Booth Home, it provided housing for wives separated from the their husbands in active duty in the military during World War II.</p><br>
<p>Named the "Railton Residence" in the 1970s and provided low-income housing.</p><br>
<p>Closed in 2008 for renovations.</p><br>
<p>Its renovation was completed in 2010 and since then it has served as a Salvation Army residence.</p><br>
<p>The Lark Theater is a single-screen Art Deco cinema in Larkspur, California.</p><br>
<h2>History</h2><br>
<p>The Lark Theater was built by the Blumenfeld family in 1936, over a horse-shoe pit. It anchors the North End of Larkspur&#39;s historic downtown district, and is designated a Larkspur Heritage Building. It is a contributing structure in the Larkspur Downtown Historic District, which is listed on the National Register of Historic Places.</p><br>
<p>The Lark was designed by architect William B. David, who began his career in the firm of S. Charles Lee and went on to design many Northern California cinemas of the period, including the Lark&#39;s sister theaters the Park, in Lafayette, California, and the Noyo in Willits, California.</p><br>
<p>It may not be a coincidence that all three structures used four-letter names that fit neatly above the marquee.</p><br>
<p>The theater is Larkspur&#39;s only Art Deco building. It originally seated 400 people and featured both heating and air conditioning at the time it opened. Its neon sign and stopped tower are typical details used for 1930s movie theaters. The two small buildings on either side of the theater were originally used as office and storage space for the theater.</p><br>
<h2>Closure and renovation</h2><br>
<p>Over the decades of its existence, the Lark has been a first-run movie theater and an art-house venue. But by the late 1990s, the building was empty and in disrepair. The theater had been dark for five years, and was slated for demolition in 2003, when local residents mounted a campaign to "Save the Lark." Sufficient funds were raised to restore the theater&#39;s interior and exterior, and to do so with environmentally safe materials. Local professionals donated services and volunteers, led by co-founder and Executive Director Bernice Baeza, worked to restore the Lark to its original splendor. For these efforts, the Lark Theater was awarded the 2005 Art Deco Preservation Award from the California Art Deco Society and certified as a green business by the County of Marin. Later, a successful capital campaign made it possible for the non-profit Lark Theater LLC to purchase the building.</p><br>
<p>On July 9, 2004, the Lark Theater re-opened as an independent, non-profit community film and culture center with a screening of the 1949 film noir classic Impact, which was partially shot in Larkspur. The seating capacity was reduced to 240 seats (down from 400). Since that time, the Lark has offered cultural programming which includes first-run, independent and classic film, an annual Youth Film Festival, live broadcasts of events of civic interest such as the Presidential debates and inauguration, fundraisers for local schools and non-profits, panel discussions and live music.</p><br>
<p>In November, 2012, the theater installed a new 4K NEC digital projector for its single screen. The sound system was upgraded to handle 7.1 media. The 35mm projection equipment remains installed as of June 2015. The theater has no plans of removing it.</p><br>
<p>The theater also has two Meyers powered speakers, one subwoofer, a 16 channel audio mixing board, audio effects processors and stage lighting for live performances on the small stage.</p><br>
<p>Washington Hall at the University of Notre Dame in Notre Dame, Indiana is the seventh oldest university owned building on the historic campus. It is part of the University of Notre Dame: Main and North Quadrangles historic district, listed on the National Register of Historic Places, and was the original home of the university’s music and performing arts programs.</p><br>
<p>The theater is located just east of the University’s Golden Dome, the University&#39;s main administrative building, on the main quad on campus, also known as God Quad.</p><br>
<h2>History</h2><br>
<h3>Notre Dame before Washington Hall</h3><br>
<p>Ever since the university’s earliest years, the site of Washington Hall has been associated in the minds of Notre Dame students, alumni, faculty and staff with music, entertainment and recreation. In the 19th century, Notre Dame was a small and very much self-contained institution. As early as 1846, the combination of a recognition that Notre Dame would have to provide its own entertainment and a French-inspired appreciation for the fine, dramatic and musical arts led the university’s founders to reserve a building for artistic instruction and performance.</p><br>
<p>The original music hall, which stood on the site next to the Administration Building now occupied by Washington Hall, was a two-story clapboard building. It housed classrooms and practice rooms as well as facilities for lectures, concerts and campus assemblies. The building played a major role in the life of Notre Dame throughout the early years.</p><br>
<p>On April 23, 1879, however, the life of the university changed abruptly when a fire destroyed the five major campus buildings, including the music hall. Although the university literally stood in ashes, the Congregation of Holy Cross was determined to rebuild Notre Dame. Wiloughby J. Edbrooke, a Chicago architect, was commissioned to create a new campus. Two years later, the task was largely completed.</p><br>
<p>Among the new buildings was Washington Hall. Named for the political hero of the university’s founder, Father Edward Sorin, Washington Hall was built in the “Modern Gothic” style so popular in the 19th-century Midwest and so much in evidence in Notre Dame’s oldest buildings. The placement, façade and proportions of the new building were intended to parallel those of nearby Sacred Heart Church. Because they do so successfully, Washington Hall from the beginning helped to define the boundaries of the main quadrangle of the campus. Thus, even today, Washington Hall remains at the physical core of the university.</p><br>
<h3>Creation</h3><br>
<p>The new building retained its function as a music hall. One of its two components continued to provide classrooms and practice rooms for individual students, the orchestra and the marching band. Nonetheless, the octagonal-shaped theatre, which the building also housed, became synonymous with the words Washington Hall. This theatre, which was completely painted over in 1956, once stood as a fine example of the late 19th century décor. Frescoes and murals by Luigi Geogori and Signor Rusca included four emblematic figures of tragedy, comedy, music and poetry above which were portraits of Shakespeare, Molière, Mozart and Dante. Over the proscenium, Washington loomed, flanked by Demosthenes and Cicero on either side. The theatre could accommodate 300 spectators in its gallery and another 400 on the ground floor.</p><br>
<h3>Through the years</h3><br>
<p>Over the years, the theatre has provided the Notre Dame community with countless hours of entertainment and intellectual stimulation. Numerous student productions have been offered on its stage, beginning with the 1882 production of Oedipus Tyrannus. It has served as a forum for speakers ranging from Henry James, William Butler Yeats and William Jennings Bryan to Tennessee Williams, Pete Seeger and Phil Donahue.</p><br>
<h3>Legendary figures</h3><br>
<p>Notre Dame has often associated in the public mind with legendary figures but few Notre Dame legends have endured as long or lodged themselves as firmly in campus apocrypha as has the ghost of Washington Hall. Theories as to the ghost’s identity vary, with the most persistent hypotheses being that the ghost is either that of George Gipp, who supposedly slept on the steps of Washington Hall the night before he became fatally ill in 1920 or a Steeplejack who fell to his death while working in 1886. While they may not agree on the ghost’s identity, few students scoff at stories of doors slamming on windless nights, footsteps heard on the roof, or inexplicable noises heard during late-night play preparations. To them the ghost of Washington Hall is very real and very much a part of the respect for the tradition that makes Notre Dame, Notre Dame.</p><br>
<h3>National Register of Historic Places</h3><br>
<p>In May 1978, approximately seventy acres of the University of Notre Dame campus were entered as an historic district on the National Register of Historic Places. The National Register is the federal government’s official list of the nation’s cultural resources worthy of preservation. Inclusion of a district, site or building on the National Register is determined after both state and federal review boards have assessed the quality of significance of the nominated property in American history, architecture, archaeology and culture. Districts must possess integrity of location, design, setting, materials, workmanship, feeling and association, and a) Be associated with events that have made a significant contribution to the broad patterns of our national history; b) Be associated with the lives of significant historical persons; c) Embody distinctive characteristics of architectural and artistic design and construction; d) Yield important historical evidence. Listing on the National Register makes properties eligible for protection under federal preservation law and for federal grants-in-aid for exterior restoration.</p><br>
<p>Notre Dame’s historic district was assessed to be of significance particularly in the areas of architecture, community planning and educational and religious history. Washington Hall (1881), the seventh oldest extant structure in the district, was identified as a critical structure in both the original campus design plan and as an example of the University’s predominant architectural style. Its location at the very center makes its preservation essential for the maintenance of the district’s historical aesthetic integrity.</p><br>
<h2>Current building use</h2><br>
<p>With the opening of the DeBartolo Performing Arts Center in the 2004 fall semester, the Student Activities Office entered into an agreement with the Provost&#39;s Office to transform Washington Hall from an academic building into a student-centered venue.</p><br>
<p>The building is divided into five main uses for student groups:</p><br>
<h3>Mainstage</h3><br>
<p>571 seat auditorium suitable for theatrical productions, musicals, pageants, and lectures.</p><br>
<h3>Rehearsal Room 110</h3><br>
<p>A large room suitable for dance practice and performing arts rehearsals.</p><br>
<h3>Lab Theatre</h3><br>
<p>Located on the third floor, a black box theatre with a capacity of 100. Great for small scale theatrical productions and rehearsals.</p><br>
<h3>Scene Shop</h3><br>
<p>The Scene Shop, located on the first floor, is available for students to build sets for their productions.</p><br>
<h3>Club storage rooms</h3><br>
<p>Space allocation is made on an annual basis during the spring semester during the club registration process.</p><br>
<h2>Performers of Washington Hall</h2><br>
<p>Actors from the London Stage</p><br>
<p>The Notre Dame Dance Company</p><br>
<p>The Notre Dame Undertones</p><br>
<p>Pasquerilla East Musical Company (PEMCO)</p><br>
<p>The Metropolitan Opera House  is an historic opera house in Iowa Falls, Iowa, United States. It was individually listed on the National Register of Historic Places in 1975. It was included as a contributing property in the Washington Avenue Commercial Historic District in 2012.</p><br>
<p>The Metropolitan Opera House opened with its first performance on December 27, 1899 with an audience numbering over 800, later proclaimed as the "biggest social event in the history of Iowa Falls." The house hosted notable artists including Otis Skinner, Walker Whiteside and John Philip Sousa and his band. Between 1930–54, the house presented films and served as a venue for concerts and drama and dance productions of Ellsworth College and Iowa Falls High School. The theatre was purchased by John P. Whitesell of Iowa Falls in June 2013 and reopened after an upgrade to digital projectors.</p><br>
<p>Oscar-nominated actor Hugh Jackman appeared at The Met&#39;s grand re-opening with his family on September 20, 2013. He introduced two of his films — Prisoners and The Wolverine.</p><br>
<p>Sullivans Creek, a partly perennial stream of the Murrumbidgee catchment within the Murray-Darling basin, is located in Canberra, Australian Capital Territory, Australia.</p><br>
<h2>Location and features</h2><br>
<p>Sullivans Creek rises close to the border between the Australian Capital Territory (ACT) and New South Wales, north-east of Kenny, and north-west of Watson. The creek is formed by runoff from Mount Majura, Mount Ainslie, O&#39;Connor Ridge and Black Mountain. Sullivans Creek flows generally south-west, through a small channel within a much larger older gully system in its upper reaches; and through a series of urban sealed stormwater channels in its middle reaches; before reaching the grounds of the Australian National University, towards its confluence with the Molonglo River near Acton. Molonglo River is now dammed as Lake Burley Griffin. The creek has a catchment area of 52 km&sup2; and is approximately 13 km long.</p><br>
<p>The creek was originally called Canberry (or Canburry) Creek, since early European settlement in the area, from 1823. During the 1850s, William Sullivan and his family acquired grazing land surrounding the creek, and at some stage thereafter, the creek name was changed to Sullivans Creek. Within the grounds of the Australian National University, the creeks original course has been altered to accommodate growth of the campus and enhance the natural landscape. Within the Acton campus, two bridges cross Sullivans Creek; MacPhersons Bridge, that was named after the original landowner, John MacPherson, and Canberry Bridge.</p><br>
<p>Following heavy rains during 2012 that caused minor flooding of Sullivans Creek, it was reported that people were rafting along the course of the creek, within the grounds of the Australian National University.</p><br>
<p>Jerrabomberra Creek, a partly perennial stream of the Murrumbidgee catchment within the Murray-Darling basin, is located in the Capital Country region spanning both New South Wales and the Australian Capital Territory, Australia.</p><br>
<p>Jerrabomberra is derived from the Aboriginal word, meaning "afraid of lightning". The traditional custodians of the land surrounding Jerrabomberra Creek are the Aboriginal people of the Ngunnawal tribe.</p><br>
<h2>Location and features</h2><br>
<p>The creek rises in New South Wales (NSW), below Lobb Hill, between Williamsdale and Royalla, and flows generally north and north–west, before reaching its confluence with the Molonglo River into Lake Burley Griffin, to the north of Narrabundah, in South Canberra, within the Australian Capital Territory (ACT). The creek descends 452 m over its 35 km course, and has a catchment area of 128 km&sup2;.</p><br>
<h3>Jerrabomberra Wetlands</h3><br>
<p>Prior to reaching Lake Burley Griffin, the creek flows through a series of significant artificially-formed wetlands, called the Jerrabomberra Wetlands, with an estimated 170 bird species, including the migratory Latham’s snipe; and eleven fish species, as well as the eastern water rat, platypus and eastern snake-necked tortoise. The wetlands include a silt trap, a series of billabongs, and a swamp.</p><br>
<p>The Rossman–Prospect Avenue Historic District is a small residential neighborhood located near the eastern end of the city of Hudson, New York, United States. Its houses were primarily built in the late 19th and early 20th centuries. It is the smaller of the city&#39;s two historic districts.</p><br>
<p>The area was developed when the city built an aqueduct through land owned by the Rossman family for a reservoir. It was the first planned residential subdivision in the city outside its large downtown grid plan. In 1985 it was listed on the National Register of Historic Places.</p><br>
<h2>Geography</h2><br>
<p>The district is a five-acre (2 ha) area along the two streets it takes its name from. It is on the slopes of Academy Hill, sometimes called Prospect Hill, the citys highest at 420 ft. Houses on Rossman, which climbs the hill to a dead end near the reservoir, have a view over the city to the Hudson River and Catskill Escarpment to the southwest. To the north is Columbia Memorial Hospital and, beyond, the large Hudson Historic District. The reservoir and its wooded buffer lands are on the west and south. East of the district is the residential end of Warren Street, Hudsons main street, and US 9.</p><br>
<p>Its boundaries include some of the houses on the south side of Prospect east of Rossman, and both sides of Rossman up to where the houses end. There are 12 lots in total with 14 contributing properties. Two other garages are modern and non-contributing. The houses are in a variety of styles popular before and after the turn of the 20th century, such as Queen Anne, Colonial Revival, Craftsman Bungalow and Tudorbethan.</p><br>
<h2>History</h2><br>
