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The hippopotamus is the third largest land animal, smaller only than the elephant and the rhinoceros. Its name comes from two Greek words which mean "river horse." The long name of this animal is often shortened to the easier to handle term "hippo."

The hippo has a natural affinity for the water. It does not float on top of the water; instead, it can easily walk along the bottom of a body of water. The hippo commonly remains underwater for three to five minutes and has been known to stay under for up to half an hour before coming up for air.

In spite of its name, the hippo has relatively little in common with the horse and instead has a number of interesting similarities in common with the whale. When a hippo comes up after a stay at the bottom of a lake or river, it releases air through a blowhole, just like a whale. In addition, the hippo resembles the whale in that they both have thick layers of blubber for protection and they are almost completely hairless.

The organization that today is known as the Bank of America did start out in America, but under quite a different name. Italian American A.P. Giannini established this bank on October 17, 1904, in a renovated saloon in San Francisco’s Italian community of North Beach under the name Bank of Italy, with immigrants and first-time bank customers comprising the majority of his first customers. During its development, Giannini’s bank survived major crises in the form of a natural disaster and a major economic upheaval that not all other banks were able to overcome.

One major test for Giannini’s bank occurred on April 18, 1906, when a massive earthquake struck San Francisco, followed by a raging fire that destroyed much of the city. Giannini obtained two wagons and teams of horses, filled the wagons with the bank’s reserves, mostly in the form of gold, covered the reserves with crates of oranges, and escaped from the chaos of the city with his clients’ funds protected. In the aftermath of the disaster, Giannini’s bank was the first to resume operations. Unable to install the bank in a proper office setting, Giannini opened up shop on the Washington Street Wharf on a makeshift desk created from boards and barrels.

In the period following the 1906 fire, the Bank of Italy continued to prosper and expand. By 1918 there were twenty-four branches of the Bank of Italy, and by 1928 Giannini had acquired numerous other banks, including a Bank of America located in New York City. In 1930 he consolidated all the branches of the Bank of Italy, the Bank of America in New York City, and another Bank of America that he had formed in California into the Bank of America National Trust and Savings Association.

A second major crisis for the bank occurred during the Great Depression of the 1930s. Although Giannini had already retired prior to the darkest days of the Depression, he became incensed when his successor began selling off banks during the bad economic times. Giannini resumed leadership of the bank at the age of sixty-two. Under Giannini’s leadership, the bank weathered the storm of the Depression and subsequently moved into a phase of overseas development.

What we today call American folk art was, indeed, art of, by, and for ordinary, everyday “folks” who, with increasing prosperity and leisure, created a market for art of all kinds, and especially for portraits. Citizens of prosperous, essentially  middle-class republics — whether ancient Romans, seventeenth-century Dutch  burghers, or nineteenth-century Americans — have always shown a marked taste for portraiture. Starting in the late eighteenth century, the United States contained increasing numbers of such people, and of the artists who could meet their demands.

The earliest American folk art portraits come, not surprisingly, from New England — especially Connecticut and Massachusetts — for this was a wealthy and  populous region and the center of a strong craft tradition. Within a few decades after the signing of the Declaration of Independence in 1776, the population was pushing westward, and portrait painters could be found at work in western New York, Ohio, Kentucky, Illinois, and Missouri. Midway through its first century as a nation, the United States's population had increased roughly five times, and eleven new states had  been added to the original thirteen. During these years the demand for portraits grew and grew eventually to be satisfied by the camera. In 1839 the daguerreotype was introduced to America, ushering in the age of photography, and within a generation the new invention put an end to the popularity of painted portraits. Once again an original portrait became a luxury, commissioned by the wealthy and executed by the  professional.

But in the heyday of portrait painting — from the late eighteenth century until the 1850's — anyone with a modicum of artistic ability could become a limner, as such a portraitist was called. Local craftspeople — sign, coach, and house painters — began to paint portraits as a profitable sideline; sometimes a talented man or woman who began  by sketching family members gained a local reputation and was besieged with requests for portraits; artists found it worth their while to pack their paints, canvases, and brushes and to travel the countryside, often combining house decorating with portrait painting.

