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Template:POTD row/testcases

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<Template:POTD row
iconThis is thetemplate test cases page for thesandbox ofTemplate:POTD row.Purge this page to update the examples.
If there are many examples of a complicated template, later ones may break due tolimits in MediaWiki; see the HTML comment "NewPP limit report" in the rendered page.
You can also useSpecial:ExpandTemplates to examine the results of template uses.
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Size tests

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Behavior ofTemplate:POTD row largely depends on the parameters|size= and|rowsize=. Test cases below represent POTD templates of various widths.

2019-08-07

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Template:POTD/2019-08-07 uses|size=390

Farmhouse in Provence

Farmhouse in Provence, also known asEntrance Gate to a Farm with Haystacks, is an oil-on-canvas painting by Dutch painterVincent van Gogh, produced in 1888, at the height of his career. It was painted while Van Gogh was living inArles, in southern France. Partially due to having been inspired by painterAdolphe Monticelli, he sought theProvence region of France to further expand his painting skill and experience. Van Gogh used several pairs ofcomplementary colors in the painting, the color contrast bringing an intensity to his work. The painting now hangs in theNational Gallery of Art in Washington, D.C., as part of theAilsa Mellon Bruce Collection.

Painting credit:Vincent van Gogh

Farmhouse in Provence

Farmhouse in Provence, also known asEntrance Gate to a Farm with Haystacks, is an oil-on-canvas painting by Dutch painterVincent van Gogh, produced in 1888, at the height of his career. It was painted while Van Gogh was living inArles, in southern France. Partially due to having been inspired by painterAdolphe Monticelli, he sought theProvence region of France to further expand his painting skill and experience. Van Gogh used several pairs ofcomplementary colors in the painting, the color contrast bringing an intensity to his work. The painting now hangs in theNational Gallery of Art in Washington, D.C., as part of theAilsa Mellon Bruce Collection.

Painting credit:Vincent van Gogh

2019-08-02

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Template:POTD/2019-08-02 uses|size=300

Portrait of Doña Isabel de Porcel

ThePortrait of Doña Isabel de Porcel is an oil-on-canvas painting by Spanish painterFrancisco Goya, produced around 1805. The portrait depicts Isabel Lobo Velasco de Porcel, who was born atRonda around 1780 and was the second wife of Antonio Porcel. Isabel's husband was 25 years older than she; they met when she was 20 years old. Antonio Porcel was a liberal and an associate ofManuel Godoy, Prince of Peace, who was a friend ofGaspar Melchor de Jovellanos, who in turn brought him in contact with Goya, who lived nearby; the painting is said to have been a gift from the artist in return for hospitality. The half-length portrait depicts a young woman dressed in typical Spanish attire, a white shirt and a blackmantilla. In spite of her "maja" attire, the richness of the textiles and her ladylike appearance give the picture an aristocratic elegance; at this time, wealthy Spanish "people of fashion" often wore the styles of lower class urban dandies and their female equivalents, as seen in Goya's famousclothed version ofLa maja. The painting is now in the collection of theNational Gallery in London.

Painting credit:Francisco Goya

Portrait of Doña Isabel de Porcel

ThePortrait of Doña Isabel de Porcel is an oil-on-canvas painting by Spanish painterFrancisco Goya, produced around 1805. The portrait depicts Isabel Lobo Velasco de Porcel, who was born atRonda around 1780 and was the second wife of Antonio Porcel. Isabel's husband was 25 years older than she; they met when she was 20 years old. Antonio Porcel was a liberal and an associate ofManuel Godoy, Prince of Peace, who was a friend ofGaspar Melchor de Jovellanos, who in turn brought him in contact with Goya, who lived nearby; the painting is said to have been a gift from the artist in return for hospitality. The half-length portrait depicts a young woman dressed in typical Spanish attire, a white shirt and a blackmantilla. In spite of her "maja" attire, the richness of the textiles and her ladylike appearance give the picture an aristocratic elegance; at this time, wealthy Spanish "people of fashion" often wore the styles of lower class urban dandies and their female equivalents, as seen in Goya's famousclothed version ofLa maja. The painting is now in the collection of theNational Gallery in London.