<p>In the middle of the 19th century the entire area was the estate of Allen Rossman, formerly county treasurer and a director of a local bank. Hudson was growing quickly during this time, and began experiencing frequent water shortages. The city government decided in 1874 to pump water from the river up to a reservoir behind Prospect Hill, and condemned a right-of-way for the aqueduct through Rossman&#39;s property.</p><br>
<p>He donated enough extra land for a street 50 ft wide to be built atop the aqueduct, and began planting trees and subdividing the property into 13 lots. The first house, 11 Rossman Avenue, would not be built until 1887. Rossman died soon afterwards, and his descendants sold some of the other lots on the west side of the street during the 1890s. Many of these were Queen Anne Style, with restrained decoration similar to that found elsewhere in Hudson.</p><br>
<p>The lots on the east side were developed in the early 20th century. Many of these houses show the influence of the Arts and Crafts movement, particularly the bungalows. These were unusually sophisticated applications of the style, with Federal and Georgian-inspired detailing. The last two houses to be built in the district, 2 and 4 Rossman (the latter built as a residence for the hospital superintendent), were Tudorbethan-style English country houses, a mode not seen much elsewhere in Hudson.</p><br>
<p>The Hackenberg is a hill in the suburb of Sievering in the 19th district of Vienna, Döbling. It is 306 metres tall.</p><br>
<p>Hackenberg is covered in sand and gravel. The Arbesbach flows around the hill’s north-eastern flank, while the Krottenbach flows around its south-western flank, although both rivers have been enclosed in canals in this area. The hill extends as far as the Krim (an area in Unterdöbling) in the west.</p><br>
<p>The Hackenberg is first mentioned in a contract of purchase drawn up for Rudolph I of Bohemia, which refers to it as “hakkenperge”. The name derives from the old field measurement Haken; older theories that Hackenberg derives from the personal name Hacko have since been disproved.</p><br>
<p>In the Middle Ages, the village of Chlaintzing stood on the south-western slope of the Hackenberg. It was surrounded by vineyards but was later abandoned. Today, the Hackenberg is covered with small settlements, but a few vineyards have also survived.</p><br>
<p>Just below the peak of the Hackenberg, on the side facing the Krottenbachstraße, is a fresh water catchment for the city of Vienna. The Sieveringer Friedhof (cemetery) was established on the southwestern side of the hill in 1883.</p><br>
<p>The Antelope Valley is a high valley in the eastern Sierra Nevada stretching from Mono County, California to Douglas County, Nevada.</p><br>
<h2>Geography</h2><br>
<p>Antelope Valley is approximately 15 mi long and 8 mi wide. The USGS reports its elevation at 4,977 ft. It stretches from 38&deg;44&prime;12&Prime;N latitude, 119&deg;24&prime;35&Prime;W longitude to 38&deg;30&prime;44&Prime;N latitude, 119&deg;27&prime;04&Prime;W longitude. The mountains surrounding the valley floor rise to over 10,000 ft. The topography of the valley floor is gently rolling and conducive to the agricultural and pastoral uses to which it is put. The valley sides are made up of steep slopes. The primary land use is irrigation-based agriculture and grazing.</p><br>
<h2>Hydrography</h2><br>
<p>Antelope Valley is watered by the West Walker River and Mill Creak, and contains Topaz Lake (a reservoir).</p><br>
<h2>Settlement</h2><br>
<p>On the California side of the border, where the vast majority (33 square miles) of the valley lies, the Antelope Valley is served by the Antelope Valley Fire Protection District (formed 1947) and the Antelope Valley Water District (formed 1961), and includes the communities of Coleville, Topaz, and Walker.</p><br>
<p>The 2000 census reported that the population of the portion of Antelope Valley in California was 1,525. In 2003, the California Department of Finance estimated that the population was 1,557.</p><br>
<h2>Transportation</h2><br>
<p>USA Route 395 traverses the valley and is its primary thoroughfare.</p><br>
<p>The Arbesbach, also known as the Erbsenbach and Sieveringerbach, is a stream in the 19th district of Vienna, Döbling. The stream, partially enclosed in a canal, is the most important tributary of the Krottenbach. Almost all of its 4.3 kilometres lie within the suburb of Sievering.</p><br>
<h2>Geography</h2><br>
<h3>Geology</h3><br>
<p>The Arbesbach, which makes its way through the Wienerwald, is characteristic for streams in low mountainous areas (Mittelgebirge). Because the ground does not absorb much rainfall, the level of water in the stream can change rapidly when it rains heavily, resulting in flash flooding. The Arbesbach rises in the woods and runs over relatively steep ground that has been heavily eroded.</p><br>
<h3>The course of the Arbesbach</h3><br>
<h4>Headwaters</h4><br>
<p>Several springs in the area between the Dreimarkstein and the Latisberg flow together to form the headwaters of the Arbesbach. The most northerly springs rise to the south of the Jägerwiese and between the Latisberg and Vogelsangberg. These meet to the north of the Hartgrabenwiese and are quickly joined by another three springs, which rise at Am Himmel (Pfaffenberg) and to the south of the Rohrerwiese. The Arbesbach flows from this point onward along the left-hand side of the Sieveringer Straße. The most easterly tributary, the Gereutebach, rises to the east of the Dreimarkstein and runs along the Spießweg before flowing into the Arbesbach at the point where the stream crosses to the right-hand side of the road to run between it and the Spießweg.</p><br>
<h4>Middle and lower reaches</h4><br>
<p>From the point at which it reaches the Gspöttgraben in Obersievering, the Arbesbach is partially enclosed. From number 223 in the Sieveringer Straße onwards, the stream still follows its own course, but it is almost entirely enclosed. Just past the Agnesgasse (at number 168 in the Sieveringer Straße), the Arbesbach empties into a canal behind the row of houses on the side of the street with odd house numbers. The canal is 1.3 metres wide and 1.8 metres deep. Originally, the Arbesbach continued along this side of the street as far as the Sievering parish church, where it turned off behind the right-hand line of houses before diagonally crossing to the opposite side of the street again at the Brechergasse. Thereafter, the stream flowed past the former Helenenbad near the Schatzlsteig towards the Windhabergasse and then carried on where there is now a footpath between the Windhabergasse and the Sieveringer Straße. Upon reaching the Börnergasse, the Arbesbach finally left the main street and turned into the Gräfweg. From there, its course took it along the Arbesbachgasse, which is named after the stream. It continued in a line from here to empty into the Krottenbach below the former private lunatic asylum.</p><br>
<h2>History</h2><br>
<p>The name Arbesbach hearkens back to the Middle High German erbiz or arwis (Erbse=pea). This is a reference to the plants that used to grow along the banks of the stream, which were for the most part wild peas. In the past, the untamed Arbesbach frequently caused flooding in Sievering as a result of the geology of the Wienerwald. The streams in the Wienerwald were also often used to dispose of refuse and sewerage. In order to combat the risk of flooding and to reduce the annoyance caused by smells emerging from the stream, efforts to enclose the Arbesbach began between 1894 and 1896. The first section to be enclosed measured 1,364 metres and extended from the point where the stream meets the Krottenbach to house number 83 in the Sieveringer Straße. By 1908, there were already plans to extend the cover, because the smells had become too strong. These plans could however not be realised due to local residents’ demands for compensation. The extension of the cover as far as number 175a in the Sieveringer Straße, a further 983 metres, only took place between 1954 and 1955. Following a flood in summer 1959, the cover was extended as far as the Agnesgasse in the 1960s.</p><br>
<p>The Lewis County Courthouse is located at 100 E. Lafayette St. in Monticello, Missouri. The Second Empire style courthouse was designed by J.T. McAllister of McAllister & Co., and built in 1875. It was added to the National Register of Historic Places in 2005.</p><br>
<h2>Description</h2><br>
<p>The two-story brick structure rests on a stone foundation, both believed to be of local origin. As built, the dimensions were 80 feet by 48 feet with the eaves at a height of 32 feet. The first floor ceiling height was 12 feet and the second floor&#39;s 18 feet. Three bays, or rooms, were provided on each floor. Since its original construction a series of four additions and internal remodeling have taken place. The building is topped by a mansard roof covered with asphalt, and a distinctive cupola</p><br>
<h2>History</h2><br>
<p>The current Lewis County courthouse is the third incarnation to serve the county&#39;s residents. The first, a primitive one-story log structure, was built in 1834 at a cost of $210. By 1839 it was apparent that a much more substantial building was needed, so $3,200 was appropriated to construct a two-story brick courthouse. Both of these prior buildings were located on or very near the present courthouse location in Monticello, the first being slightly to the west.</p><br>
<p>On February 24, 1874 Lewis County officials appropriated $10,000 for construction of the current courthouse. However, proponents of relocating the county seat from Monticello seized the opportunity to press their case. Through newspaper articles and public meetings citizens of Canton, La Grange, and Lewistown all made their case citing the current seat&#39;s inaccessibility. Lewistown pledged $25,000 toward relocation and new construction while La Grange promised to meet or exceed that offer. Canton topped both, offering to spend not less than $40,000 on a courthouse that would "be an ornament to Lewis County for this and the next generation." However their attempts were in vain as the county officials chose to remain in Monticello and awarded the construction contract to McAllister & Company on March 23, 1875. Work began in April and proceeded rapidly through the following months, with completion and occupation taking place in December, 1875. For a brief time that winter the courthouse also did double duty as a school for the children of Monticello.</p><br>
<p>The courthouse was first expanded in 1922 as two brick additions, each two-story in height, were added to the east and west sides, respectively. Another two-story addition was constructed on the west side in 2004 to house handicapped accessible restrooms, an elevator, and otherwise make the courthouse compliant with the Americans with Disabilities Acts. The interior has been substantially changed over the building&#39;s history as well with drop ceilings, modern HVAC, and modern telecommunications and electrical wiring.</p><br>
<p>The Martin Hotel, erected as a Chicago style building in 1912, is located in Sioux City, Iowa. Added to the National Register of Historic Places in 1983, it is significant for its architecture, operating for many years as the Sheraton-Martin Hotel and now known as the Martin Tower Apartments.</p><br>
<h2>Construction</h2><br>
<p>Because of peoples excitement over the upcoming Interstate Fair, the Martin Hotel was constructed at the intersection of the Fourth Street Historic District and Pierce Street, in the citys downtown area. Features of the hotel included a ballroom, restaurant, cafeteria, and cigar stand.</p><br>
<p>The then current construction of the boiler room was written about in the fourteenth volume of The Reformatory Press, published in 1911, which stated that the room would be "30 feet wide, 55 feet long, and 22 feet deep". The boiler room would then be large enough to be considered one of the biggest heating rooms within the United States.</p><br>
<p>The Martin Hotel was one of Eugene C. Eppley&#39;s hotels from 1915 to 1956. In 1956, the hotel was renamed the Sheraton-Martin Hotel after being acquired by the Sheraton Corp.</p><br>
<h2>Restoration</h2><br>
<p>In the 1980s, the hotel changed to an apartment rental complex, the Tower Hill Apartments.</p><br>
<p>Developer Lew Weinberg along with the same people who restored the Orpheum Theatre began to restore the ballroom, originally used by politicians and others, after being given permission to do so in 2001 by the council of Sioux City.</p><br>
<h2>Mural</h2><br>
<p>Eugene C. Eppley, a businessman from Omaha, Nebraska, commissioned four murals for placement in his hotels, including the Martin Hotel. The mural entitled The Corn Room was painted in 1927 by Grant Wood for the Martin Hotel. Wood&#39;s style exemplified Regionalism, the only Modernist art movement to have originated in the Midwestern United States. The painting was lost under layers of paint and wallpaper, before being rediscovered decades later, in 1979.</p><br>
<p>The owner, Tower Properties, Ltd donated The Corn Room to the Sioux City Art Center, but in 1989 a bankruptcy court voided the donation, and ordered the mural sold at auction. An attorney in Sioux City, Alan Fredregill, purchased the work and later decided to donate it to the Art Center himself.</p><br>
<p>The mural was first shown in its entirety in 1992, later being fully shown for a second time in a 2007 Sioux City Art Center exhibition. The Corn Room then became a permanent exhibit within the art center.</p><br>
<p>The Western Auto Building, also known as the Coca-Cola Building or the Candler Building, is located at 2107 Grand Boulevard, in the Crossroads neighborhood of Kansas City, Missouri. It is at the corner of 21st Street and Grand Boulevard and is currently a part of Western Auto Lofts, a loft association of three adjacent buildings.</p><br>
<p>The twelve-story building was designed by Arthur C. Tufts & Co. and built by the Swenson Construction Company, for the Coca-Cola Company in 1914. The plat of land, originally purchased in 1913, was triangular, which gave the 12-story building its distinctive shape. The building was built in the commercial style, a more utilitarian style than was typical of contemporary architecture.</p><br>
<p>It later was the headquarters of the Western Auto Supply Company, whose multi-story lighted sign still tops the building. The building and its sign are visible from much of the Crossroads and the surrounding neighborhoods, as well as to drivers on Interstate 35. This visibility, together with the structure&#39;s longevity, has made the Western Auto Building a city landmark.</p><br>
<p>The building was added to the National Register of Historic Places in 1988 and is now a loft condominium.</p><br>
<p>Wirtland is a historic house in Westmoreland County, Virginia, United States, near the community of Oak Grove. Built in 1850 by William Wirt, Jr., the son of former USA Attorney General William Wirt, it has been recognized as a high-quality example of a rural Gothic Revival house of the period. Its historic status was recognized in 1979, when it was listed on the National Register of Historic Places.</p><br>
<p>Wirtland is a two-story brick house surrounded by an attached 15 acre park landscaped in the Victorian style. Constructed in the shape of a cross, the house is built around a central chimney, and multiple porches surround the stucco-covered exterior. The interior includes marble floors on the first story and plaster ceilings for both floors.</p><br>
<p>After Wirts death in 1898, the house was owned by his son and daughter-in-law, who ran a boarding school for women in the house; after their ownership, Wirtland passed out of the Wirt family and through a succession of various owners. The years took their toll on Wirtland, which saw deteriorations including the collapse of a major part of the ceiling of one room; however, later owners undertook extensive repairs. Today, the house is considered one of Virginias most significant houses of its style, and its park, which is also listed on the Register, is one of the few remaining examples of Victorian landscaping.</p><br>
<p>The property is now owned by Ingleside Vineyards, one of the oldest vineyards in the state. When it was listed on the Register, it was the residence of the vineyards owner. Like Wirtland, Roxbury is listed on the National Register, and it has taken Wirtlands place as the home of Ingleside&#39;s owner.</p><br>
<p>The Sinjar Mountains  are a 100 km mountain range that runs east to west, rising above the surrounding alluvial steppe plains in northwestern Iraq to an elevation of 1,463 m. The highest segment of these mountains, about 75 km long, lies in Nineveh Governorate. The western and lower segment of these mountains lies in Syria which is about 25 km long and controlled by the de facto autonomous Syrian Kurdistan. The city of Sinjar is just south of the range. These mountains are regarded as sacred by the Yazidis.</p><br>
<h2>Geology</h2><br>
<p>The Sinjar Mountains are a spectacular example of a breached anticlinal structure. These mountains consist of an asymmetrical, doubly plunging anticline, which is called the Sinjar Anticline, with a steep northern limb, gentle southern limb and a northerly vergence. The northern side of the anticline is normally faulted, which results in the repetition of the sequence of sedimentary strata exposed in it. The deeply eroded Sinjar Anticline exposes a number of sedimentary formations ranging from Late Cretaceous to Early Neogene in age. The Late Cretaceous Shiranish Formation outcrops within the middle of the Sinjar Mountains. The flanks of this mountain range consist of outward dipping strata of the Sinjar and Aliji formations (Paleocene to Early Eocene); Jaddala Formation (Middle to Late Eocene); Serikagne Formation (Early Miocene); and Jeribe Formation (Early Miocene). The Sinjar Mountains are surrounded by exposures of Middle and Late Miocene sedimentary strata</p><br>