With Robert Laurent and William Zorach, direct carving enters into the story of modern sculpture in the United States. Direct carving — in which the sculptors themselves carve stone or wood with mallet and chisel — must be recognized as something more than just a technique. Implicit in it is an aesthetic principle as well that the medium has certain qualities of beauty and expressiveness with which sculptors must bring their own aesthetic sensibilities into harmony. For example, sometimes the shape or veining in a piece of stone or wood suggests, perhaps even dictates, not only the ultimate form, but even the subject matter.

The technique of direct carving was a break with the nineteenth-century tradition in  which the making of a clay model was considered the creative act and the work was then turned over to studio assistants to be cast in plaster or bronze or carved in marble.

Neoclassical sculptors seldom held a mallet or chisel in their own hands, readily conceding that the assistants they employed were far better than they were at carving the finished marble.

 With the turn-of-the-century Crafts movement and the discovery of nontraditional sources of inspiration, such as wooden African figures and masks, there arose a new urge for hands-on, personal execution of art and an interaction with the medium. Even as early as the 1880's and 1890's, nonconformist European artists were attempting direct carving. By the second decade of the twentieth century, Americans — Laurent  and Zorach most notably — had adopted it as their primary means of working.

Born in France, Robert Laurent (1890-1970) was a prodigy who received his education in the United States. In 1905 he was sent to Paris as an apprentice to an art dealer, and in the years that followed he witnessed the birth of Cubism, discovered primitive art, and learned the techniques of woodcarving from a frame maker.

 Back in New York City by 1910, Laurent began carving pieces such as The Priestess, which reveals his fascination with African, pre-Columbian, and South Pacific art. Taking a walnut plank, the sculptor carved the expressive, stylized design. It is one of the earliest examples of direct carving in American sculpture. The plank's form dictated the rigidly frontal view and the low relief. Even its irregular shape must  have appealed to Laurent as a break with a long-standing tradition that required a sculptor to work within a perfect rectangle or square.

The hard, rigid plates that form the outermost portion of the Earth are about 100 kilometers thick. These plates include both the Earth's crust and the upper mantle.

The rocks of the crust are composed mostly of minerals with light elements, like aluminum and sodium, while the mantle contains some heavier elements, like iron and  magnesium. Together, the crust and upper mantle that form the surface plates are called the lithosphere. This rigid layer floats on the denser material of the lower mantle the way a wooden raft floats on a pond. The plates are supported by a weak, plastic layer of the lower mantle called the asthenosphere. Also like a raft on a pond, the lithospheric plates are carried along by slow currents in this more fluid layer beneath  them.

With an understanding of plate tectonics, geologists have put together a new history for the Earth's surface. About 200 million years ago, the plates at the Earth's surface formed a “supercontinent” called Pangaea. When this supercontinent started to tear apart because of plate movement, Pangaea first broke into two large continental masses  with a newly formed sea that grew between the land areas as the depression filled with water. The southern one — which included the modern continents of South America, Africa, Australia, and Antarctica — is called Gondwanaland. The northern one — with North America, Europe, and Asia — is called Laurasia. North America tore away from Europe about 180 million years ago, forming the northern Atlantic Ocean.

 Some of the lithospheric plates carry ocean floor and others carry land masses or a combination of the two types. The movement of the lithospheric plates is responsible for earthquakes, volcanoes, and the Earth's largest mountain ranges. Current understanding of the interaction between different plates explains why these occur where they do. For example, the edge of the Pacific Ocean has been called the “Ring  of Fire” because so many volcanic eruptions and earthquakes happen there. Before the 1960's, geologists could not explain why active volcanoes and strong earthquakes were concentrated in that region. The theory of plate tectonics gave them an answer.