Trafalgar

Waldron

Westville

Zionsville, Indiana

Zionsville is a suburban town located in the extreme southeast area of Boone County, Indiana, United States, northwest of Indianapolis. The population was 14,160 at the 2010 census,[7] and grew to 26,784 in the Census 2016 estimates.[3]

Zionsville promotes itself as a tourist attraction, centered on its village-styled downtown area. This area consists primarily of Main Street, paved entirely in brick, which is lined with small retail stores and restaurants.

Zionsville is located at 39°57′11″N 86°16′10″W / 39.95306°N 86.26944°W / 39.95306; -86.26944 (39.953092, -86.269462),[12] approximately 15 miles (24 km) northwest of Downtown Indianapolis. According to the 2010 census, Zionsville has a total area of 10.298 square miles (26.67 km2), of which 10.26 square miles (26.57 km2) (or 99.63%) is land and 0.038 square miles (0.10 km2) (or 0.37%) is water.[13]

In 2010, Zionsville annexed 39.5 square miles (102.30 km2) of land in Eagle and Union townships. This increased the area of the town to 49.7 square miles (128.72 km2) and added 9,159 residents as of 2013.[14][15] In 2014, Zionsville gained an additional 3.9 square miles (10.10 km2) of area as a result of annexing portions of Perry Township, bringing the current area of the town to 53.63 square miles (138.90 km2).[16]

Star City

Troy

Troy (Ancient Greek: Τροία, Troia or Τροίας, Troias and Ἴλιον, Ilion or Ἴλιος, Ilios; Latin: Troia and Ilium;[note 1]Hittite: Wilusha or Truwisha;[1][2]Turkish: Truva or Troya) was a city in the far northwest of the region known in late Classical antiquity as Asia Minor, now known as Anatolia in modern Turkey, near (just south of) the southwest mouth of the Dardanelles strait and northwest of Mount Ida. The present-day location is known as Hisarlik. It was the setting of the Trojan War described in the Greek Epic Cycle, in particular in the Iliad, one of the two epic poems attributed to Homer. Metrical evidence from the Iliad and the Odyssey suggests that the name Ἴλιον (Ilion) formerly began with a digamma: Ϝίλιον (Wilion); this is also supported by the Hittite name for what is thought to be the same city, Wilusa.

A new capital called Ilium (from Greek: Ἴλιον, Ilion) was founded on the site in the reign of the Roman Emperor Augustus. It flourished until the establishment of Constantinople, became a bishopric and declined gradually in the Byzantine era, but is now a Latin Catholic titular see.

In 1865, English archaeologist Frank Calvert excavated trial trenches in a field he had bought from a local farmer at Hisarlik, and in 1868, Heinrich Schliemann, a wealthy German businessman and archaeologist, also began excavating in the area after a chance meeting with Calvert in Çanakkale.[3][4] These excavations revealed several cities built in succession. Schliemann was at first skeptical about the identification of Hisarlik with Troy, but was persuaded by Calvert[5] and took over Calvert's excavations on the eastern half of the Hisarlik site, which was on Calvert's property. Troy VII has been identified with the city called Wilusa by the Hittites, the probable origin of the Greek Ἴλιον, and is generally (but not conclusively) identified with Homeric Troy.

Today, the hill at Hisarlik has given its name to a small village near the ruins, which supports the tourist trade visiting the Troia archaeological site.[6] It lies within the province of Çanakkale, some 30 km south-west of the provincial capital, also called Çanakkale. The nearest village is Tevfikiye. The map here shows the adapted Scamander estuary with Ilium a little way inland across the Homeric plain. Due to Troy's location near the Aegean Sea, the Sea of Marmara, and the Black Sea, it was a central hub for the military and trade.[7]

Walkerton

Wheatfield with Crows

It is commonly stated that this was van Gogh's final painting. However, art historians are uncertain as to which painting was van Gogh's last, as no clear historical records exist. The evidence of his letters suggests that Wheatfield with Crows was completed around 10 July and predates such paintings as Auvers Town Hall on 14 July 1890 and Daubigny's Garden.[3][4][5] Moreover, Jan Hulsker points out that a painting of harvested wheat, Field with Stacks of Wheat (F771), must be a later painting.[6]

The Van Gogh Museum's Wheatfield with Crows was painted in July 1890, in the last weeks of van Gogh’s life. Many have claimed it as his last painting, while it is also possible Tree Roots, or the previously mentioned Daubigny's Garden, was his final painting.