<p>The mountain is a groundwater recharge area and should have good quality water, although away from the mountain groundwater quality is poor. Quantities are sufficient for agricultural and stock use.</p><br>
<p>Sinjarite, a hygroscopic calcium chloride formed as soft pink mineral, was discovered in braided wadi fill in limestone exposures near Sinjar.</p><br>
<h2>Population and history</h2><br>
<p>Since the 12th century,</p><br>
<h3>Islamic State conflict</h3><br>
<p>In August 2014, an estimated 40,000 to 50,000 Yazidis fled to the mountains following raids by Islamic State (IS) forces on the city of Sinjar, which fell to ISIL on August 3. The Yazidi refugees on the mountain faced what a relief worker called a "genocide" by the radicals. Stranded without water, food, shade, or medical supplies, the Yazidis had to rely on scarce supplies of water and food airdropped by American, British, Australian, and Iraqi forces. By August 10, Kurdistan Workers Party (PKK), Peoples Protection Units (YPG) and Kurdish Peshmerga forces defended some 30,000 of the Yezidis by opening a corridor from the mountains into nearby Rojava, through the Cezaa and Telkocher road, and from there into Iraqi Kurdistan. Yezidi girls allegedly raped by ISIS fighters committed suicide by jumping to their death from Mount Sinjar, as described in a witness statement.</p><br>
<p>The Elisha Williams House  is located on Aitkin Avenue in the east corner of the city of Hudson, New York, United States. It is a brick Federal style building, different from other Hudson houses in that style, built around 1810. Some Victorian decorations were added later.</p><br>
<p>Williams, its original builder, was a lawyer and politician who was known nationwide as a gifted orator. The house was originally his estate, accounting for its unusual positioning within its neighborhood. In 1999 the house was listed on the National Register of Historic Places.</p><br>
<h2>Building</h2><br>
<p>The house is on a slightly sloped 90 by lot two houses north of Green Street (NY 23B) on the east side of the street. It is a rectangular two-and-a-half-story five-bay common bond brick building on a stone foundation. The house is angled slightly within its so that its front facade faces more directly west than other houses along the street and the main entrance.</p><br>
<p>The gabled roof is shingled in wood and pierced by two brick chimneys south of the peak near the gable ends, and two gabled dormer windows with vergeboards on the north. A boxed cornice marks the roofline.</p><br>
<p>The windows have brick lintels and thin stone sills. The main entrance has a wood surround with two plain pilasters. A limestone cornerstone with "Hawthorne" on it is in the southwest corner. A two-story kitchen wing with an open porch on the south projects from the east side of the house.</p><br>
<p>Inside, the house follows a center-hall plan, with the main rooms on either side. The original layout has not been changed, and some of the finishings, such as the main hall&#39;s cherry staircase and newels and the parlor mantelpiece, are original. The second floor has had more modern additions, such as the bathrooms. The basement is unfinished.</p><br>
<h2>Aesthetics</h2><br>
<p>The Williams House is not the only Federal style house in Hudson, but it is significantly different from the others, most of which are located in the opposite end of the city, near the Hudson River. Williams&#39; house used common bond for the entire house, while the other houses did the front in Flemish bond. It also lacks the sidelight or elliptical fanlight commonly surrounding the main entrance of a Federal house.</p><br>
<p>These changes may reflect the different regional origins of their builders. The downtown Federal houses were built by the descendants of the city&#39;s founders, whalers who had emigrated from coastal areas of Massachusetts and Rhode Island. Williams, by contrast, was a native of inland Connecticut.</p><br>
<h2>History</h2><br>
<p>Born in 1773 in Pomfret, Connecticut, Williams was orphaned as a child and taken into the care of a family friend. He read law under a judge in Litchfield, and was admitted to the New York bar in 1793, when he moved to the hamlet of Spencertown in what is today the Town of Austerlitz.</p><br>
<p>He was a persuasive speaker, and his fame as a lawyer quickly spread both inside and outside New York. After marrying his legal guardian&#39;s daughter in 1795, he moved to Hudson in 1799. Two years later he was elected to first of nine terms in the New York State Assembly on the Federalist Party line.</p><br>
<p>It is likely that Williams had the house built, but it is not known exactly when. An 1801 map of the city does not show it but may not have included it since at the time it was outside the city limits. An 1816 map, copied from the earlier version, indicates a brick house at the location. It is believed he either had the house built or bought it around 1810. At that time its front, the south elevation, faced Union Turnpike (today NY 66), the nearest road.</p><br>
<p>Williams legal and political career continued to flourish despite the general decline of the Federalists after the War of 1812. At New Yorks 1821 constitutional convention, he argued forcefully for his party against the extension of the franchise to unpropertied men, but was defeated. He remained in office for the rest of the decade, but began to focus increasingly on other projects, such as the establishment of the village of Waterloo in Seneca County near the Finger Lakes. After leaving office, his health in decline, he spent much of his time there but was still a legal resident of Hudson when he sold the estate to local farmer Richard Atwell in 1832, a year before his death.</p><br>
<p>Atwell sold some of the land in 1835 but continued to live in the house. It became known as the Hawthorne House after the inscription on the cornerstone, whose origin is not clear. There is a Hawthorne Valley near Spencertown, and Williams may have brought the stone with him when he moved west. By 1856 Atwell&#39;s son-in-law Richard Aitkin owned the land. He would eventually have the longest tenure of any owner, and the street built next to the house in 1913 was named for him.</p><br>
<p>--&gt</p><br>
<p>The Mseilha Fort (Qal‘at al-Msaylḥa) is a fortification situated north of the city of Batroun in Lebanon. The current fort was built by Emir Fakhreddine II in the 17th century to guard the route from Tripoli to Beirut. The fort is built on a long, narrow limestone rock near the Nahr el-Jawz River. Its walls are constructed with small sandstone blocks quarried from the nearby coast and built onto the edge of the limestone rock. The thickness of the walls ranges from 1.5 to 2 meters (4 to 6.5 feet). The larger limestone blocks are the only remains of an earlier structure probably built for the same defensive reason.</p><br>
<h2>Architecture and Layout</h2><br>
<p>The fort&#39;s architectural design consists of two homogenous sections built in two separate phases. The fort is approached through a narrow path and small stairway cut into the northern side of the bedrock. A small platform precedes the low arched main gate, secured by two loopholes and a small opening in the ceiling above the entrance.</p><br>
<p>The main gate leads to a vaulted vestibule, followed by a narrow triangular courtyard, giving access to a small one meter (3 feet) wide passageway leading to the archery room of the west tower. At the southern side of the courtyard, two vaulted bays are constructed within a separate architectural block over large underground arched halls used as warehouses and cisterns. This part of the structure has a small apse oriented towards the Qibla (the direction of Mecca, which could have been used as a prayer room by the guards.</p><br>
<p>The more elevated part of the fort is access through the east side of the main courtyard. A doorway leading to a hall, followed by three vaulted rooms, gives access to the eastern tower. An internal stairway leads to the room on the first floor. This section is the most fortified and equipped part of the castle due to its strategic position controlling the entrance of the Nahr el-Jawz valley.</p><br>
<h2>History</h2><br>
<p>Following the collapse of the promontory of Ras Shekka in 551 CE, the coastal road linking the cities of Batroun, El-Heri and Tripoli completely disappeared, transforming the northern shoreline into a high sea cliff. Consequently, a new road bypassing the promontory from the east was necessary to ensure communication between Batroun and the North. Crossing the Nahr el-Jawz valley, this road turns around Ras ech-Chaqa&#39;a promontory to reach the other side at a spot near El-Heri called Bab el-Hawa (meaning the "door of the wind"). Building edified strongholds along this new road was of great strategic and military importance in order to preserve security and ensure communication and traffic control. The Mseilha Fort was built for such purposes.</p><br>
<p>A number of scholars have studied the history and architecture of Mseilha. Some assume that the rock on which the fort stands was used since ancient times as a military position. However, the fort does not include in its current construction any element related to an earlier period, even the Crusades. The construction techniques, cutting methods, stone block sizes, low arched doors and windows, in addition to the other elements suggest the 17th century as the earliest period for the current structure to have been built. The work of several prominent historians and scholars confirms that the Mseilha Fort is not more than 400 years old. Nineteenth-century French historian Ernest Renan could not relate the architectural elements in Mseilha to anything earlier than the Middle Age. Paul Deschamps, a notable 20th-century historian of Crusader architecture, confirmed the lack of any aspect of Crusader-era work in the fort. Jean de la Roque (a French traveler, 1661-1743) corroborates, after hearing from locals in 1689 that Mseilha was the work of Emir Fakhr ed-Dine II, the former sovereign of Lebanon from 1590-1635. This testimony came almost 50 years after Fakhr ed-Dines death from locals who witnessed at first hand the forts construction.</p><br>
<p>This account is also validated by local chronicles. For example, father Mansour al-Hattouny stated that around 1624, Emir Fakhr ed-Dine ordered Sheikh Abi Nader al-Khazen to build the fort north of Batroun. According to Tannous ach-Chidiaq, another local historian, al-Khazen later restored the fort in 1631, less than 10 years after its initial construction.</p><br>
<p>Therefore, the year 1624 is established by both historians and eyewitness reports as the construction date of Mseilha by Fakhr ed-Dine II. Further confirmation was attested by Ludwig Burckhardt, who visited the region in the early 19th-century, and dated the fort to a recent period.</p><br>
<p>Even if the strategic importance of the site was exploited since antiquity, the fort itself cannot be dated earlier that the 17th century.</p><br>
<p>This disproves the alternative hypothesis, according to which the Mseilha fort was given to the Genoese Embriaco family who ruled over Gibelet by Bertrand de Saint-Gilles in retribution of their service during the taking of Tripoli.</p><br>
<p>In 2007, restoration works was undertaken to make the site safe to visitors, by building a long fence around the citadel and providing several entrance and exit doors. The foundation of the staircase was consolidated and metal handrails were installed. Works also included landscaping, rain water drains installation to prevent water from leaking into the citadel and repaving the access road to the citadel from the highway nearby. The windmill located near the fort was also restored. Funded by USAID, these works are a continuation of a project conducted by SRI International-INMA to rehabilitate the fort, in cooperation with the Lebanese Ministry of Tourism and the Ministry of Culture - Directorate General of Antiquities. The restoration of Mseilha, as well as subsequent promotion of the site by the national telecommunication company Ogero, led to a rise in the number of visitors.</p><br>
<p>White Dome Geyser is a geyser located in the Lower Geyser Basin in Yellowstone National Park in the United States.</p><br>
<p>White Dome is a conspicuous cone-type geyser located only a few feet from Firehole Lake Drive, and accordingly, seen by many visitors to the park as they wait for eruptions of nearby Great Fountain Geyser. Its 12-foot-high geyserite cone is one of the largest in the park. Its eruptions are unpredictable, but generally occur with intervals ranging from 15 minutes to 3 hours. Intervals between 20 and 35 minutes are most common. Eruptions typically last 2 to 3 minutes and reach heights of about 30 ft, the maximum height being attained early in the eruption. As usual for cone-type geysers, the play is continuous for most of the eruption&#39;s duration, and begins and concludes with a brief steam phase intermixed with liquid spray.</p><br>
<p>Although it is overshadowed in eruptive height and power by Great Fountain Geyser, White Dome Geyser is a significant feature that was used as an emblem by the old Yellowstone Library and Museum Association, now the Yellowstone Association. The thermophilic bacterium Thermus aquaticus, important because it produces an enzyme used in polymerase chain reaction laboratory procedures central to modern molecular biology, was first isolated from Mushroom Pool, a non-eruptive hot spring a few hundred feet from White Dome Geyser.</p><br>
<p>White Dome is the largest member of the "White Dome Group," a cluster of features bisected by Firehole Lake Drive that includes at least six other geysers as well as several non-eruptive springs. Gemini Geyser and Crack Geyser, across Firehole Lake Drive from White Dome, also erupt comparatively frequently, and can be observed from the parking area for White Dome, while the other members of the White Dome Group erupt only rarely, are difficult to see from the road, or both.</p><br>
<p>The Old United States Courthouse and Post Office, also known as Paul Sawyier Library, is a former post office and courthouse of the United States federal courts in Frankfort, Kentucky. Built during 1883 to 1887, the structure housed the United States District Court for the District of Kentucky from then until 1901, and the United States District Court for the Eastern District of Kentucky from 1901 until it was succeeded. It was expanded with a rear wing in 1910 at which time interior offices were modified as well, to serve as a post office, which it did until 1965. After 1965 it became the Frankfort City-County library. It was listed on the National Register of Historic Places in 1974.</p><br>
<p>It is a three-story 54 ft by 94 ft building built of masonry load-bearing walls with timber beams and trusses.</p><br>
<p>The Federal Building-Courthouse in London, Kentucky is a courthouse of the United States District Court for the Eastern District of Kentucky. It was built in 1911 under the supervision of architect James Knox Taylor, and was listed on the National Register of Historic Places in 1974.</p><br>
<h2>Architectural description</h2><br>
<p>The London, Kentucky, Federal Building and USA Courthouse was designed to house the USA Post Office, USA District Court facilities, and federal offices for the district. These functions were accommodated in a rectangular three-story plus basement building seventy-five feet long and forty-eight feet wide. A two-story half elliptical wing projects from the rear of the building reflecting the elliptical shape of the second floor court room.</p><br>
<p>The structure is masonry bearing wall with steel interior columns and beams supporting poured concrete floors. The roof structure is of steel and heavy timber supporting a wooden roof deck.</p><br>
<p>The exterior was designed in the Italian Renaissance style, utilizing granite blocks for foundation facing. The buff brick facing of the first floor has deep horizontal reveals terminated by a granite band at the second floor line. The second floor arched windows, enriched by small decorative balconies, are separated by flat brick pilasters that extend to the classic terra cotta cornice above the third floor window head, unifying the facades with elegant simplicity. While few exterior alterations have been made which effect the original facade design, one unfortunate change was the removal of large bronze wall-mounted light fixtures flanking the original doorways. These original light fixtures can be seen in early photographs and gave the main facade needed architectural detail at the entrance.</p><br>