Painting credit:Francisco Goya

2012-02-06

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Template:POTD/2012-02-06 uses|size=250 and|rowsize=160

Butterfly magnification series

Successive close-ups of thescales of aPeacock butterfly (at top) wing. Shown from left to right, top to bottom: (second row) acloseup of the scales of thespecimen at top,high magnification view of coloured scales (different species); (third row) electronmicrograph of apatch of wing (~×50 magnification), thescales close up (~×200); (last row)a single scale (×1000),microstructure of a scale (×5000).

Photos:MichaD (top and second row left),Shaddack (second row right),SecretDisc (micrographs)

Butterfly magnification series

Successive close-ups of thescales of aPeacock butterfly (at top) wing. Shown from left to right, top to bottom: (second row) acloseup of the scales of thespecimen at top,high magnification view of coloured scales (different species); (third row) electronmicrograph of apatch of wing (~×50 magnification), thescales close up (~×200); (last row)a single scale (×1000),microstructure of a scale (×5000).

Photos:MichaD (top and second row left),Shaddack (second row right),SecretDisc (micrographs)

2019-07-04

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Template:POTD/2019-07-04 uses|size=720

Back Bay, Boston

Back Bay is an officially recognizedneighborhood of Boston, built onreclaimed land in theCharles River basin. Construction began in 1859, as the demand for luxury housing exceeded the availability in the city at the time; the area was fully built by around 1900. Back Bay was planned by architectArthur Gilman, influenced byHaussmann's renovation of Paris. It is noted for its rows of Victorianbrownstone homes – considered one of the most preserved examples of 19th-century urban design in the United States – and numerous architecturally significant buildings, as well as cultural institutions, such as theBoston Public Library. Initially conceived as a residential-only area, commercial buildings were permitted from around 1890 and Back Bay now features many office buildings, including theJohn Hancock Tower, Boston's tallest skyscraper. It is also considered a fashionable shopping destination and is home to several major hotels. Today, along with neighboringBeacon Hill, it is one of Boston's two most expensive residential neighborhoods. In 1973, Back Bay was listed as ahistoric district on theNational Register of Historic Places.

This picture is a panoramic view of the Back Bay skyline, taken in 2017, as seen across the Charles River from theLongfellow Bridge. Among the buildings depicted, from left to right, are theBerkeley Building, the John Hancock Tower and thePrudential Tower.

Photograph credit:Tony Jin

Back Bay, Boston

Back Bay is an officially recognizedneighborhood of Boston, built onreclaimed land in theCharles River basin. Construction began in 1859, as the demand for luxury housing exceeded the availability in the city at the time; the area was fully built by around 1900. Back Bay was planned by architectArthur Gilman, influenced byHaussmann's renovation of Paris. It is noted for its rows of Victorianbrownstone homes – considered one of the most preserved examples of 19th-century urban design in the United States – and numerous architecturally significant buildings, as well as cultural institutions, such as theBoston Public Library. Initially conceived as a residential-only area, commercial buildings were permitted from around 1890 and Back Bay now features many office buildings, including theJohn Hancock Tower, Boston's tallest skyscraper. It is also considered a fashionable shopping destination and is home to several major hotels. Today, along with neighboringBeacon Hill, it is one of Boston's two most expensive residential neighborhoods. In 1973, Back Bay was listed as ahistoric district on theNational Register of Historic Places.

This picture is a panoramic view of the Back Bay skyline, taken in 2017, as seen across the Charles River from theLongfellow Bridge. Among the buildings depicted, from left to right, are theBerkeley Building, the John Hancock Tower and thePrudential Tower.

Photograph credit:Tony Jin

Dual pictures

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See also:Template:POTD default/testcases § Dual pictures

Template:POTD/2020-05-06: Six pairs—reverse and obverse of banknotes. First and the last out of the set are tested below.

dual pictures #1
{{POTD/2020-05-06|{{Remove first word|POTD row}}|1}}

{{POTD row}}


Obverse of the one-peso silver certificate
Reverse of the one-peso silver certificate

Silver certificates were issued by theRepublic of Cuba between 1934 and 1949. Prior and subsequent issues of Cuban banknotes were engraved and printed by non-governmental private banknote companies in the United States, but the series from 1934 to 1949 was designed, engraved, and printed by theBureau of Engraving and Printing of the U.S. government.

This is a certified proof of a one-peso silver certificate, prepared in 1936. The obverse depicts Cuban writerJosé Martí, with the engraved signatures of Ricardo Ponce (Secretary of the Treasury) andJosé Agripino Barnet (President of the Republic). The reverse, printed in blue, bears theCuban coat of arms. This proof is part of theNational Numismatic Collection at theSmithsonian Institution'sNational Museum of American History.

