If viewed directly, the carving hardly looks Stegosaurus-like at all. The head is large and appears to have large ears and a horn. The “plates” along the back more closely resemble leaves, and the sculpture is a better match for a boar or rhinoceros against a leafy background.

There are rumors that it was created recently, perhaps by a visiting movie crew (the temple is a favorite locale for filmmakers), and it is possible that someone created something Stegosaurus-like during the past few years as a joke.

Told in richly novelistic detail, The Sun and the Moon brings the raucous world of 1830s New York City vividly to life—the noise, the excitement, the sense that almost anything was possible. The book overflows with larger-than-life characters, including Richard Adams Locke, author of the moon series (who never intended it to be a hoax at all); a fledgling showman named P.T. Barnum, who had just brought his own hoax to New York; and the young writer Edgar Allan Poe, who was convinced that the moon series was a plagiarism of his own work.
An exhilarating narrative history of a city on the cusp of greatness and a nation newly united by affordable newspapers, The Sun and the Moon may just be the strangest true story you’ve ever read.

In October 1869, as America stood on the brink of becoming a thoroughly modern nation, workers unearthed what appeared to be a petrified ten-foot giant on a remote farm in upstate New York. The discovery caused a sensation. Over the next several months, newspapers devoted daily headlines to the story and tens of thousands of Americans-including Oliver Wendell Holmes, Ralph Waldo Emerson, and the great showman P. T. Barnum-flocked to see the giant on exhibition. In the colossus, many saw evidence that their continent, and the tiny hamlet of Cardiff, had ties to Biblical history. American science also weighed in on the discovery; and in doing so revealed its own growing pains, including the shortcomings of traditional education, the weaknesses of archaeological methodology, as well as the vexing presence of amateurs and charlatans within its ranks. A national debate ensued over the giant's origins, and was played out in the daily press.

Ultimately, the discovery proved to be an elaborate hoax. Still, the story of the Cardiff Giant reveals many things about America in the post-Civil War years. After four years of destruction on an unimagined scale, Americans had increasingly turned their attention to the renewal of progress. But the story of the Cardiff Giant seemed to shed light on a complicated, mysterious past, and for a time scientists, clergymen, newspaper editors, and ordinary Americans struggled to make sense of it. Hucksters, of course, did their best to take advantage of it.

The Cardiff Giant was one of the leading questions of the day, and how citizens answered it said much about Americans in 1869 as well as about America more generally.

In 1796 Benjamin West, the American-born President of the Royal Academy of Arts in London, fell victim to a remarkable fraud. A shadowy figure, Thomas Provis, and his artist daughter, Ann Jemima Provis, persuaded West that they possessed a copy of an old manuscript purporting to contain descriptions of materials and techniques used by the Venetian painters of the High Renaissance, including Titian, to achieve the famously luminous effects of color that had long been thought lost, forgotten, or shrouded in secrecy. West experimented with these materials and techniques and used them to execute a history painting entitled Cicero Discovering the Tomb of Archimedes (1796–97). In truth the manuscript was fake and the story an absurd invention. West had believed it, and, through him, the Provises managed to dupe a number of other key artist-Academicians.

When the fraud was finally exposed, the embarrassment was far worse for West than it was for the other victims. It was largely through his influential position as President of the Royal Academy that the perpetrators gained access to so many of his variously hapless, dim-witted, or simply greedy colleagues. Years later, having been mercilessly held up to ridicule by satirists (in song; in the press; and in a remarkable satirical engraving titled Titianus Redivivus by James Gillray, 1797,Benjamin West - Cicero Discovering the Tomb of Archimedes, 1796–97, Oil on canvas - Collection of Mr. & Mrs. Michael D. Eisner. West painted an almost identical version of Cicero Discovering the Tomb of Archimedes (1804), this time according to his own methods and traditional studio practices. This “atonement” painting is today in the collection of the Yale University Art Gallery.

Members of New York Radical Women, upset by the Miss America Pageant's focus on women's physique and seeing an opportunity to publicize their cause, traveled to Atlantic City by bus. They wanted to burn things, as was in vogue then (people mad about other topics - such as the war in Vietnam - burned draft cards and flags), but city officials worried about the safety of the wooden Boardwalk asked the organizers not to burn anything, so they didn't.

Instead, the feminists dumped items like high-heeled shoes, bras, false eyelashes and issues of Ladies' Home Journal into a "Freedom Trash Can." They paraded a lamb outside Convention Hall and held up signs with such things as "Welcome to the Miss America Cattle Auction" written on them. Inside Convention Hall, demonstrators set off stink bombs during the pageant and unfurled a sign reading "WOMEN'S LIBERATION."

Newspapers helped fuel the fire. On Sept. 4, three days before the event, Lindsy Van Gelder of the New York Post wrote an article titled "Bra burners plan protest." In the Sept. 8 issue of the New York Times, protest organizer and former child actor Robin Morgan is quoted as saying the women would hold a "symbolic bra-burning." Open the next day's Atlantic City Sunday Press, and the headline jumps from page four: "Bra-Burners Blitz Boardwalk."

The machine was used to compare Monroe's pistols to a fragment of a meteorite from the Campo del Cielo crater in Argentina; the supposed origin of the metals from which they were forged. The results were conclusive. "They were completely different," Dr Godfrey told BBC News. "There were differences in microstructures, there were differences in carbon content, there were differences in chemical composition. We can say for sure they weren't made from meteoritic iron."

After breakfast these men [celebrating Shig-Shag Day] go round to such houses for beer, &c. Should they not receive anything, the following verses should be said:
Shig-shag, penny a rag,
Bang his head in Cromwell's bag,
All up in a bundle --
but fear often prevents them. However, the lads have no fear, and use it freely to any one without an oak-apple or oak-leaf on some part of his person, and visible, -- ill-treating him for his want of loyalty. After noon the loyalty ceases; and then, if any one be charged with having shig-shag, the following verses are said:
Shig-shag's gone past,
You're the biggest fool at last;
When shig-shag comes again,
You'll be the biggest fool then.
And the one who charges the other with the oak-leaf receives the ill-treatment.