<p>A broad flight of granite steps leads to the main entrance, which has been altered by the closing of two of the original three entrance doors. Originally these doors opened to the building lobby, which contained an open stairwell leading to the second floor, on which was located the buildings most prominent architectural feature, the sixty-five foot long elliptical courtroom. This space containing most of its original simple heavy oak furnishings, remains almost as originally designed, the only major alteration being a floating, or swinging, elliptical ceiling, concealing the original coved plaster one above. When the USA Post Office moved out in 1961, the courts and other federal offices occupied the remaining areas of the second and third floors; the remainder of the buildings interior was greatly altered in 1963.</p><br>
<p>District I is the name of a historic district comprising five historic hotels in downtown Kansas City, Missouri listed on the National Register of Historic Places  in 1983.</p><br>
<p>The district&#39;s five hotels are</p><br>
<p>Dixon Hotel (1912), designed by Sanneman & Van Trump</p><br>
<p>Aladdin Hotel, known in 1983 as Embassy on the Park, a 16-story building</p><br>
<p>Hotel Muehlebach (1915), known in 1983 as Radisson Muehlebach Hotel</p><br>
<p>New Yorker Hotel</p><br>
<p>Hotel Phillips</p><br>
<p>In addition to the district, two other hotels were individually listed on the National Register at the same time:</p><br>
<p>Continental Hotel (1923), 106 West llth Street, a 23-story building that was built as Kansas City Athletic Club. Known also as Hotel Kansas Citian.</p><br>
<p>President Hotel</p><br>
<p>The Kinderhook Village District is located in the central areas of the village of Kinderhook, New York, United States. It is a 612 acre area covering both developed and undeveloped land centered on US 9.</p><br>
<p>It contains many buildings from the 18th and 19th centuries, some of which were associated with the youth of Martin Van Buren, a native who later became President. In 1974 it was listed on the National Register of Historic Places.</p><br>
<h2>Geography</h2><br>
<p>The district takes up most of the southeastern half of the village. Kinderhook Creek, the villages eastern line, is also the districts eastern boundary. It deviates from the village boundary in the north to cross to Chatham Street (Route 9) near the intersection with the old railroad right-of-way, which it follows down to Railroad Avenue and then turns west along the back property lines of homes on Albany Avenue.</p><br>
<p>It follows those lot lines to the cemeteries and crosses Albany to follow Sunset Avenue, which divides residences from farmers&#39; fields to the south. It turns to follow the right-of-way when it intersects it again, then turning east again at the rear property line of residences on Rothermel Lane. When that route reaches the rear line of houses on Broad Street (Route 9), it follows them south to Gaffney Lane, where it crosses the street to the rear lines of a subdivision on Presidential Drive. From the end of that it goes back to the creek.</p><br>
<p>This boundary includes as well all of the properties along Church, Hudson, Sylvester and William streets, Jarvis and Maiden lanes and Kinderknoll Drive. With the exception of the village square at Albany, Broad, Chatham and Hudson streets, these areas are residential. The large eastern area of the district, taking in the flatlands along the creek, is undeveloped open space except for the Hudson Street corridor. As of the district&#39;s listing on the Register, there were 250 buildings within it, most of which predate the 20th century.</p><br>
<h2>History</h2><br>
<p>Kinderhook&#39;s history began in the mid-17th century when Dutch farmers from the colonial capital at Fort Orange in present-day Albany moved south in search of fertile land. Some found it in the flatlands along the bend of the creek that bounds the village, and the nearby bluff proved a good place for building. The Cornelius Schermerhorn House at 33 Broad Street, built in four stages from 1713 to 1770, is the most prominent building in Kinderhook surviving from this time. The gambrel roofs at the John Pruyn House (26 William Street) and 15 Hudson Street, with a muizetanden pattern in the brick of its gable endm also survive.</p><br>
<p>By 1763 there were 15 buildings and a Dutch Reformed Church. David van Schaacks two-story brick home at 24 Broad Street inaugurated a new era when it was built in 1774. Described as being "like a castle", it had neoclassical proportions and a Palladian window, features typical of a country gentlemans home of that era. The decorative touches would be widely emulated on other more modest homes in the village, like 29 Hudson Street.</p><br>
<p>The Albany Post Road, the forerunner of US 9 in the Hudson Valley, was routed through the village due to its excellent network of existing roads, and that helped open a connection to the Hudson River at Stuyvesant to the west, allowing farmers to ship more of their produce south to New York City. By 1813 the village had 20-30 buildings, including the beginning of a commercial center. New houses of this time were in the Federal style, and again the village had a strong example: the James Vanderpoel House at 16 Broad Street.</p><br>
<p>More land was cultivated, and the village grew explosively during the 1820s. By 1836, on the eve of Kinderhooks incorporation as a village and the Van Buren Administration, it had 86 buildings and was considered the countys business center. New buildings of this era flirted with the Greek Revival and Carpenter Gothic styles then in vogue. The former is best exemplified by the frame house at 29 Broad Street, with pilasters framing its main entrance. St. Paul&#39;s Episcopal Church at 8 Sylvester Street, and the board-and-batten–sided cottage at 28 Albany Avenue are likewise the most prominent Gothic buildings in the village. As with the earlier Georgian stylings, the ornamentation seems to have been widely emulated around the village.</p><br>
<p>After 1850, the growth slowed down. Following his Free Soil Party campaign of 1848, Van Buren retired permanently to Lindenwald, his estate south of the village. The railroads had come and bypassed Kinderhook for other communities in the area, depriving it of the catalyst they provided. Agriculture continued to be the centerpiece of the villages economy, but it merely remained stable instead of continuing to expand. Most construction during this period took place in the villages center. The row of commercial buildings on Hudson Street there replaced predecessors destroyed in an 1880 fire.</p><br>
<p>The absence of any railroad-related redevelopment allowed Kinderhook to retain its historic character. This has continued through the 20th and 21st centuries; there have been very few changes to the village during that time.</p><br>
<p>The USA Post Office in Middleport, New York, is located at Main  and Church streets. It is a brick building erected in the late 1930s, serving the 14105 ZIP Code, which covers the village of Middleport and surrounding areas of the towns of Hartland and Royalton.</p><br>
<p>It is one of only three in the state using that design, a modernist form with Colonial Revival details. Inside is a mural commissioned by the Treasury Department. In 1989 it was listed on the National Register of Historic Places, the only listing currently in Middleport, as part of a large group of present and former post offices in the state, including three others in Niagara County.</p><br>
<h2>Building</h2><br>
<p>The post office is located on the northwest corner of the intersection, near the south end of Middleport&#39;s small downtown section, roughly 300 feet (90 m) south of the canal crossing. On the opposite corner is a cobblestone church from the 1840s; across Main is an early 20th-century bank building and 19th-century house. The other buildings in the area are houses from that period as well. The terrain is level, with the post office set back slightly from the street amid a landscaped area of ornamental shrubs and trees. A low hedge runs along the Church Street side. A parking lot is in the rear.</p><br>
<p>The building itself is a one-story steel frame building on a raised foundation of poured concretesided in brick laid in English bond. The five-bay front facade is distinguished by a projecting three-bay central pavilion with a beveled-cornered hipped roof covered in slate. All other roofs are flat. Narrow stone coping runs around the entire building at the roofline. A four-bay rear projection contains the loading dock, with wood fascia and cornice.</p><br>
<p>The central pavilion has angled corners. Its east (front) facade has a centrally located segmental arch entrance with brick surround, lintel and keystone. A carved metal eagle surmounts the door. "UNITED STATES POST OFFICE" is written in bronze letters across the top of the facade, with "MIDDLEPORT NEW YORK" in smaller letters below. Three granite steps lead up to the entrance from the sidewalk; a wheelchair ramp runs from the top to the north along the facade. It is flanked by the original iron railings and lanterns, atop fluted posts.</p><br>
<p>Modern aluminum and glass doors open into a small wooden vestibule. The small lobby behind it takes up the front of the main section and the north wing. It is floored in terrazzo. Above it is white marble wainscoting trimmed in oak. The tables are shaped to fit the angled corners. Most furnishings are original, with some alterations made to the teller grilles and lock boxes along with the installation of modern lighting. Above the door to the postmaster&#39;s office in the southeast of the building is Rural Highway, a mural by Marianne Appel depicting a contemporary farm scene.</p><br>
<h2>History</h2><br>
<p>Middleport&#39;s first post office was established in the store of James Northam, its first merchant, around the time the Erie Canal was completed through the area in 1825. For the rest of the century it remained in various leased buildings on Main Street as the settlement grew, changed its name from Tea-Pot Hollow to Middleport and incorporated as a village.</p><br>
<p>In 1939, as part of relief efforts during the Great Depression, Congress authorized the construction of a post office building in the village, one of the last of over 200 in the state built in the 1930s. The government acquired the present site for $8,950 ($ in contemporary dollars) and demolished the village&#39;s trolley stop, a church social hall and house to make way for the new building. In May 1940 a Takoma Park, Maryland, contractor began construction. The building was opened in January 1941, one of the last new post offices to be completed before Congress began diverting resources to preparing for war.</p><br>
<p>Louis Simon, the last Supervising Architect of the Treasury Department, used the Colonial Revival style as he had come to do for new post offices in small towns, part of the governments increasing standardization of its architecture. As with many of the other Colonial Revival post offices in New York, Middleports was part of a group employing the same design with slight variations dictated by the site.</p><br>
<p>In this case, two others—Frankfort and Lake George—used the same Georgian basic form with design elements more specifically associated with the contemporary Moderne and Art Deco styles, such as the angled corners, asymmetrical window panes and large expanses of brick above the windows. Middleports differs from Lake Georges only in the width of its front steps and the shape and decor of the lobby. He also used some design elements more specifically associated with the contemporary Moderne and Art Deco styles, such as the angled corners, asymmetrical window panes and large expanses of brick above the windows. Those buildings and Simon&#39;s similar Westhampton Beach post office on Long Island were all influenced by the Rockville Centre post office designed in 1937 by William Dewey Foster, which first combined the Colonial Revival form with modernism.</p><br>
<p>Marianne Appel, a New York City-born artist, won the Treasurys Fine Arts Sections competition to paint the mural. It was added shortly after the opening. Her Depression-era murals have been described as having "transcend in design and technique the ordinary painting of the 1930s". There have been few changes to the building since.</p><br>
<p>White-Pound House is a historic home in Lockport in Niagara County, New York. The two-and-a-half story, 3,000+ square-foot stone structure was built in 1835 and remodeled in the Italianate style in the late nineteenth-century. Today, the house retains its late nineteenth-century appearance on both its exterior and interior and is distinguished by its sophisticated detailing. The fine stone masonry workmanship, elaborate decorative detail and the high level of architectural integrity make the White-Pound house a prominent local landmark and an important example of Lockport&#39;s legacy of stone architecture. It is one of approximately 75 stone residences remaining in the city of Lockport.</p><br>
<p>HISTORY</p><br>
<p>The White-Pound house was built in 1835. During the first thirteen years of its existence, the house&#39;s title was transferred many times. However, after 1848, when Charles Schulz and his wife Sophia sold the house for $1000 to Robert and Martha White, the house remained in the ownership of the same family for 125 years.</p><br>
<p>Born on June 26, 1818 in Washington County, New York, Robert White moved to Lockport in 1836 and began work as a retail clerk for Wilkinson & McMaster. In 1842, he entered in a partnership with Sumner Ballou to open his own grocery business. He died of "spasmodic croup" in 1865, leaving his widow, Martha C, and three children. His obituary in the Lockport Daily Journal described him as a man of "large personal popularity, who was elected to represent the town on the County Board of Supervisors, at a time when his party was in the minority in the Town of Lockport... He was universally regarded as a faithful and capable public officer and a public-spirited and patriotic citizen..."</p><br>
<p>Martha White occupied the house until her death in 1910. She left the house in trust for her daughter Mary E. who made it her lifelong residence. After Mary E. Whites death in 1940, residual legatees from Martha C. Whites will rented the house. In 1948, the houses title was transferred to Donna Coates Pound. Pounds husband, Alexander White, a grandson of Robert an Martha White, was a descendant of one of Lockports most prestigious families. Donna moved into the house after her husband died and remained in the house until 1972. After Donnas death, the house was sold outside of the family.</p><br>
<p>The house experienced two significant alterations during the nineteenth century. The first, probably completed in the late 1850s, included the entrance porch, elongated window openings at the first-floor street facade, the hip roof, extended eaves, scroll brackets, and pendants. The second, completed in about 1880, included the current entrance doors, the present fireplace mantles and the second-floor frame addition at the rear wing. Both renovations included work to update the houses appearance. The first renovation transformed the house with picturesque architectural elements associated with the Italianate architectural style popularized by Andrew Jackson Downing. The rear wings incised detailing, bulls eye corner blocks and trim are typical of the machine produced millwork contemporary of the Eastlake architectural style. The changes illustrate the evolution of popular taste through the nineteenth century. The White-Pound house is significant under the National Register Criterion C as an important example of Lockports mid-nineteenth-century domestic architecture. The refined masonry treatment at the house&#39;s main facade is enhanced by prominent beaded joints dressed stonework at the base of the entry porch.</p><br>
<p>The White-Pound house is south of the city&#39;s central business district on the east side of Pine Street. The surrounding residential neighborhood contains early to late nineteenth-century houses. Although most houses are wood-frame construction, the surrounding block has several other stone houses.</p><br>
<p>The White-Pound house is on a level 66 foot wide by 119 foot deep lot. A walk of Gasport Limestone slabs connects the public sidewalk to the houses entrance porch. A concrete driveway is on the houses north side. A modern, wood, three-foot high stockade fence is at the rear of the back yard.</p><br>
<p>EXTERIOR</p><br>
<p>The White-Pound house is a hip roof, two and a half story, Gasport Limestone, Italianate-style house. A two-story wing projects from the rear of the house. Gasport Limestone lintels and sills are used on the buildings facades. The dressed water table, above the three-foot high ashlar-faced exposed foundation wall, occurs only at the street facade. Large dressed ashlar Gasport Limestone quoins reinforce the houses corners.</p><br>
<p>The houses four-bay, west-facing front facade is made of grey Gasport Limestone laid in quarry-face ashlar with beaded mortar joints. The facades regular arrangement of openings incorporates four second-story windows aligned above taller first-floor windows. The windows retain nineteenth-century wood one-over-one double-hung sash and operable louvered shutters. Six-light sash cellar windows are below the water table. Double entrance doors and a single-bay porch occupy the right center bay of the facade. The porchs treads and cheek walls are made of dressed Gasport Limestone blocks. The square porch posts with abstracted capitals and plinths appear to date from the early twentieth century. The porchs hip roof has broad projecting eaves adorned with regularly spaced pairs of turned pendants. The tall, narrow porch entrance doors incorporate three-quarter height glass lights, molded trim and bull&#39;s-eye corner blocks. Early twentieth-century storm doors, with removable twelve-light sash, are installed at the exterior face of the main doors.</p><br>