Other denominations:

Banknote design credit:Bureau of Engraving and Printing; engraved by William Ford; photographed byAndrew Shiva

{{POTD row/sandbox}}


Obverse of the one-peso silver certificate
Reverse of the one-peso silver certificate

Silver certificates were issued by theRepublic of Cuba between 1934 and 1949. Prior and subsequent issues of Cuban banknotes were engraved and printed by non-governmental private banknote companies in the United States, but the series from 1934 to 1949 was designed, engraved, and printed by theBureau of Engraving and Printing of the U.S. government.

This is a certified proof of a one-peso silver certificate, prepared in 1936. The obverse depicts Cuban writerJosé Martí, with the engraved signatures of Ricardo Ponce (Secretary of the Treasury) andJosé Agripino Barnet (President of the Republic). The reverse, printed in blue, bears theCuban coat of arms. This proof is part of theNational Numismatic Collection at theSmithsonian Institution'sNational Museum of American History.

Other denominations:

Banknote design credit:Bureau of Engraving and Printing; engraved by William Ford; photographed byAndrew Shiva

dual pictures #6
{{POTD/2020-05-06|{{Remove first word|POTD row}}|6}}

{{POTD row}}


Obverse of the one-hundred-peso silver certificate
Reverse of the one-hundred-peso silver certificate

Silver certificates were issued by theRepublic of Cuba between 1934 and 1949. Prior and subsequent issues of Cuban banknotes were engraved and printed by non-governmental private banknote companies in the United States, but the series from 1934 to 1949 was designed, engraved, and printed by theBureau of Engraving and Printing of the U.S. government.

This is a certified proof of a one-hundred-peso silver certificate, prepared in 1936. The obverse depicts Cuban patriotFrancisco Vicente Aguilera, with the engraved signatures of Ricardo Ponce (Secretary of the Treasury) andJosé Agripino Barnet (President of the Republic). The reverse, printed in purple, bears theCuban coat of arms, flanked by Havana'sEl Capitolio on the left andPlaza de la Catedral on the right. This proof is part of theNational Numismatic Collection at theSmithsonian Institution'sNational Museum of American History.

Other denominations:

Banknote design credit:Bureau of Engraving and Printing; engraved by William Ford; photographed byAndrew Shiva

{{POTD row/sandbox}}


Obverse of the one-hundred-peso silver certificate
Reverse of the one-hundred-peso silver certificate

Silver certificates were issued by theRepublic of Cuba between 1934 and 1949. Prior and subsequent issues of Cuban banknotes were engraved and printed by non-governmental private banknote companies in the United States, but the series from 1934 to 1949 was designed, engraved, and printed by theBureau of Engraving and Printing of the U.S. government.

This is a certified proof of a one-hundred-peso silver certificate, prepared in 1936. The obverse depicts Cuban patriotFrancisco Vicente Aguilera, with the engraved signatures of Ricardo Ponce (Secretary of the Treasury) andJosé Agripino Barnet (President of the Republic). The reverse, printed in purple, bears theCuban coat of arms, flanked by Havana'sEl Capitolio on the left andPlaza de la Catedral on the right. This proof is part of theNational Numismatic Collection at theSmithsonian Institution'sNational Museum of American History.

Other denominations:

Banknote design credit:Bureau of Engraving and Printing; engraved by William Ford; photographed byAndrew Shiva

Tall picture

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See also:Template:POTD default/testcases § Tall picture

Template:POTD/2014-03-18: Tall image of a poster.

East Indian Rope Trick

An advertisement for a 1927 enactment of theIndian rope trick by stage magicianHoward Thurston. This form ofstage magic is said to have been performed in and around India during the 19th century, though the factuality of this has been disputed.

Poster: The Otis Lithograph Co.; Restoration:Adam Cuerden

East Indian Rope Trick

An advertisement for a 1927 enactment of theIndian rope trick by stage magicianHoward Thurston. This form ofstage magic is said to have been performed in and around India during the 19th century, though the factuality of this has been disputed.

Poster: The Otis Lithograph Co.; Restoration:Adam Cuerden

Wide picture

[edit]
See also:Template:POTD default/testcases § Wide picture

Template:POTD/2018-02-09: Wide panorama of La Silla Observatory in Chile.

