Its sources include building exterior and interior lighting, advertising, commercial properties, offices, factories, streetlights, and illuminated sporting venues.

Its terrain is mostly low, flat to rolling plain, with mountains in the south-central interior.

Its non-uniformities reveal the unpredictable components of Earth rotation, due to atmospheric weather, plate tectonics, and currents in the interior of the Earth.

Its interior is energized by ultraviolet ( UV ) light and stellar winds from hot stars in the Orion OB1 association.

Its behaviour on a table, or with various modes of suspension or support, serves to illustrate the curious reversal of the ordinary laws of static equilibrium due to the gyrostatic behaviour of the interior invisible flywheel when rotated rapidly.

Its interior can be divided in supraglottis, glottis and subglottis.

Its interior was extensively renovated by Maltese architect Richard England alongside Michael Ellul.

Its purpose is to cushion occupants during a crash and provide protection to their bodies when they strike interior objects such as the steering wheel or a window.

Its body design was altered from the 44 by a new front which accommodated the longer engine and radiator, bigger taillights, and a more plush interior.

Its interior is decorated with a number of reliefs detailing events during his reign as well as a number of inscriptions.

Its interior held the cameras and the photographic film processing system, radio transmitter, storage batteries, gyroscopic units, and circulating fans for temperature control.

Its eastern boundary was the Atlantic Ocean, but the western boundary in the South Jersey interior was not fixed until 1761.

Its interior contains hand-carved woodwork on the altar, pulpit and altar rail.

Its interior features decorations of sea waves and shells.

Its interior pedestrian concourse was roofed over about 1957, making it the first indoor, climate-controlled shopping mall in Central New York.

Its interior was designed to be extremely user-friendly, with all of its controls designed to be recognizable by touch, allowing drivers to operate them without taking their eyes off the road.

Its interior was declared a New York City landmark in 1978.

Its interior is not open to the general public, although the exterior of La Ruche alone is worth a visit.

Its interior was declared a city landmark in 1978.

Its French gardens and pond are a haven of calm, while the interior of the castle harbours a permanent exhibit of ancient furniture and a small pharmacy museum.

Its Baroque-Roccoco interior houses some notable canvasses by artists such as Giovanni Lanfranco, Stefano Marucelli and Vincenzo Meucci.

Its facade is made of the green cantera stone commonly found in Oaxaca's buildings, and the interior is in Neoclassical style.

Its atrium serves as a cemetery and its interior has a mural depicting the baptism of the four indigenous lords of Tlaxcala in the 16th century.

Its interior, divided in a total of six rooms arranged in galleries whose proportions will allow visitors to make an interactive tour that will switch themes of the art museum with samples of science and technology.

Its interior was painted by the local Baroque painter Anton Čebej.

Its importance was instead conveyed by the height of the tower ( prasat ) rising above it, by its location at the centre of the temple, and by the greater decoration on its walls.

Its city walls were much imitated ( for example, see Caernarfon Castle ) and its urban infrastructure was moreover a marvel throughout the Middle Ages, keeping alive the art, skill and technical expertise of the Roman Empire.

Its high granite walls dominate this area of the moor.

Its walls are 5 metres ( 17 ft ) thick, and the towers 30 metres ( 100 ft ) high.

Its walls are broad, designed to support a second story, and its wide, elaborate entrance leads to a large hall, partly covered with a roof supported on a row of columns.

Its streets, squares, and walls were preserved in the layers of ejecta, sometimes as tall as eight metres, and indicating this was a major town.

Its current extension runs from the walls of the Alcazaba to the cerro of San Miguel and on the other hand, from the Puerta de Guadix to the Alcazaba.

Its walls are covered with paintings and engravings dating back to between 27, 000 and 19, 000 BC, depicting animals such as bison, ibex, and horses, as well as sea mammals such as seals, and at least one bird, the auk.

Its walls equipped with loopholes have a thickness of up to 4 meters.

Its walls are extant ruins in the modern municipal region of Nanjing.

Its construction was to have major repercussions for the city, since it was one of the first buildings to be raised outside the ancient city walls.

Its length runs along the street rather than away from it and the cemetery is separated from the High Street by stone walls with iron railings on top.

Its walls contain the The Neverhood Chronicles ( written by Douglas TenNapel and Mark Lorenzen ), eight separate books and occupies 38 game screens.

Its key feature – the lifezone – is a virtual street, a room with screens on all walls showing real-life scenes from Sutton's streets.

Its name is descriptive of the point where Chinle Creek enters some high sandstone walls.

Its circle-shaped centre was surrounded by earthen walls.

Its population quickly rose, filling the innercity and new neighbourhoods had to be built outside the city walls.

Its outer walls date from the beginning of the 13th century.

Its follow-up, " Hands Up ", featured only Watkins and Thomas in its video, but took place in a nightclub named Club Lopes ( Lopes ' production company's " eye " logo was a prominent feature on the club's walls ).

Its massive Roman walls still survive, and excavations have revealed a forum, a temple, baths, amphitheatre, shops, and many comfortable houses with mosaic floors, etc.

Its floor is made of a modern marble mosaic imitating ancient tradition, while the stucco walls and ceiling are covered in painting.

Its buildings are typical of the Puuc style, with smooth low walls that open on ornate friezes based on representations of typical Maya huts, which are represented by columns ( representing the reeds with which were built the walls of the huts ) and trapezoidal shapes ( representing the thatched roofs ), entwined snakes and, in many cases two-headed snakes, masks of the rain god, Chaac with its big noses that represent the rays of the storms, and feathered serpents with open fangs leaving from the same human beings.

Its most formidable edifice, commonly referred to as the Great Enclosure, has walls as high as extending approximately, making it the largest ancient structure south of the Sahara Desert.

Its unpredictable, yet powerful strikes were best suited to hitting broad, non-moving targets such as buildings or walls.