<p>The house&#39;s north and south facades are made of uncoursed rubble. The south wall is devoid of window openings. The north wall has been parged.</p><br>
<p>At roof level, the eaves extend nearly three feet beyond the face of the wall below. The bays are marked with large scroll brackets. The eaves are embellished by regularly spaced turned pendants. Above the south and north walls are two symmetrical pairs of stone chimneys.</p><br>
<p>The first floor of the rear wing is made of stone matching the detailing of the main block. The wood-frame second floor of the wing appears to be a late nineteenth-century addition.</p><br>
<p>INTERIOR</p><br>
<p>The White/Pound house&#39;s interior survives with a relatively high degree of integrity of design, materials and craftsmanship. Most rooms retain original plaster finishes, base moldings, casings and four-panel doors. The original room configuration survives intact.</p><br>
<p>The houses front entrance leads to the main hall and an open stair along its left wall. The stair handrail terminates in a shepherds crook above a turned newel. The turned handrail spindles have a plain tapered profile. The handrail spindles and newel have a dark natural finish. South of the hall is a small sitting room connected to a bedroom in the rear. North of the hall are the main parlor and the dining room, connected by a large doorway. The kitchen and utility spaces are in the rear wing. All the primary first-floor rooms incorporate wide plank hardwood floors, ten-foot ceilings, four-panel doors, wide shouldered Greek Revival casings and simple but wide wood base boards. The interior doorways incorporate paneled casings with corner blocks. The dining room and main parlors contain matching black marble Eastlake style fireplace mantles with decorative incising, coal grates and encaustic tile hearths. The mantle&#39;s wide proportions suggest their appearance is the result of a ca. 1880 adaptation of a preexisting mantle.</p><br>
<p>One of the houses most significant features is a well-preserved early kitchen in the cellar below the main parlor. A simple open stair with chambered and tapered square newel and square spindles descends from the first floor to the kitchen. The room retains its original plain six-panel doors, wainscoting, beaded Federal-era casings, plaster walls and ceiling and fir plank floor. At the rooms north wall is a cooking fireplace and baking oven. The fireplace retains a federal mantle, andirons and crane. The firebox opening and the heath are made of large dressed blocks of Gasport Limestone. The adjacent baking over in constructed of brick.</p><br>
<p>It was listed on the National Register of Historic Places in 2003 after undergoing detailed preservation by Robert J and Holly E Keller.</p><br>
<p>The ancient synagogue of Gaza was built in 508 AD during the Byzantine period and was discovered in 1965. It was located in the ancient port city of Gaza, then known as "Maiumas", currently the Rimal district of Gaza City.</p><br>
<h2>History</h2><br>
<p>In 1965, Egyptian archaeologists discovered the site and announced they had uncovered a church. Later a mosaic of King David wearing a crown and playing a lyre, labelled in Hebrew, was found. The mosaic was dated to 508-09 CE and measured 3 m high by 1.9 m wide. It was originally described as depicting a female saint playing the harp. The Egyptian archaeologists stated that the mosaic was in fact a depiction of Orpheus, a Greek mythological figure who was commonly associated with David and used in Byzantine art. Shortly after the mosaics discovery, Davids face was gouged out. When Israel captured the Gaza Strip in the 1967 Six-Day War, the mosaic was transferred to the Israel Museum for restoration.</p><br>
<p>The mosaic floor of the synagogue is on show at the Museum of the Good Samaritan, located on the Jerusalem-Jericho Road near Ma&#39;ale Adumim.</p><br>
<p>The United States Post Office and Court House is a courthouse of the United States District Court for the Eastern District of Kentucky located in Lexington, Kentucky. Built in 1934, it was listed on the National Register of Historic Places in 1999.</p><br>
<h2>Significance</h2><br>
<p>The passage of the Public Buildings Act of 1926 instigated a period of building construction that was unprecedented in the United States, including the United States Post Office and Court House in Lexington. The office of the Supervising Architect of the Department of the Treasury, which was responsible for the design of federal buildings in this era, sought employ private architectural firms to ameliorate the effects of the Great Depression on that trade. The Lexington federal building was designed by H.A. Churchill and John P. Gillig and completed in 1934. Many of the federal buildings of this period exhibit streamlined, almost austere, finishes and features; therefore, it is generally believed that Louis Simon, Supervising Architect of the Treasury, exerted a great deal of control over the design.</p><br>
<p>The building was constructed as a post office, courthouse and federal office building. When the USA Post Office moved out, many of the spaces, especially on the 1st floor and lobby area were significantly changed.</p><br>
<h2>Architectural description</h2><br>
<p>The four-story, limestone Classical Revival federal building sits on a granite base. The primary (south) elevation has the concentrated enrichment. This elevation consists of a horizontal balustrade with simple Tuscan capitals and an unenriched entablature, flanked by two monumental pavilions. The pavilions terminate the composition of the south elevation and consist of two 4&#39; diameter, two-story high fluted Tuscan columns in limestone. The columns rests upon the first floor limestone base, and support an entablature. The dual fluted columns support an enriched entablature consisting of triglyphs interrupted by two stone rosettes, one above each column. This detailing is duplicated at each of the two pavilions. The fourth floor is concealed behind the entablature and cornice. The rear (north) elevation is secondary to the front and side elevations. The plan is typical of many post offices and courthouses of the time. The first floor covers the entire footprint and the upper floors are raised above the first floor in a B plan, where the primary elevation is the front of the B. The three wings which bridge from the front to the back are the east wing; the main ceremonial courtroom, Courtroom A, in the center; and the west wing. This plan results in two interior light courts which serve the interior offices and Courtroom A. The north elevation is the location of the loading dock and, at the northeast corner, the current entry door for the public to the postal sales area of the first floor.</p><br>
<p>The Lexington federal building has two ornamental, oval-shaped entry lobbies at the southeast and southwest entries. The southeast entry lobby houses the grand staircase, and the southwest lobby the passenger elevators. These oval lobbies originally opened onto the public lobby and, by extension, to the postal lobby of the first floor. The current postal lobby was sealed-off via aluminum doors and the finishes have been completely altered from the original appearance. The southwest (main) entry lobby is an oval-shaped space. The rounded walls are clad with full height polished St. Genevieve Golden Vein marble. The floors are buff terrazzo with brass divider strips and a Westfield Green marble border and base. The panel ceilings are painted plaster with a painted plaster cornice ornamented with a triglyph motif. The elevators are set back in the marble and the original elevator doors are decorative bronze with cast bronze panels featuring an urn motif in the center. The decorative lintels feature egg and dart, dentil and scroll patterns with a modified keystone directly over the elevator doors. The southeast oval-shaped entry lobby contains the main staircase of the building. The finishes of this lobby are the same as the southwest with a couple of exceptions. The main staircase curves into the lobby at the north wall. The stair treads are fine sand-rubbed Appalachian Golden Vein marble; the risers, and stair and wall stringers are polished Appalachian Golden Vein marble. The public lobby is 120 long. The floors are buff terrazzo with Westfield Green marble border and base. The walls are punctuated by a series of marble engaged pilasters supporting a polychrome crown mold band with triglyphs. Between the pilasters is wainscot of polished St. Genevieve Golden Vein marble to a height of 3.</p><br>
<p>The public corridors are generally L-shaped except on the fourth floor where the corridors extend around the perimeter of the outside wall. Originally the corridors had terrazzo floors with 8" pink marble borders, plaster ceiling and walls with marble base. The original corridor doors were hollow metal surrounded by metal trim. Many original finishes still exist. The elevator lobbies have the same terrazzo floors with painted plaster walls and ceiling. The elevator doors are framed by Appalachian Golden Vein marble, with the same marble comprising the base at the wall.</p><br>
<p>Other significant interior spaces are the courtroom, and the original Petit Jury room and rear hall of the third floor. The courtroom and lobby are among the more impressive spaces in the building and are in nearly original condition. The court lobby is set apart from the rest of the east-west corridor of the 2nd floor by its expanded width and by a marble surrounded entry at each end (east and west) of the court lobby. The floors are terrazzo with brass divider strips and pink marble borders. The walls are clad with Appalachian Golden Vein marble to a height of 6 with marble base and wainscot cap. The main courtroom is a large room with 4 wide side aisles separated from the main courtroom by structural columns. The walls are clad with Appalachian Golden Vein marble wainscot with cap to a height of 4. Behind the judges rostrum are two sets of double marble engaged pilasters on each on which rests an elaborate, short entablature. Within the entablatures is a frieze ornamented with scrollwork. The caps of the entablatures support a painted plaster arch. The pilasters and an arch frame a niche. The ornamental trabeated ceiling is an important feature of the room. The exposed beams are wood and both the beams and the panels between have stenciling.</p><br>
<p>Generally the tenant spaces of the Lexington Federal Building are on the first floor (partially), second (except court areas), third and fourth floors. Over the years, the areas given over to tenants have been changed significantly. The basement continues to be used primarily as a service and mechanical area.</p><br>
<p>The Commercial Street Historic District is a national historic district located at Springfield, Greene County, Missouri. The district encompasses 57 contributing buildings in the central business district of Springfield. The district developed between about 1870 and 1935, and includes representative examples of Romanesque Revival and Victorian style architecture. Notable buildings include the Thos. Murray Building , Fire Station No. 2 , Perkins Hotel , Bank of Springfield , Bakers Union Hall , Uncle Carl Badens Pawn Shop , and Commercial Club .</p><br>
<p>It was added to the National Register of Historic Places in 1983.</p><br>
<p>The six-block district is designated by the Environmental Protection Agency as a Brownfield Land. Key components of the revitalization will include improved stormwater management, use of alternative energy sources, and the reduction of the district’s carbon footprint. EPA assistance will provide guidance on green infrastructure and green design techniques for several properties in the redevelopment district.</p><br>
<p>The river Raša,  in Croatian Istria is a major river of Croatia&#39;s Istria County.</p><br>
<p>It is 23 km long, and its basin covers an area of 279 km&sup2;.</p><br>
<p>Its mouth is in the long ria of Raški zaljev/Porto d&#39;Arsia, which is a drowned river valley scoured out when world sea levels were lowered, then drowned by the rising waters of the post glacial era. The Raša rises in springs near Pićan and flows south through a steep-sided valley before opening into the head of the Adriatic Sea. The river, although short in length, has an ancient history as a border.</p><br>
<h2>Border river</h2><br>
<p>By Roman times, the Arsia, as it was called in Latin, constituted the border between the Histri, who lived west of its banks, and the Liburni on the coast to the east, with the Iapydes in the upcountry valley behind them.</p><br>
<p>After the Romans conquered the fierce and piratical Histri in 177 BC, the Arsia formed the limes of Roman territory in coastal Istria for a generation, until the gap between the Arsia and the northernmost Roman outposts in illyria was closed in 129; for long afterwards it divided Italia Regio X, Venetia et Histria, from Illyricum, according to the divisions ratified by Augustus. The 8th-century Irish monk and geographer Dicuil, following his late Latin sources for the geographical summary De mensura Orbis terrae, gives the northeastern boundary of Italia as flumen Arsia.</p><br>
<p>The Roman road Via Flavia, reaching from Tergeste (Trieste) into Istria came to an end at the crossing of the Arsia; beyond, it continued into Dalmatia as a local road that linked to Via Gemina.</p><br>
<p>In the early 10th century Tomislav of Croatia ruled a state that ran from the Adriatic to the Drava River, and from the Raša, as it was now being called, to the Drina River. In the 13th century, the territory on the east bank was administered by the counts of Gorizia, while that on the west was ruled by the patriarchs of Aquileia. After centuries of Venetian rule over all of Istria to the Raša, the Raša became the border between Napoleons Kingdom of Italy and the Austrian Empire; following Napoleons downfall, Austria gained all of Istria and the river became the border between two Austrian provinces.</p><br>
<p>The planned city of Raša (Arsia), on the tributary Krapanski Potok of the river in the inner part of the Raška Inlet, was constructed in 1936–1937 as Arsia on drained wetlands to gain arable land for farming and to serve expanding coal mining operations, as part of Mussolini&#39;s urban colonization and Italianization of Istria. The village of Barban is the other major settlement near the river.</p><br>
<p>Former Niagara Falls High School is a historic high school located at Niagara Falls in Niagara County, New York, USA. It was built in 1923-1924 and added to the existing gymnasium structure, and designed by local architect Simon Larke, who also designed the James G. Marshall House. The original structure is in the Neoclassical revival style. An addition was constructed in 1963.</p><br>
<p>The building was threatened with demolition in the early 2000s, but was spared and is currently used as the Niagara Arts & Cultural Center. The multi-arts center features over 60 artist studios, two galleries, two theaters, a certified sound stage and movie production facility, the Niagara Falls High School alumni center and a café and gift shop.</p><br>
<p>It was listed on the National Register of Historic Places in 2002.</p><br>
<p>Niagara Falls Public Library, also known as the Carnegie Library in order to distinguish it from the new Earl W. Brydges Library, is a historic library located at Niagara Falls in Niagara County, New York.</p><br>
<h2>History</h2><br>
<p>It was designed and built in 1902–1904, with funds provided by the philanthropist Andrew Carnegie. It is one of 2,500 such libraries constructed between 1883 and 1929, and one of 107 in New York State. The structure cost $50,000 to build and opened in April 1904. It is a low one-story brick structure. The interior features elaborate plaster moldings and trim, marble steps, and pale skylights. The building functioned as a library until March 9, 1974 when the library&#39;s collections outgrew the small building and were moved to the new Earl W. Brydges Building at 1425 Main Street, and is now occupied by the offices of Niagara Falls Urban Renewal Agency, along with other city departments.</p><br>
<p>It was listed on the National Register of Historic Places in 1974.</p><br>
<p>Volcano House is the name of a series of historic hotels built at the edge of the Kīlauea volcano, within the grounds of Hawaii Volcanoes National Park on the Island of Hawaii. The original 1877 building is listed on the National Register of Historic Places and now houses the Volcano Art Center. The hotel in use today was built in 1941 and expanded in 1961.</p><br>
<h2>Early visitors</h2><br>
<p>In ancient Hawaii the volcano was the place to make offerings to the fire goddess Pele. Archeological evidence shows activity for hundreds of years, including gathering of volcanic glass to use as cutting tools.</p><br>