Back Bay, Boston

Back Bay is an officially recognizedneighborhood of Boston, built onreclaimed land in theCharles River basin. Construction began in 1859, as the demand for luxury housing exceeded the availability in the city at the time; the area was fully built by around 1900. Back Bay was planned by architectArthur Gilman, influenced byHaussmann's renovation of Paris. It is noted for its rows of Victorianbrownstone homes – considered one of the most preserved examples of 19th-century urban design in the United States – and numerous architecturally significant buildings, as well as cultural institutions, such as theBoston Public Library. Initially conceived as a residential-only area, commercial buildings were permitted from around 1890 and Back Bay now features many office buildings, including theJohn Hancock Tower, Boston's tallest skyscraper. It is also considered a fashionable shopping destination and is home to several major hotels. Today, along with neighboringBeacon Hill, it is one of Boston's two most expensive residential neighborhoods. In 1973, Back Bay was listed as ahistoric district on theNational Register of Historic Places.

This picture is a panoramic view of the Back Bay skyline, taken in 2017, as seen across the Charles River from theLongfellow Bridge. Among the buildings depicted, from left to right, are theBerkeley Building, the John Hancock Tower and thePrudential Tower.

Photograph credit:Tony Jin

Back Bay, Boston

Back Bay is an officially recognizedneighborhood of Boston, built onreclaimed land in theCharles River basin. Construction began in 1859, as the demand for luxury housing exceeded the availability in the city at the time; the area was fully built by around 1900. Back Bay was planned by architectArthur Gilman, influenced byHaussmann's renovation of Paris. It is noted for its rows of Victorianbrownstone homes – considered one of the most preserved examples of 19th-century urban design in the United States – and numerous architecturally significant buildings, as well as cultural institutions, such as theBoston Public Library. Initially conceived as a residential-only area, commercial buildings were permitted from around 1890 and Back Bay now features many office buildings, including theJohn Hancock Tower, Boston's tallest skyscraper. It is also considered a fashionable shopping destination and is home to several major hotels. Today, along with neighboringBeacon Hill, it is one of Boston's two most expensive residential neighborhoods. In 1973, Back Bay was listed as ahistoric district on theNational Register of Historic Places.

This picture is a panoramic view of the Back Bay skyline, taken in 2017, as seen across the Charles River from theLongfellow Bridge. Among the buildings depicted, from left to right, are theBerkeley Building, the John Hancock Tower and thePrudential Tower.

Photograph credit:Tony Jin

Gallery in caption

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<gallery>...</gallery> inside paramenter|caption=
{{POTD/2022-06-28|{{Remove first word|POTD row}}|1}}

{{POTD row}}


Silver certificates

Silver certificates are a type ofrepresentative money issued between 1878 and 1964 in the United States as part of its circulation of paper currency. They were produced in response tosilver agitation by citizens who were angered by theCoinage Act of 1873, which had effectively placed the United States on agold standard. Since 1968 they have been redeemable only inFederal Reserve Notes and are thus obsolete, but they remainlegal tender at their face value and hence are still an accepted form of currency. This is a complete set of the 1891 series of large-size silver certificates, designed by theBureau of Engraving and Printing and comprising eight denominations from $1 to $1000. Each banknote bears the signatures ofJames Fount Tillman (Register of the Treasury) andDaniel N. Morgan (Treasurer of the United States), and a portrait of a different individual, identified above.

Banknote design credit:Bureau of Engraving and Printing; photographed byAndrew Shiva

{{POTD row/sandbox}}


Silver certificates

Silver certificates are a type ofrepresentative money issued between 1878 and 1964 in the United States as part of its circulation of paper currency. They were produced in response tosilver agitation by citizens who were angered by theCoinage Act of 1873, which had effectively placed the United States on agold standard. Since 1968 they have been redeemable only inFederal Reserve Notes and are thus obsolete, but they remainlegal tender at their face value and hence are still an accepted form of currency. This is a complete set of the 1891 series of large-size silver certificates, designed by theBureau of Engraving and Printing and comprising eight denominations from $1 to $1000. Each banknote bears the signatures ofJames Fount Tillman (Register of the Treasury) andDaniel N. Morgan (Treasurer of the United States), and a portrait of a different individual, identified above.

Banknote design credit:Bureau of Engraving and Printing; photographed byAndrew Shiva

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