Petit Jean State Park is a 3,471-acre park in Conway County, Arkansas managed by the Arkansas Department of Parks and Tourism. It is located atop Petit Jean Mountain adjacent to the Arkansas River in the area between the Ouachita Mountains and Ozark Plateaus. According to legend Petit Jean was a young 18th century French woman; when she discovered that her fiancé planned to explore the Louisiana Territory, she cut her hair, disguised herself as a boy and managed to find a position as a cabin boy. She survived the expedition began their exploration. Once they had reached the area of the mountain, the young woman became ill, on her deathbed she revealed herself to her fiancé, was buried on the mountain, not under her own name, but under the name she had been known by on the ship, "Little John". Locals pronounce the name "PET-ih jeen" or "petty jeen". Buildings of log and stone construction built by the Civilian Conservation Corps during the 1930s are scattered throughout the park giving it a rustic feel.
A 24-room historic lodge called. In addition to the lodge there are 32 cabins and 127 campsites available for park visitors; the canyon and bluffs were created by Cedar Creek, which cascades into the canyon in an impressive 95-foot waterfall. Above the falls, Cedar Creek has been dammed to create the 100-acre Lake Bailey, used for pedal-boating and fishing. Petit Jean has a visitor center and gift shop in the center of the park and a boathouse at Lake Bailey that provides boat rentals, fishing supplies, a snack bar. Tennis and basketball courts, a swimming pool, picnic areas are available for the use of park guests; the Museum of Automobiles is less than a mile from the main camping areas. The park has several geological and archaeological features such as Bear Cave, Rock House Cave, the Grotto, Turtle Rocks, Carpet Rocks, Natural Bridge; the scenic overlook at Petit Jean's grave provides a view of the Arkansas River Valley. In 2017, Petit Jean was rated as the best campsite in Arkansas in a 50-state survey conducted by Msn.com.
A significant portion of the park's infrastructure was developed in the 1930s by work crews of the Civilian Conservation Corps, many of those elements remain in good condition, forming an important element of the park's appearance. The CCC crews built roads, buildings and the dams which impound Lake Bailey and Roosevelt Lake; these features are described in further detail below. Many of them have been listed on the National Register of Historic Places; the CCC built a number of significant buildings in the park, including administrative and public-use facilities. The most prominent of these is Mather Lodge, a large Rustic stone building built in 1935, enlarged in 1940, again about 1960, when its restaurant wing was added; the main administration building, now converted to a gift shop, was built about 1935. One of the more unusual buildings the CCC erected in the park is its original water treatment building, a square stone structure, despite its remote location away from the tourist facilities, is still in the Rustic style of its public buildings.
It was in the park's early years a critical element of its infrastructure, housing equipment that filtered and sanitized water for park visitors. The park's facilities include a series of cabins available for rent by visitors. Four of these were built by the CCC, exhibit its classic Rustic style. All four were built about 1935, are T-shaped stone structures, with gabled or hipped roofs and projecting central porches. Cabin #1 has a stone patio to one side. Cabin #6 has a shed-roof porch with views of the canyon. Cabin #9 is finished with weatherboard siding, has an original stone masonry cooking pit nearby. Cabin #16 is rectangular, with its porch supported by log columns; the CCC built several trails through the park. The Blue Hole Road, which now forms part of the Boy Scout Trail provided vehicular access from the Red Bluff loop road down to the Blue Hole swimming area. Surviving features include culverts, a retaining wall, some guard rail. A well-preserved section of trail built by the CCC is the Cedar Falls Trail, which provides access from Mather Lodge into the canyon, includes a bridge across Cedar Creek.
Two CCC-built road-related structures are still in active use for vehicular traffic. A box culvert built out of stone underlies Highway 154, the main access road through the park, the Cedar Creek Bridge carries Red Bluff Road over Cedar Creek, just below the outlet of Lake Roosevelt. There is a now-disused pedestrian bridge, built of concrete to resemble logs in one of the park's grassy areas. Archaeological sites in Petit Jean State Park List of Arkansas state parks National Register of Historic Places listings in Conway County, Arkansas Official site Petit Jean Mountain entry, Encyclopedia of Arkansas History and Culture Petit Jean State Park: History of Petit Jean Mountain Winrock Farms Inc. Petit Jean Mountain Petit Jean Mountain Museum of Automobiles website The Winthrop Rockefeller Institute "Petit Jean State Park", Encyclopedia of Arkansas History and Culture
Bandua was a theonym used to refer to a god or goddess worshipped in Iberia by Gallaeci and Lusitanians. Whether the name referred to a discrete deity or was an epithet applied to different deities is arguable; the theonym Bandua has been found recorded in Galicia. The name is found with a number of epithets. In Rairiz de Veiga, Bandua is acknowledged as a god of the Vexillum and partner of Mars: DEO VEXILOR MARTIS SOCIO BANDUAEAt Espinhosela, the name Bandua alone is found. At Codosedo and Xinzo de Limia however, the name Bandua is qualified by the epithet Aetobrico. At Cáceres, Bandua is qualified by Araugelensis, at Curbián by Bolleco, at Miguel o Anjo by Brico, at Mixo by Calaigus, at La Mezquitilla by Itobrico, at Eiras by Lanobrica, at Rairiz de Veiga by Veigebreaeco, at Arcuelos by Verubrigo, at Seisco de Anciães by Vordeaeco and at S. Martinho by Vorteaecio. Along with Cosus and Reo, Bandua is one of the best documented deities in large areas of western and north-western Iberia, it has been proposed that the worship of Bandua spread from the north into the south, along with that of Cosus and Nabia, so contrasting with the worship of Reo that would have extended in the opposite direction.
Bandua has been associated with water in order to explain the hydronym Banduje, in Portugal, or the toponym Banhos de Bande and the proposed relationship of the name with fords. The form Bandue, the form Bandua or Banduae, predominate in the Galician territory north of the Douro River, while the Bandi ~ Bande form is more common in the Lusitanian area to the south, its epithets seem to allude more to dwelling places, at least those containing the element -briga or -bris, "fortress": Lanobrigae, than to the worshipping communities themselves. This theory has been criticized by de Bernardo Stempel, who interprets what have traditionally been considered singular thematic datives of male attributes as plural genitive forms referring to groups of people, she states that they depend on a theonym, which would be feminine as a consequence of the above, and, created than its masculine counterpart. Thus, we would have a pair of deities and Bandua, comparable to other Celtic pairs like Bormanos & Bormana, Belisama & Belisamaros, Camulos & Camuloriga and Arentius & Arentia.
It has been proposed that St. Torquatus, one of the Seven Apostolic Men responsible for the introduction of Christianity to Hispania, whose relics are kept in Santa Comba de Bande, may be a Christian version of Bandua
Fire and Blood for solo violin and orchestra by composer Michael Daugherty is a 25-minute concerto inspired by Diego Rivera's Detroit Industry Murals and Frida Kahlo's paintings done in Detroit. It was commissioned by the Detroit Symphony Orchestra during Michael Daugherty's time as composer in residence. Solo violin. Volcano II. River Rouge III. Assembly Line The world premiere performance took place May 3, 2003, at Symphony Hall, Michigan. Naxos: Fire and Blood / MotorCity Triptych / Raise the Roof Program Notes Composer's Official Website Detroit Free Press Album Review