<p>Only a few rare eruptions such as the one in 1790 are explosive, and the northeast rim provides a relatively safe vantage point. The prevailing northeast trade winds and higher elevation cause poisonous gasses and lava to flow in the other direction.</p><br>
<p>Rev. William Ellis describes camping in this area in his journal of his 1823 missionary tour with Asa Thurston. An enterprising Hawaiian was reported to have set up a small thatched hut in the early 1840s to sell food to visitors, who by then included sightseers as well as explorers. Charles Wilkes camped in this area on the United States Exploring Expedition in 1840, on his way to Mauna Loa. About 1846 a primitive one-room grass shelter was constructed at the rim of the Kīlauea crater by Benjamin Pitman, the first hotel to call itself "Volcano House". However, sometimes visitors would show up after the long journey and nobody would be home.</p><br>
<p>A more substantial wood frame structure was built in 1866 with four bedrooms, parlor, and dining room. Mark Twain stayed here, and wrote about his visit in the book Roughing It.</p><br>
<h2>The 1877 structure</h2><br>
<p>In 1876 George W. C. Jones bought out the other partners in the business and hired William H. Lentz to construct a longer-lasting structure, and manage the hotel.</p><br>
<p>A wood-sided building about 104 x was built in 1877. It included six guest rooms, two for the manager&#39;s family, and a dining room. Lumber for rafters and posts were harvested from local forests of naio (Myoporum sandwicense) and ōhia lehua (Metrosideros polymorpha). Peter Lee built a hotel at the coast in Punaluu to the west, and a road across the Kaū Desert to bring visitors. He also built a competing hotel at the Kīlauea rim called the Crater House Hotel.</p><br>
<p>In 1891, a group led by Honolulu businessman and politician Lorrin A. Thurston (grandson of the missionary from the 1820s) acquired the Volcano House and Peter Lee&#39;s hotels.</p><br>
<p>The business was so successful that a two-story addition became the main part of the hotel, adding 10 - 12 additional guest rooms, an observation tower, and a larger dining hall, using the 1877 structure as a wing.</p><br>
<p>Thurston commissioned a cyclorama of Kīlauea which he displayed in his travels to the mainland, including the Chicago World&#39;s Columbian Exposition of 1893 and the California Midwinter International Exposition of 1894 in San Francisco.</p><br>
<p>In 1894 a four-horse stagecoach reduced the travel time from Hilo from two days to six hours.</p><br>
<p>George Lycurgus bought the hotel in 1895 and was associated with it for the next 65 years.</p><br>
<p>The Hawaii Consolidated Railway line to Glenwood opened in 1901, bringing more visitors. Author Jack London stayed in 1907.</p><br>
<p>In 1912, geologist Thomas Jaggar built a scientific observatory adjacent to the porch, used until 1961 by the Hawaiian Volcano Observatory. The instruments were housed in an underground vault with massive concrete walls, excavated by laborers from the nearby prison.</p><br>
<p>After ten years of lobbying by Thurston, a National Park was established in 1916.</p><br>
<p>In 1921, Inter-Island Steam Navigation Company bought the property with plans for another expansion.</p><br>
<p>A large two-story wing took the place of the 1877 structure, which was literally sawn off and relocated back from the cliff to be used as employee quarters. Some of the building materials came from the dismantled Crater House Hotel just outside the park.</p><br>
<p>In 1932, a decline in eruptions and the Great Depression allowed Lycurgus to buy it back for only $300.</p><br>
<p>In 1972 a dormitory for employees was built, and the vacant 1877 structure started to deteriorate.</p><br>
<p>The 1877 building is state historic site 10-52-5508, and added to the</p><br>
<p>National Register of Historic Places on July 24, 1974 as site 74000293.</p><br>
<p>It was refurbished in the late 1970s and now houses the Volcano Art Center Gallery.</p><br>
<h2>The modern hotel</h2><br>
<p>The 115-room building burned to the ground on February 11, 1940 (ironically, from a kitchen fire, not a volcanic eruption). By November 1941 a new building designed by Charles William Dickey (1871–1942) was opened southeast of the original site, at coordinates 19&deg;25&prime;42&Prime;N latitude, 155&deg;15&prime;29&Prime;W longitude. A wing with larger rooms was added in 1958 - 1961, for a total of 42 rooms. The facility also includes a dining room, snack bar, art gallery, and gift shop. Volcano House remains the only public hotel within Hawaii Volcanoes National Park.</p><br>
<p>From 1977 to 1986, Volcano House was managed by Sheraton Hotels. From 1986 to 2008 it was owned and operated by Ken Direction Corporation of Hilo.</p><br>
<h2>Current status</h2><br>
<p>In April 2008 the hotel had to be evacuated several times due to sulfur dioxide fumes from an eruption in Halemaumau Crater.</p><br>
<p>The Ken Corporation&#39;s concession expired at the end of 2008, and the National Park Service undertook a search for a new concessionaire.</p><br>
<p>Effective January 1, 2010, Volcano House was closed temporarily for renovations.</p><br>
<p>Initially the Park Service hoped to have the new concessionaire in place and the hotel reopened by January 1, 2011. In April 2012, Hawai&#39;i Volcanoes Lodge Company, a partnership between Ortega National Parks and Aqua Hotels and Resorts, became the new concessioner. The gift shop and Namakani Paio cabins and campground opened shortly thereafter. Work on the rest of the building began in January 2013. The hotel and restaurant completed renovations and both the hotel and the restaurant opened for business in June 2013.</p><br>
<p>The Hotel Niagara is a landmark hotel in Niagara Falls, Niagara County, New York. It was listed on the National Register of Historic Places in 2008.</p><br>
<h2>History</h2><br>
<p>The hotel was built by Niagara Falls businessman Frank A. Dudley and operated by the United Hotels Company. The 12 story, steel frame and concrete hotel was designed by prominent Buffalo architects Esenwein and Johnson and considered a skyscraper when it was built between 1923 and 1925. It is currently located 1/4 mile from the Horseshoe Falls, it is one block from the Seneca Niagara Casino. It has nearly 200 guest rooms as well as convention facilities. It has been known by various names including The Hotel Niagara; Johns Niagara Hotel; Parks Inn; International; Days Inn-Falls View; and Travelodge Niagara Falls.</p><br>
<p>Note: This includes</p><br>
<p>The hotel’s primary public rooms include the lobby, ballroom and main dining room and as of March 2016, have survived largely intact. They feature elaborate ceiling plaster moldings and columns, gilded capitals, faux limestone walls, oak and emerald terrazzo floors.</p><br>
<h3>2007 closure</h3><br>
<p>The property closed for renovations in 2007, which never took place. In 2010, the property was foreclosed by the State Bank of Texas, which expressed no interest in ownership, after the owners, Amidee Hotels & Resorts, abandoned the property and allowed it to fall into foreclosure after their parent company, Amidee Capital Group, LLC, filed for Chapter 11 Bankruptcy. The building was condemned by the Niagara Falls Department of Code Enforcement after the heating system failed, which caused water pipes in the building to burst. The city shut off the water when that happened, leaving the building without running water or a functional fire sprinkler system, which constitutes several code violations.</p><br>
<p>In April 2011, the property was sold at a foreclosure auction for $1,250,000 to Jamil Kara, a developer from Vancouver, British Columbia, Canada. He told the Niagara Gazette, a Niagara Falls newspaper, that he planned to convert the building into a five-star hotel and condominium.</p><br>
<p>In September 2011, Toronto developer Harry Stinson bought the building from Kara for an undisclosed amount, intending to restore it. His company, Stinson Developments, estimated they would finish renovations by summer 2013. However the work was never completed, and Stinson sold the building in 2015 to Reception Hotels & Resorts, for $4.4 million. Reception similarly announced plans to renovate the structure. they later announced that it would become a Radisson Hotel on the completion of a $21.5 million makeover.</p><br>
<h3>2016 sale</h3><br>
<p>In March 2016, the New York State-run USA Niagara Development Corporation agreed to purchase the property from its current owner, Harry Stinson of JSK International Corp. USA Niagara Development Corp. plans on issuing a new request for proposals to complete renovations of the building.</p><br>
<p>The purchase price was described as "up to $4.4 million," with funding for the acquisition, inspections, insurance and property holding services, up to $5 million, will be provided through Gov. Andrew Cuomo&#39;s state-financed "Buffalo Billion" development initiative.</p><br>
<h2>In popular culture</h2><br>
<p>It was reportedly the home of Marilyn Monroe and Joe DiMaggio while filming Niagara in 1952.</p><br>
<p>Former guests of the hotel include USA President John F. Kennedy, Frank Sinatra, Sammy Davis Jr., Joseph Cotten, and Al Capone.</p><br>
<p>Doi Nang Non , "Mountain of the Sleeping Lady", is an unusual land feature of the Thai highlands located in Chiang Rai Province, Thailand. It is a karstic formation part of the southern end of the Daen Lao Range with numerous waterfalls and caves.</p><br>
<h2>Location</h2><br>
<p>Doi Nang Non consists of a long hill tract that lies on the western side of the highway between Chiang Rai and Mae Sai. The greater part of the range is in Mae Sai District, extending west and south west of Pong Pha along the border with Myanmar. The silhouette of the mountain range takes the shape of a reclining woman with long hair when seen from certain angles.</p><br>
<h2>Legend</h2><br>
<p>The main legend of Thai folklore on how this land feature came into being says that there was once a beautiful young princess in the area whose lover left her pregnant and went away. He gave her a ring and promised he would come back. The lady became anxious and waited, but time passed and her lover wouldnt come. Suddenly the woman thought that her husband might be lost and went out of the house to search for him. She wandered anxiously for days through fields and forests all across the region, but couldnt find him. However, the lady didn&#39;t give up and walked and walked until she could walk no more.</p><br>
<p>Then she realized that her lover had abandoned her and took off her engagement ring and threw it far away, so that it landed at Nong Waen (หนองแหวน) in Mae Chan Subdistrict. At that point the young lady was so exhausted she fell down on her back with her head towards Doi Tung and her feet pointing at Doi Mae Salong. Looking at the sky she cried bitterly, finally dying of despair and a broken heart.</p><br>
<p>After her death the woman&#39;s ghost grew to a huge size and was covered by the surrounding earth, taking the shape of a sleeping lady (Nang Non; นางนอน) with her face looking skywards. Her belly with her unborn baby inside became separated from her body and was turned into the nearby mountain of Doi Tung.</p><br>
<h2>Tourism</h2><br>
<p>There is a viewpoint at Amphoe Mae Chan, Mae Chan District, from where the "sleeping lady" can be observed best. Local tour guides like to joke that Doi Nang Non is "the highest mountain in the world", if the lady would get up and stand on her feet.</p><br>
<p>There are a number of caves and water courses in these hills. Some of them have been developed as a tourist attraction.</p><br>
<p>Tum Luang is a cave inside the Doi Nang Non mountain massif with numerous stalactites and stalagmites. It is a very long cave with branches that go on for several kilometres.</p><br>
<p>Khun Naam Naang Non is a natural pond into which water flows from the rocks above. This water is said to be the tears of the lady&#39;s ghost.</p><br>
<p>Jin Island or Tiu Chung Chau  is an island in Sai Kung, Hong Kong, located in Port Shelter. It is under the administration of Sai Kung District.</p><br>
<h2>Geography</h2><br>
<p>Jin Island is located south of the larger island of Kau Sai Chau, from which it is separated by a narrow channel. The island has a maximum elevation of 216 m and an area of 1.8 km². The smaller Bay Islet (See Chau) is located off its eastern coast, from which it is separated by the channel See Chau Mun ().</p><br>
<p>Because of exposure to the easterly winds and sea waves, landforms such as sea caves, stacks, arches and inlets add to the natural landscape of Jin Island.</p><br>
<p>The best-known sea cave in Jin Island is Kam Chung Ngam (), commonly known as Goldfish Wagging Tail (). Tourists can get a perfect shot of the fish shape from the top of the hill.</p><br>
<p>The Watarase River&#39; is a major river in the northern Kantō region of Japan. A tributary of the Tone River, it is 106.7 km in length and drains an area of 2,621 km&sup2;. Its source is at Mount Sukai on the boundary of the city of Nikkō in Tochigi Prefecture and it empties into the Tone River at the boundary of the city of Koga in Ibaraki Prefecture and the city of Kazo in Saitama Prefecture. It is classed as a First-class river by the Japanese government.</p><br>
<p>Although the river currently discharges into the Tone River, its original route was via the Edo River into Tokyo Bay. Its route was changed as part of the massive land reclamation and flood control works undertaken b the Tokugawa shogunate in the 17th and 18th centuries.</p><br>
<p>The Robert M. Lamp House  is a residence at 22 N. Butler Street in Madison, Wisconsin, designed by Frank Lloyd Wright for "Robie" Lamp , a realtor, insurance agent, and Madison City Treasurer.</p><br>
<h2>"Robie" Lamp</h2><br>
<p>Lamp resided here with his parents and an aunt until their deaths, and later with his wife and stepson. He selected this location one and a half blocks east of the Capitol Square because of its proximity to his office on Pinckney Street. He sometimes walked to work, but because of a withered leg he used crutches and canes, and he usually drove to work.</p><br>
<p>Born one year apart, Wright and Lamp shared a June 8 birthday. Following a schoolyard fight in 1879 based in part on ethnic difference, Lamp being of German and Wright of Welsh ancestry, they became boyhood chums, frequently went boating together, and even put out a juvenile newspaper jointly. What one historian has termed their "bromance" endured until Lamp&#39;s premature death at age 49. Lamp joshingly called Wright "Quaker Oats" because of his distinctive headwear, and Wright called Lamp "Pinky" or "Ruby" because of his red hair, nicknames he would also use for the youngest of his four sons, David Wright.</p><br>
<p>Five years after leaving Madison for Chicago in 1887, Wright designed for Lamp a lakefront cottage and boat landing called Rocky Roost (destroyed by fire in 1934). Ten years after that, Lamp asked Wright to design a house for him. A common denominator of the two building projects is their unprepossessing locations, sites developed virtually out of nothing.</p><br>
<h2>Site and surroundings</h2><br>
<p>The Lamp House has a mid-block location, a siting unique among Wrights works. Bounded by East Washington Avenue and by Mifflin, Webster, and Butler Streets, it is accessible only from Butler Street via a narrow, ascending driveway on a right-of-way between two houses. The "keyhole" lot then opens up, producing a compression / release dynamic encountered frequently in Wrights works. This telescoping effect contributes to the monumental impression made by the house, which is further heightened by two flights of poured concrete steps, so that the visitor approaches the house through a three-stage mount from driveway to front facade—a layout shared, for example, by Wrights Westcott House in Ohio, built five years later. It is also characteristic of Wrights design that the entrance door is not visible as one approaches the house but is out of sight, around the corner on the north side, which has a paved veranda the full length of the house.</p><br>
<p>Despite its downtown location, the Lamp House has a secluded feel because of its mid-block site. In addition to laying out the driveway and steps leading up to the eastern side of the house as well as the veranda on its north side, Wright hardscaped the lot with urns (now missing), curbs, and concrete-capped rubblestone retaining walls to develop an extensive yard and garden, sculpting what had originally been a steeply sloped lot into a cascading, multi-tiered landscape. The basement receives sufficient sunlight from a window on the eastern facade to overwinter tender garden plants in containers.</p><br>
<p>The rooftop served Lamp, a skilled oarsman himself, as a viewing platform on which he could use binoculars to watch boaters on Lake Mendota to the north and Lake Monona to the south. Although completely landlocked, the Lamp House originally provided a viewscape in many ways comparable to that of a lakefront residence. It has always been surrounded on all four sides by residential buildings, and although the southern viewshed toward Lake Monona has been cut off by a high-rise on an adjacent lot and the westward view toward the Capitol was blocked by new construction in 2015, the penthouse enclosure later added on the Lamp House roof still has a view of Lake Mendota over the ensemble of 19th- and early 20th-century buildings to the immediate north and east.</p><br>
