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Paranormal Ghost filled tales of voodoo - hoodoo and zombies, Bigfoot, El chupacabra, Banshee's, witches, ghost hunting Cemeteries, the undead, the dead, Cryptids, Vampires, ghouls , Monsters, Ufo's, Haunted Locations, Haunted Buildings, People and objects, Paranormal Phenomena and strange Urban Legends perpetrate a type of folklore or "Fakelore," endlessly circulated by word of mouth through generations, repeated in television news stories, Documentaries, Radio Talk shows, Newspapers, Blogs, magazine articles and distributed by e-mail.
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Taken from first-person accounts and historical documents, this book chronicles more than 300 examples of alien encounters, conspiracy theories, and the influence of extraterrestrials on human events throughout history. Investigating claims of visits from otherworldly creatures, aliens living among us, abductions of humans to alien spacecraft, and accounts of interstellar cooperation since the UFO crash in Roswell, this discussion of the theories and mysteries surrounding aliens is packed with thought-provoking stories and shocking revelations of alien involvement in the lives of Earthling
In my recent travels around this very paranormal active haunted world, I do come upon some very real haunted locations to explore. And this is what true extreme ghost hunting is really all about. The investigations I conduct range from interviews with locals and tour guides as well as internet research. I hope you enjoy what I consider to be the Top Ten Most Haunted Locations in France.
1. Paris - The Catacombs
Catacombs, Paris France (Scariest Place On Earth)
The real Haunted Catacombs, Paris, France
As the great city of Paris grew in centuries past, it became more then just necessary to provide more space for the living. To do so, engineers and planners decided to move the mass of humanity least likely to protest: in this case, the dead. Millions of Parisian dead were quietly disinterred in one of the largest engineering feats in history and their remains were deposited along the walls of the chilly, dank passageways lying beneath the City of Light. They lie there to this day, in the eternal darkness, an Empire of the truly Dead.
Many ghosts and strange paranormal encounters are said to occur here on a regular basis. From the actual appearance in many videos of spectral lights, Ghostly orbs, ecto mists and sometimes shadow specters are seen walking the long corridors and moving amongst the piles of bones. The strange EVP sounds that many record or often very disturbing to hear.
The Paris Catacombs are infamous and much has been written about their history and purpose. more then just a million visitors a year are said to walk the dank corridors. Ghost Photos and erie feelings or often reported through out the internet from the many visitors to the locations. Ghost are often said to be felt more the witnessed eye to eye. Many have reported to us that they have been grabbed or have felt ghost touching them even grabbing their hands and clothes. And some of the many visitors are often said to be overcome and often pass out from fear or the presence of actual ghosts that attach themselves to those that walk it's halls just in search of something strange to see and a little history.
Several report seeing a group of shadows in one area of the catacombs; as the living walk along, the dead follow in complete silence. To some the experience is completely overwhelming and tours have been cut short by the growing sense of unease. Photos have revealed orbs and ghostly apparitions, and EVP's have been recorded throughout the vaults. And many, many ghost photos happen all the time.
The catacombs were first cleared in Roman times, with succeeding generations of Gauls and Frenchmen perfecting the Roman engineering. Now the catacombs are a veritable rabbit’s warren, and though many boldly enter without a guide, to do so puts one at risk of being lost there forever. There have been many reports of rash individuals who wandered into the catacombs for a laugh and who have never been seen again.
The Catacombs of Paris or Catacombes de Paris are a famous underground ossuary in Paris, France. Its entrance is located near the Denfert-Rochereau station of the Paris Métro. Organized in a renovated section of the city's vast network of subterranean tunnels and caverns towards the end of the 18th century, it became a tourist attraction on a small scale from the early 19th century and has been open to the public on a regular basis from 1867. The official name for the catacombs is l'Ossuaire Municipal.
This cemetery covers a portion of Paris' former mines near the Left Bank's Place Denfert-Rochereau, in a location that was just outside the city gates before Paris expanded in 1860. Although this cemetery covers only a small section of underground tunnels comprising "les carrières de Paris" ("the quarries of Paris"), Parisians today popularly refer to the entire network as "the catacombs".
Most of Paris's larger churches once had their own cemeteries, but city growth and generations of dead began to overwhelm them. From the late seventeenth century, Paris' largest Les Innocents cemetery (near the Les Halles district in the middle of the city) was saturated to a point where its neighbours were suffering from disease, due to contamination caused by improper burials, open mass graves, and earth charged with decomposing organic matter.