Wheat Field with Crows, made on a double-square canvas, depicts a dramatic, cloudy sky filled with crows over a wheat field.[4] A sense of isolation is heightened by a central path leading nowhere and by the uncertain direction of flight of the crows. The windswept wheat field fills two-thirds of the canvas. Jules Michelet, one of van Gogh's favorite authors, wrote of crows: "They interest themselves in everything, and observe everything. The ancients, who lived far more completely than ourselves in and with nature, found it no small profit to follow, in a hundred obscure things where human experience as yet affords no light, the directions of so prudent and sage a bird."[7] Kathleen Erickson finds the painting as expressing both sorrow and a sense of his life coming to an end.[8] The crows are used by van Gogh as a symbol of death and rebirth, or of resurrection.[9][10] The road, in contrasting colors of red and green, is said by Erickson to be a metaphor for a sermon he gave based on Bunyan's The Pilgrim's Progress where the pilgrim is sorrowful that the road is so long, yet rejoices because the Eternal City waits at the journey's end.[11][12]

About 10 July 1890 van Gogh wrote to his brother Theo and his wife Jo Bonger, saying that he had painted another three large canvases at Auvers since visiting them in Paris on 6 July.[3] Two of these are described as immense stretches of wheatfields under turbulent skies, thought to be Wheatfield under Clouded Sky and Wheatfield with Crows, and the third is Daubigny's Garden. He wrote that he had made a point of expressing sadness, later adding "extreme loneliness" (de la solitude extrême), but also says he believes the canvases show what he considers healthy and fortifying about the countryside (and adds that he intended to take them to Paris as soon as possible).

Dean Stockwell

Robert Dean Stockwell (born March 5, 1936) is a retired American actor of film and television, with a career spanning over 70 years.[1] As a child actor under contract to Metro-Goldwyn-Mayer, he first came to the public's attention in films such as Anchors Aweigh (1945), The Green Years (1946), Gentleman's Agreement (1947), and Kim (1950).

As a young adult, he played a lead role in the 1957 Broadway and 1959 screen adaptations of Compulsion and in 1962, Stockwell played Edmund Tyrone in the film version of Long Day's Journey into Night. He appeared in supporting roles in such films as Paris, Texas (1984), To Live and Die in L.A. (1985), Blue Velvet (1986), Beverly Hills Cop II (1987), The Player (1992), and Air Force One (1997). He earned an Academy Award nomination for Best Supporting Actor for his performance in Married to the Mob (1988).

His television roles include playing Rear Admiral Albert "Al" Calavicci in Quantum Leap (1989–1993) and Brother Cavil in the Sci Fi Channel revival of Battlestar Galactica (2004–2009).[2] Following his roles on Quantum Leap and Battlestar Galactica, Stockwell appeared at numerous science fiction conventions.

Stockwell was born in North Hollywood, California, but was raised in New York.[3] He was the younger son of Elizabeth "Betty" Stockwell[4] and Harry Stockwell, an actor and lyric baritone singer in New York productions of Carousel and Oklahoma! as well as the voice of Prince Charming in Disney's film Snow White.[5] His elder brother was television and film actor Guy Stockwell. His stepmother, Elizabeth Veronica Stockwell, was an actress, comedian, singer, and toe dancer in Burlesque and theater in Northern America and New York.[6]

Union City