<h2>Architecture and floor plan</h2><br>
<p>The simple, boxy shape of the Lamp House was quite modern for its time and stands as a precursor of Wrights breakthrough to abstraction by 1905. Together with the contemporaneous Dana-Thomas and William E. Martin Houses, it marks a transition between the styles of the Chicago School and the Prairie School. Contemporaries dubbed it "New American" in design, while the casement windows were "Old English" in inspiration. Some elements, including the fussy, diamond-shaped ornamentation in the brickwork and the truncated corner piers rising to the height of the second-story window sills, have been attributed to Wrights draftsman Walter Burley Griffin. Massive corner piers are a hallmark of Wrights nearly contemporaneous Larkin Building (1904) in Buffalo, New York. The exterior walls are constructed not of house brick but of cream-colored commercial brick, which Wright also used for his own home (1895) and studio (1898) in Oak Park, Illinois. The Lamp Houses diamond-paned windows with frames painted a dark brownish red also echo those of Wrights Oak Park home and studio, which Lamp visited many times. At some time after Lamps death, the building was painted white.</p><br>
<p>A small vestibule opens into a large, rectangular living room occupying the entire eastern half of the ground floor, while the western side has a dining room open to the living room and a kitchen. Within the living room, a triangular-shaped fireplace apron—a feature shared by the nearly contemporaneous Hillside Home School in Spring Green, Wisconsin—is positioned at the center of the house rather than at the more traditional location of an exterior wall. A flight of stairs between dining room and kitchen leads to the second floor, where four bedrooms and a bathroom are connected by a central hallway positioned directly above the fireplace downstairs—the flue is divided and diverted up through the walls of the hallway.</p><br>
<p>The stairway continues up to the roof level, which until 2015 afforded a westward view of the nearby State Capitol (its second iteration was destroyed by fire in 1904) and originally featured an elegant roof garden complete with a greenhouse and a grape arbor grown on a pergola (deconstructed in the 1960s) that was open to south. The roof garden, which anticipates many later designs by Walter Burley Griffin, gave the house something of a japonesque air.</p><br>
<h2>Context in Wright's architecture</h2><br>
<p>The square, "open" floor plan without a wall between living room and dining room devised by Walter Burley Griffin for the Lamp House would become a standard in the following years, reused in no fewer than 25 of Wrights later projects, including the Barton House (1903–04) in Buffalo, New York, and adapted by Prairie School architects in numerous other projects. Wright adapted it in a plan he published in 1907, titled "A Fireproof House for $5000", which became one of the exemplary modern residential floor plans of the period up to about 1920. Deficiencies in the exterior design of the Lamp House, such as the patterned brickwork, are probably attributable to the haste with which the project moved from commission to completion. Wright ordered working drawings to be made before a final version was put to paper. The Lamp House nonetheless has great significance in the history of both Wrights and Griffin&#39;s development.</p><br>
<h2>Potential development</h2><br>
<p>Madisons current zoning calls for the demolition of numerous smaller buildings in the area near the Capitol Square and along East Washington Avenue. Two nearby houses, at 506 East Washington Avenue and 7 North Franklin Street, were both built circa 1853 by Wisconsins second governor, Leonard J. Farwell. In May 2013, the Fred Rouse Company, a local developer, proposed building a six-story apartment building to the north of the Lamp House that would have led to the demolition of three adjacent houses constructed between 1872 and 1904. Opposition to the plan prompted district alderperson Ledell Zellers in September 2013 to form an ad hoc committee to advise on plans for the block. The committee recommended that the northern viewscape toward Lake Mendota be preserved. In 2014, four houses east of the Lamp House were demolished to make room for a six-story apartment building, whose owners created a side opening to Webster Street and stepped back the nearest corner along East Mifflin Street in order to preserve traditional views of the Lamp House. Preservationists would like to see the Lamp House and its grounds restored to their original condition and transformed from the current residential usage into a downtown visitor center focusing on the life and times of Frank Lloyd Wright in Madison and beyond.</p><br>
<p>Isla Palenque is located off the western Pacific shore of Panama, near the border of Costa Rica, in the Gulf of Chiriquí. Isla Boca Brava is just to the north, semi-attached to Isla Palenque by a sandy land bridge exposed at low tide. The island is approximately 400 acre, with 5 mi of coastline and over 1 mi of beaches. Most of the island is covered with mature tropical forest; other ecosystems on the island include mangroves, lagoons, and littoral forest.</p><br>
<h2>History</h2><br>
<p>A palenque originally referred to a refuge for escaped slaves. During Central America’s colonial period, indigenous Indians were indentured to work in the Spanish mines. Those who escaped sought sanctuary in places they fortified with palisades, or palenques. Isla Palenque has been called by that name for as long as maps can determine, and so may have been used to harbor escapees during the colonial period, or possibly as a refuge even earlier.</p><br>
<p>According to research by Olga F. Linares, Isla Palenque has been a privileged location from the start of human settlement, and was the home of an ancient, pre-Columbian farming community some time during the years 500-1400AD. It may even have been occupied as long ago as 5,000BC. It became a sacred site for the most holy of ceremonies, and tribes from all over the province came here to worship. Important tribal chiefs were known to negotiate and trade with each other, making this the province’s prime center of culture and commerce. By colonial times this ancient community had vanished, leaving only enough clues about their lives to awaken curiosity and provide a sense of the island&#39;s ancient history.</p><br>
<p>More recently, the island has become the location of a high end eco-resort, which began construction in 2010. and which opened its first rooms in early 2012</p><br>
<h2>Flora and fauna</h2><br>
<p>Due to its highly varied terrain and multiple ecosystems, there is a wide variety of flora and fauna on Isla Palenque.</p><br>
<p>At least eight families of howler monkeys have been identified. Other mammals identified on the island include the northern tamandua anteater, the nine-banded armadillo, white-nosed coati, crab-eating raccoon, agouti, woolly opossum, and the Mexican hairy dwarf porcupine, in addition to various kinds rabbits, squirrels and mice. While researchers have not yet spotted a margay, evidence exists in trees and pawprints.</p><br>
<p>Large reptiles on the island include the emerald basilisk, black ctenosaur, green iguana, and spectacled caiman. In addition, multiple species of frogs, salamander, lizards and snakes exist on the island in varying quantities.</p><br>
<p>A wide variety of tropical birds also use the island as a home or stopping point during migrations. toucans, parrots, woodpeckers, frigatebirds, hawks, and owls have all been spotted on the island, along with multiple varieties of hummingbirds.</p><br>
<h2>Climate</h2><br>
<p>Isla Palenque&#39;s temperatures are fairly consistent year round, with 90 degree highs during the day and 70 degree temperatures at night. Isla Palenque, like most of Panama, has a rainy season from May through November and a dry season from December through April. During most of the rainy season, afternoon rains of a few hours are typical; it is only in October and November that the rains regularly become extended deluges.</p><br>
<p>The Albany Pump Station, originally the Quackenbush Pumping Station of the Albany Water Works, is located in Quackenbush Square on Broadway in the city of Albany, New York, United States. It is a large brick building constructed in the 1870s and expanded later in the century.</p><br>
<p>It was built to pump municipal water from the nearby Hudson River, and continued in that use for 60 years. In 1983 it was listed on the National Register of Historic Places. Today it has been partly converted into a popular local restaurant and brewpub, a reuse that drew an award from the Preservation League of New York State. The beers have also received awards at the World Beer Cup and at the Great American Beer Festival. Another area of the building serves as the city of Albany&#39;s visitor center.</p><br>
<h2>Building</h2><br>
<p>The pumphouse building complex is part of Quackenbush Square, a small pedestrian mall area named for the nearby Quackenbush House, one of the oldest buildings in Albany. It is located just off Broadway, on the east side of the street just north of, and visible from, the offramp that carries northbound traffic on US 9 from the Dunn Memorial Bridge and Interstate 787 to Clinton Avenue in the city.</p><br>
<p>Its main block is a two-story four-by-four-bay brick building with a hipped roof shingled in slate. Large elliptically-arched windows, doubled on the second story, fill the west (front) facade. They are trimmed with brick lintels, keystones and stone sills, separated by broad pilasters. A large red sign saying "Albany Pump Station" is at the top of the facade, with "Brewpub and Restaurant" in smaller letters beneath.</p><br>
<p>A later northern extension is similar. To the south is a two-story brick building used as stables when originally constructed, with rounded windows in that section. A narrow extension protrudes from the north.</p><br>
<p>Inside, little remains of the original use or equipment. The Albany Heritage Area Visitors Center, a gift shop and the Henry Hudson Planetarium are located along the south facade, on Quackenbush Square.</p><br>
<h2>History</h2><br>
<h3>Pumping station</h3><br>
<p>Albanys water supply system had grown from wells at the current site of the state capitol in 1670 to several small reservoirs created by damming local creeks by the mid-19th century. The citys explosive growth around the time of the Civil War began to test and strain that network. Eventually the city&#39;s water commission decided it could meet present and future demand only by tapping the Hudson directly instead of relying on distant tributaries.</p><br>
<p>In 1873 it bought land at the corner of Montgomery and Quackenbush streets. Local architect Edward Ogden designed the main block of the current building, and it was built later in the year. It had room for two steam-driven pumps that could move river water to Bleecker Reservoir (now Bleecker Stadium) west of the city. A neighboring house was demolished and a boiler house built on its site.</p><br>
<p>Five years later, in 1878, it was supplemented by Prospect Hill Reservoir and another pumping station in the west of the city, to serve new neighborhoods growing there. The pump station was expanded in 1895, and again two years later, with the present wings added and another nearby house taken over for office use. Three more pumps were put in service, and the building complex had assumed its current form.</p><br>
<p>The station continued to draw river water for the city for the next three decades. In 1935, Alcove Reservoir was built in the countryside south of the city, and Albany&#39;s water needs were finally satisfied for the long term. The station pumped its last water in 1937.</p><br>
<h3>Brewpub and restaurant</h3><br>
<p>The station remained in city hands, and was used by the city&#39;s water department primarily as a storage facility after it was taken offline. Four decades after that, in 1977, it was extensively renovated. It continued to be used for storage, and suffered structural neglect and decline.</p><br>
<p>In 1999, a local man named Neil Evans decided to resurrect the brewery his family had run downriver in Hudson, from 1786 to Prohibition. He started the C.H. Evans Brewing Company and bought the building. When he renovated the space he insisted on retaining its industrial ambiance. It has become a popular spot due to its location just northeast of downtown. The following year the Preservation League of New York recognized it with an award for Project Excellence.</p><br>
<p>Beer writer Lew Bryson has joined in, praising not only the brews on tap but the building, calling it "a great setting for a brewpub". He compares it to similar establishments in other cities located in former industrial buildings: "They&#39;re so solid, and so overengineered, that they seem to be the work of giants". and Kick-Ass Brown received a 2004 bronze in the American-Style Brown Ale category. Their Kick-Ass Brown has also won the Gold Medal in the American-style Brown Ale category at the 2000, 2002 and 2008 Great American Beer Festival.</p><br>
<p>Trekroner Søfort  is a sea fort at the entrance to the Copenhagen harbour. From 1713 until after World War I, Trekroner Fort was part of the fortifications of Copenhagen.</p><br>
<p>The original location of Trekroner Fort was a few hundred meters north of the current one. In 1713, three old line ships were sunk to form the basis for a battery. One of the ships was called Trekroner, and she gave her name to the fort.</p><br>
<p>Construction of the current fort began in 1787. The fort was an important part of the Danish line of defense during the Battle of Copenhagen in 1801. The fort also was engaged during the British attack on Copenhagen in 1807.</p><br>
<p>From 1818 to 1828 and in 1860, the fort was strongly enhanced, but its military significance diminished after the First World War. In 1934 it was sold to the Copenhagen harbour services. During the German occupation of Denmark the Germans used the fortress as a barracks. After the war it fell vacant until 1984, when it was opened to the public.</p><br>
<p>Trekroner Fort is one of three artificial islands that were created to defend the entrance to Copenhagen&#39;s harbor. (The other two are Middelgrundsfortet and Flakfortet.)</p><br>
<h2>Cultural references</h2><br>
<p>Trekroner is seen as a ferry with Hallandsen onboard passes by at 0:31:20 in the 1977 Olsen Gang film The Olsen Gang Outta Sight.</p><br>
<p>The Clarksville Historic District is a national historic district located at Clarksville, Mecklenburg County, Virginia. It encompasses 171 contributing buildings, 2 contributing sites, and 1 contributing structure in the central business district and surrounding residential areas of the town of Clarksille. Notable buildings include the Planters Bank , Planters Brick Tobacco Sales Warehouse , Gilliland Hotel , the Russells Furniture, former Clarksville High School , Clarksville Presbyterian Church , Mount Zion Baptist Church , Jamieson Memorial Methodist Episcopal Church , St. Timothys Episcopal Church , and St. Catherine of Siena Roman Catholic Church . Located in the district are the separately listed Clark Royster House and the Judge Henry Wood Jr. House.</p><br>
<p>It was listed on the National Register of Historic Places in 2002.</p><br>
<p>First Baptist Church is a historic Baptist church located at Newfane in Niagara County, New York. It is a Greek Revival style cobblestone church constructed in 1843. It is one of approximately 47 cobblestone buildings in Niagara County.</p><br>
<p>First Baptist Church was formed in 1829, when Andrew Jackson took office as the seventh president of the United States, four years after the opening of the Erie Canal. In 1845 the church took a courageous moral position against slavery. At that time the Fugitive Slave Act prohibited speaking against slavery or helping slaves escape. The church did both.</p><br>
<p>It was listed on the National Register of Historic Places in 2004.</p><br>
<p>The church is part of the American Baptist Churches in the USA</p><br>
<p>Day Peckinpaugh is a historic canal motorship berthed at the Matton Shipyard on Peebles Island, Cohoes in Albany County, New York.</p><br>
<h2>Early years</h2><br>
<p>Day Peckinpaugh was built in 1921 by the McDougall-Duluth Shipyard in Duluth, MN, the first boat specially designed and built for New York State Barge Canal, the successor to the famed Erie Canal. The ship was originally named ILI101 after the ship&#39;s first owner, the Interwaterways Lines Inc of New York City. The ship was the first specifically designed to ply the open waters of the Great Lakes as well as the narrow locks and shallow waterways of the barge canal. Day Peckinpaugh is also the last surviving ship from a fleet of more than 100 of her type that once carried freight from the upper Midwest to the port of New York City.</p><br>
<p>At a length of 259 ft and width of 36 ft, she is among the largest boats to operate on New York’s canal system where the maximum area available for vessels in a lock is 300 ft long by 43.5 ft wide.</p><br>
<p>With a 14 ft deep hold and a carrying capacity of 1,650 t, Day Peckinpaugh was well suited as a bulk carrier in which she hauled wheat, flax seed, rye, sugar, and in the early years pig iron.</p><br>