After almost a century of ineffective decrees condemning the cemetery, it was finally decided to create three new large-scale suburban cemeteries and to condemn all existing within the city limits; the remains of all condemned cemeteries would be moved discreetly to a renovated section of Paris's abandoned quarries. The use of the depleted quarries for the storage of bones, based on the idea of Police Lieutenant General Alexandre Lenoir, was established in 1786 by his successor, M. Thiroux de Crosne, under the direction of Charles Axel Guillaumot, Inspector General of Quarries, and following him, by Louis-Étienne Héricart de Thury.
Remains from the cemetery of Saint-Nicolas-des-Champs were among the first to be moved. Bodies of the dead from the riots in the Place de Grève, the Hotel de Brienne, and Rue Meslee were put in the catacombs on 28 and 29 August 1788.
2009 Crypt of the Sepulchral Lamp in the Catacombs of Paris. Paris Catacomb ghost photo sent to us by J. Jolls.
The catacomb walls are covered in graffiti dating from the eighteenth century onwards. Victor Hugo used his knowledge about the tunnel system in Les Misérables. In 1871, communards killed a group of monarchists in one chamber. During World War II, Parisian members of the French Resistance used the tunnel system. Also during this period, German soldiers established an underground bunker in the catacombs below Lycée Montaigne, a high school in the 6th arrondissement.
The underground tunnels and chambers have long posed safety problems for construction in Paris. Quarries sometimes cave in, occasionally resulting in a hole in the ground above and causing damage to buildings. To prevent this, the IGC, Inspection générale des Carrières (General Inspection of the Quarries), was established in 1777 by the government to monitor the current quarries and prohibit the digging of new quarries. The IGC did, however, dig observation tunnels to provide themselves with better access to the quarries so that they might better monitor, repair, and map the consolidated quarries.
The monitoring and consolidation work has continued to this day. Because of the number of quarries, subway, train, and sewer tunnels that have been dug underneath Paris, as well as the softness of the stone involved, extra caution is taken when new construction is attempted or new tunnels are dug. However, this did not prevent problems during the digging of Paris Métro Line 14.
HAUNTED? Over a two hundred years of ghost haunted tales photos and daily encounters by sightsee'ers can it not be called the most haunted Cemetery in the world? Next to it's American Counter part the Famous St. Louis Cemetery Number one in New Orleans. Please also see: THE WORLDS MOST HAUNTED CEMETERIES THE REAL GHOSTS
Père Lachaise Cemetery (French: Cimetière du Père-Lachaise; officially, cimetière de l'Est, "East Cemetery") is the largest cemetery in the city of Paris, France at (48 ha, 118.6 acres), though there are larger cemeteries in the city's suburbs. The cemetery takes its name from Père François de la Chaise (1624-1709), confessor to Louis XIV, who lived in the Jesuit house rebuilt in 1682 on the site of the chapel. The property, situated on the hillside from which the king, during the Fronde, watched skirmishing between the Condé and Turenne, was bought by the city in 1804, laid out by Alexandre-Théodore Brongniart, and later extended.
Père Lachaise is one of the most famous cemeteries in the world. Located in the 20th arrondissement, it is reputed to be the world's most-visited cemetery, attracting hundreds of thousands of visitors annually to the graves of those who have enhanced French life over the past 200 years. It is also the site of three World War I memorials.
Père Lachaise is located on Boulevard de Ménilmontant. Métro station Philippe Auguste on line 2 is next to the main entrance, while the station called Père Lachaise, on line 3, is 500 metres away near a side entrance. Many tourists prefer the Gambetta station on line 3 as it allows them to enter near the tomb of Oscar Wilde and then walk downhill to visit the rest of the cemetery.
The cemetery was established by Napoleon I in 1804. Cemeteries had been banned inside Paris in 1786, after the closure of the Cimetière des Innocents on the fringe of Les Halles food market, on the grounds that it presented a health hazard. (This same health hazard also led to the creation of the famous Parisian catacombs in the south of the city.) Several new cemeteries replaced the Parisian ones, outside the precincts of the capital: Montmartre Cemetery in the north, Père Lachaise in the east, and Montparnasse Cemetery in the south. At the heart of the city, in the shadow of the Eiffel Tower, is Passy Cemetery.