<h2>First renaming</h2><br>
<p>ILI101 was rechristened Richard J. Barnes in 1922 to honor the man who originally commissioned the ship.</p><br>
<h2>World War II service</h2><br>
<p>During World War II, Richard J. Barnes was drafted into the US Merchant Marine to carry coal and refuel cargo ships along the east coast of the United States. During her Merchant Marine service Richard J. Barnes was attacked by a German U-Boat which fired a torpedo at her; the torpedo was thought to have passed under the ship due to her shallow seven foot draft.</p><br>
<h2>Second renaming</h2><br>
<p>In 1958, the ship was sold to Erie Navigation and retrofitted to carry sand and gravel. The ship was again renamed, becoming Day Peckinpaugh, in honor of the man of the same name, brother of the New York Yankees player and manager, Roger Peckinpaugh.</p><br>
<h2>Later service</h2><br>
<p>The ship was converted to a self-unloading dry cement hauler in 1961 and used to carry cement from Oswego to Rome, New York until to its retirement in 1994, Day Peckinpaugh was the last self-propelled regularly scheduled commercial hauler on the barge canal.</p><br>
<h2>Restoration</h2><br>
<p>In 2005 Day Peckinpaugh was saved from the scrap yard by a partnership of museums, and canal preservation societies and is undergoing extensive cleaning, painting, restoration and testing of her engines. More than $3 million has been pledged to restore and convert Day Peckinpaugh into a floating classroom and museum that will highlight the history and heritage of the Erie Canal and the Great Lakes. In late 2011 the New York State Department of Education received a $191,000 grant to outfit Day Peckinpaugh to serve as a multi-regional educational facility. The restoration was scheduled for completion in 2012. The ‘‘Day Peckinpaugh’’ is the largest artifact in the New York State Museum collection.</p><br>
<h2>Attempted sinking</h2><br>
<p>On March 8, 2010 Guy J. Pucci, a 35-year-old ex-state employee was arrested after almost completely sinking the ship while it was docked at Lock 2 of the Barge Canal undergoing restoration. Pucci purportedly went aboard the vessel and opened valves to flood the ship in an attempt to scuttle it. State Police said that the Day Peckinpaugh was close to being submerged as police and ship employees worked to pump the water from the ship’s engine rooms. The ship sustained extensive damage due to the flooding, and repairs were estimated to be in excess of $10,000.</p><br>
<p>Pucci had worked aboard Day Peckinpaugh since July 2009, but his position as a maintenance assistant had been terminated February 25, 2010.</p><br>
<h2>Current status</h2><br>
<p>The ship was listed on the National Register of Historic Places in 2005. At the time of its listing, it was located at Lockport in Niagara County, New York,</p><br>
<p>Day Peckinpaugh and the 1901 tugboat Urger, as still-functioning vessels, have become movable ambassadors of the New York State Barge Canal System.</p><br>
<p>Deveaux School Historic District is a national historic district located at Niagara Falls in Niagara County, New York.</p><br>
<h2>Beginnings</h2><br>
<p>The property was deeded in the mid-1850s as “The DeVeaux College for Orphans and Destitute Children” by Judge Samuel DeVeaux and operated by the Episcopal Diocese of Western New York. Samuel DeVeaux was a heavy contributor to the Lockport and Niagara Railroads, also known as the Strap Railroad and was instrumental in the construction of the Whirlpool Suspension Bridge in 1847. His business dealings resulted in vast purchases of land along the Niagara River. The entire region still bears his name.</p><br>
<p>Judge DeVeaux died suddenly on August 3, 1852, and being deeply religious and a sincere believer in the benefit of education, he left a portion of his estate for the benefit of Niagara Falls and the Episcopal Diocese to establish DeVeaux College. The college was located at the northern limits of the city and opposite the Whirlpool.</p><br>
<p>DeVeaux&#39;s vision was a preeminent institution of learning which would train young men in academics, trade professions and give them an education that did not neglect religious training. For nearly 80 years course work included mandatory military training with cadets dressed in uniforms in the tradition of the USA Military Academy at West Point, New York. The last day of military influence on campus came was on Founder’s Day in 1950 when the uniforms were replaced by coats and ties.</p><br>
<p>Among the school&#39;s faculty was William C. Baker, professor of languages for two years, around 1882-1883. Baker was later elected mayor of Providence, Rhode Island.</p><br>
<h2>Campus buildings</h2><br>
<p>Buildings on the property at one time included Van Rensselaer Hall, Monro Hall, Schoellkopf Hall, Edgewood, the Walker Residence, the Buscaglia-Castellani Art Gallery, a brick barn, boiler house and three residential homes. The 51-acre site grew to encompass a campus of nearly a dozen buildings and residences.</p><br>
<p>The first building constructed was Van Rensselaer Hall, built in 1855-57 and dedicated on May 20, 1857 in honor of the Rev. Dr. Maunsell Van Rensselaer (1819–1900), older brother of Charles Van Rensselaer (1823–1857) and grandson of Killian K. Van Rensselaer (1763–1845), the second president of the school. Designed by Buffalo architect C. N. Otis, Van Rensselaer Hall was referred to as "the college edifice" and was three and a half stories built at a cost of $14,154. It consisted of the kitchen, dining room, pantries, laundry, and bathrooms on the ground level and school rooms, chapel, hospital, library, and president&#39;s rooms on the second level. The third floor contained the dormitory which accommodated about 25 boys. Additional dorms and a play room were in the attic. In 1866 the building was expanded and a new kitchen, chapel and study hall were added. This expansion was later named Patterson Hall after the second president of the school Rev. Dr. George H. Patterson.</p><br>
<p>The construction of Munro Hall in 1894 was an indication of expansion and lavish spending at Deveaux School. This new Gothic inspired building cost $18,000 and was attached to Patterson Hall. Munros major feature was a new and bigger chapel which occupied the entire second floor. "Edgewood", the Chaplains house, also dates to this era of expansion and was located at the southeast of the complex.</p><br>
<h2>Years of decline</h2><br>
<p>DeVeaux College fell on hard times as the demand for prep-school education continued to decline in the 20th century. The Episcopal Diocese ceased operations at the school and, in 1971, looked to another organization to accept the burden of taking care of the historic structures. DeVeaux College closed its doors in 1972.</p><br>
<p>Subsequent property owners or lessees included Niagara County, Niagara Falls, Niagara University, Board of Cooperative Educational Services, and Niagara County Community College. The property is currently owned by the New York State Office of Parks, Recreation and Historic Preservation, who christened the property De Veaux Woods State Park.</p><br>
<p>The property was listed on the National Register of Historic Places in 1974.</p><br>
<p>The Old Presbyterian Meeting House is a Christian church in Alexandria, Virginia. It is part of the National Capital Presbytery and the Synod of the Mid-Atlantic of the Presbyterian Church . The campus was added to the National Register of Historic Places in 2001. The church also lies within the bounds of the Alexandria Historic District.</p><br>
<h2>History</h2><br>
<p>The heritage of the Meeting House dates from the early eighteenth century. Scottish Presbyterians were among the early European settlers of Northern Virginia and were involved in establishing Alexandria as a port in 1749. The Society of Presbyterians worshiped publicly in the city from the 1760s, and the congregation’s first installed minister arrived in 1772. The Meeting House was erected in 1775. Largely destroyed by fire in 1835, it was subsequently rebuilt, maintaining a Reformed Protestant plain-style appearance. Except for a bell tower added in 1843 and granite entrance stairs installed in 1853, it remains little altered to the present day.</p><br>
<p>Alexandrians have gathered at the Meeting House for public worship many times over the years. Among other such services that George Washington attended here was one conducted by the Rev. Dr. James Muir for the National Day of Solemn Humiliation, Fasting, and Prayer in 1798. Alexandria’s memorial services for George Washington in 1799 were held in this sanctuary. The church bell tolled in mourning during the four days between his death and burial.</p><br>
<p>The Meeting House remained open for worship throughout the Civil War, but the congregation dwindled afterward. In 1899 the building was closed for worship, and all of the church property was entrusted to Second Presbyterian Church, which accepted responsibility for maintaining it.</p><br>
<p>For the next half-century, it served as both a museum and a place of worship. In 1949, a new congregation, taking the name of “the Old Presbyterian Meeting House,” was established here.</p><br>
<p>Music has been part of the Meeting House heritage from the earliest days, and the church has served as a venue for public concerts for more than two centuries. Its first pipe organ, built by Jacob Hilbus and installed in 1817, was—according to church historian Julius Melton—the first pipe organ installed in a Presbyterian church in the United States. The Hilbus organ was destroyed in the 1835 fire. The pipe organ in the apse, by Henry Erben, dates from 1849. The pipe organ in the rear gallery was installed in 1997 by the Lively-Fulcher Organ Company.</p><br>
<h2>Grounds</h2><br>
<p>Adjoining the Meeting House is a Burial Ground and several buildings: Flounder House, a building with a shed roof and built in 1787, was originally a parsonage; Elliot House (1844) was originally a private residence; and the Education Building was constructed in 1957.</p><br>
<h3>Burial Ground</h3><br>
<p>The Burial Ground is the final resting place of many patriots of the Revolutionary War, including one unidentified soldier who is honored by the Tomb of the Unknown Soldier of the American Revolution.</p><br>
<h3>Presbyterian Cemetery</h3><br>
<p>The Meeting House also maintains and operates the Presbyterian Cemetery on Hamilton Lane, about a mile west of the church and adjacent to Alexandria National Cemetery and other historic cemeteries. Opened in 1809, the cemetery is the final resting place of 17 patriots of the American Revolution, men killed in the War of 1812, and 62 Confederate veterans and a number of Union soldiers from the Civil War. Over the years, the Presbyterian Cemetery has provided burial space for merchants, ship captains, the Reverend Elias Harrison—the fourth pastor of the Meeting House, who died during the Civil War—a half dozen of Alexandria’s mayors, numerous representatives of the city’s governing council, a number of prominent businessmen and philanthropists, and at least one member of the USA House of Representatives.</p><br>
<h2>The Congregation Today</h2><br>
<p>A congregation of the Presbyterian Church (USA), the Old Presbyterian Meeting House today is led by the Reverend Dr. Robert R. Laha, Jr., Senior Pastor and Head of Staff; the Reverend Ann Herlin Staley, Associate Pastor; the Reverend Dr. Joyce A. Mercer, Parish Associate; and a Session (governing body) of 26 ruling elders. The church has a vibrant congregation of more than 1,000 members that is very much engaged in the contemporary world. It is an inclusive, justice-seeking congregation welcoming members and visitors for worship, service, education, and fellowship. The church supports a variety of programs and ministries for people of all ages, from pre-school age through teenagers and working adults to older adults in retirement homes.</p><br>
<p>Music plays an important role in worship and broader aspects of life at the Meeting House. Worship services feature both the Lively-Fulcher pipe organ and the choir, which includes both professional and volunteer members. Special services may also feature the Erben organ, brass ensembles, the children’s choirs, or other vocal or instrumental groups. “Concerts With A Cause,” held periodically throughout the year, feature talented local artists, and a free-will offering collected at intermission benefits a designated local charity. During the Advent season, a half-hour program of “Noonday Noels,” held on Wednesdays at noon, provides a brief musical offering and scripture reading.</p><br>
<p>Through the Presbyterian Church, the Meeting House maintains a very active local, regional, national, and worldwide mission and outreach program. Among other needs, it provides support each year for the Alexandria Tutoring Consortium, the Fund for Alexandria’s Child, the Arlandria Health Center, the Family to Family program, which assists families in meeting their monthly bills, the Rebuilding Together Alexandria program, designed to help impoverished residents of the city make necessary property improvements using volunteer help, Alive!—Alexandrians Involved Ecumenically—and the Greater Washington Interfaith Power + Light program. The congregation also conducts annual mission projects with The Shack Neighborhood House in Scotts Run, West Virginia and has active mission partnerships with groups in Reynosa, Mexico; Islamabad, Pakistan; Pignon, Haiti; and Kenya. In recent years, the congregation has been actively involved in social justice advocacy on issues such as affordable housing and improved health services for the poor through the interdenominational Virginians Organized for Interfaith Community Engagement (VOICE). In 2011, the Meeting House launched a program to provide online access to Virginia prisons, permitting the families of prisoners from Northern Virginia to conduct video visitations with loved ones at distant facilities.</p><br>
<p>Among the several buildings adjoining the Meeting House, Flounder House now provides classrooms, meeting space, the church archives, and space for a local non-profit; the Elliot House now houses the church offices; and the Education Building includes classrooms, a large meeting room, and the Meeting House pre-school.</p><br>
<p>While the burial ground on the church property is no longer active, the well-kept Presbyterian Cemetery, which has been in continuous use for more than two centuries, continues to function as an active cemetery. In 2008, the Cemetery opened a columbarium to accommodate the interment of cremated remains.</p><br>
<p>Larkspur Downtown Historic District, known also as Old Downtown Larkspur, is a historic district along Magnolia Avenue in downtown Larkspur, Marin County, California.</p><br>
<p>The district covers the "Old Downtown" area, along Magnolia Avenue from the Lark Creek Inn at 234 Magnolia Ave to the platform on the former railway, now a bicycle path. The avenue has been the commercial center of activity in Larkspur since the town was founded. In 1980, the Larkspur City Council designated it to be a local Historic District and rezoned it as an overlay H Zone.</p><br>
<p>The historic district was listed on the National Register of Historic Places in 1982.</p><br>
<p>the Larkspur City Hall (map code #9)</p><br>
<p>the Lark Theater (map code #39)</p><br>
<p>Blue Rock Hotel</p><br>
<p>a bank (map code #30)</p><br>
<p>the Silver Peso/Bob&#39;s Tavern (map code #15),</p><br>
<p>the barber shop (map code #25)</p><br>
<p>railroad station (map code #40)</p><br>
<p>railroad buildings (map code #4l, 3-6)</p><br>
<p>concrete railroad platform (map code #42)</p><br>
<p>The Meiselberg is a hill in the 19th district of Vienna, Döbling. It is 291 metres tall</p><br>
<h2>Geography</h2><br>
<p>The Meiselberg represents the north-eastern extension of the Schenkenberg and lies in the suburb of Sievering. The limits of the Meiselberg are defined by the Kaasgraben to the north and the Arbesbach to the south. The hill is part of a north-eastern chain of foothills belonging to the eastern Alps. It is composed of flysch containing quartz, limestone, marl, and other conglomerates.</p><br>
<h2>History</h2><br>
<p>The name Meiselberg is probably a reference to the hill’s steep ridge and most likely derives from the Middle High German meizel (meaning chisel). Today, the hill is sparsely settled, but in contrast to the surrounding hills, is not used for viticulture.</p><br>
<p>The Schenkenberg is a hill in the 19th district of Vienna, Döbling. It is 345 metres tall.</p><br>
<h2>Geography</h2><br>
<p>The Schenkenberg lies in Obersievering and represents the south-eastern extension of the Pfaffenberg. To the north, the Reisenbergbach separates the Schenkenberg from the Reisenberg; to the south, the Arbesbach divides it from the Hackenberg. The Schenkenberg is part of a north-eastern chain of foothills belonging to the eastern Alps. It is composed of flysch containing quartz, limestone, marl, and other conglomerates.</p><br>
<h2>History</h2><br>
<p>The first documentary reference to the Schenkenberg dates from 1329 and dubs it in dem Schenkenberge. The name Schenkenberg is probably a reference to the Mundschenk family, which owned land in the area. The Kuenringer, who also owned property in this area, were called the Oberste Schenken.</p><br>
<p>Today, the Schenkenberg is surrounded by numerous vineyards.</p><br>