At the time of its opening, the cemetery was considered to be situated too far from the city and attracted few funerals. Consequently, the administrators devised a marketing strategy and with great fanfare organised the transfer of the remains of La Fontaine and Molière, in 1804. Then, in another great spectacle in 1817, the purported remains of Pierre Abélard and Héloïse were also transferred to the cemetery with their monument's canopy made from fragments of the abbey of Nogent-sur-Seine (by tradition, lovers or lovelorn singles leave letters at the crypt in tribute to the couple or in hope of finding true love).
This strategy achieved its desired effect when people began clamouring to be buried among the famous citizens. Records show that, within a few years, Père Lachaise went from containing a few dozen permanent residents to more than 33,000. Today there are over 300,000 bodies buried there, and many more in the columbarium, which holds the remains of those who had requested cremation.
The Communards' Wall (Mur des Fédérés) is also located in the cemetery. This is the site where 147 Communards, the last defenders of the workers' district of Belleville, were shot on 28 May 1871 — the last day of the "Bloody Week" (Semaine Sanglante) in which the Paris Commune was crushed.
After that week, the cemetery gained a special importance to the political left in France, manifested in annual processions sometimes drawing tens or even hundreds of thousands of participants (some 600,000 in 1936) and led by the main leaders of the left parties and organizations. Various prominent left-wing leaders are buried in the vicinity, where a monument was also erected honouring the French Brigadists (volunteers in the International Brigades in the Spanish Civil War).
Adolphe Thiers, widely blamed for the massacres of "Bloody Week," is an ironic resident of the cemetery. His tomb has occasionally been subject to vandalism. Many bel;ieve his ghosts is foreve at unrest and often tugs on the clothes of those who near his tomb begging them not to deserate it.
The Ghost of Jim Morrison lead singers of the American group the doors is said to be often photographed near his grave. Jim Morrison — American singer and songwriter with The Doors, author, and poet. Permanent crowds and occasional vandalism surrounding this tomb have caused tensions with the families of other, less famous, interred individuals. Many other parts of the cemetery have been defaced with arrows purporting to indicate the direction toward "Jim", though even these defacements have in many cases been defaced themselves, resulting in arrows that point in two directions.
Jim Morrison's grave at Père-Lachaise.
Morrison is buried in the Père Lachaise Cemetery in eastern Paris, one of the city's most visited tourist attractions. The grave had no official marker until French officials placed a shield over it, which was stolen in 1973. In 1981, Croatian sculptor Mladen Mikulin placed a bust of Morrison and the new gravestone with Morrison's name at the grave to commemorate the 10th anniversary of his death; the bust was defaced through the years by cemetery vandals and later stolen in 1988. In the 1990s Morrison's father, George Stephen Morrison, placed a flat stone on the grave. The stone bears the Greek inscription: ΚΑΤΑ ΤΟΝ ΔΑΙΜΟΝΑ ΕΑΥΤΟΥ, literally meaning "according to his own daimōn" and usually interpreted as "true to his own spirit". Mikulin later made two more Morrison portraits in bronze but is awaiting the license to place a new sculpture on the tomb.
The Eiffel Tower (French: Tour Eiffel, /tuʀ ɛfɛl/) is an iron tower built during 1887-1889 on the Champ de Mars beside the Seine River in Paris. The tower has become a global icon of France and is one of the most recognizable structures in the world. And many Parisans say one of the most haunted landmarks in the world.
I personally deem this one of the most haunted landmarks in the world! The Effle Tower Suicide body count: 350-400 suicides to date.
Named after its designer, engineer Gustave Eiffel, the Eiffel Tower is the tallest building in Paris. More than 200,000,000 people have visited the tower since its construction in 1889, including 6,719,200 in 2006, making it the most visited paid monument in the world. Including the 24 m (79 ft) antenna, the structure is 324 m (1,063 ft) high (since 2000), which is equivalent to about 81 levels in a conventional building.
The actual Eiffle tower is considered one of the World’s Top Ten 10 most popular suicide destinations. And because of this many say they know this is the reason many paranormal investigators flock to the site.
The first suicide, a man hanged himself from one of the beams. In 90 years, there have been, according to the Police Préfecture or the media, 369 suicide attempts, of which two survived the 57 metre drop from the first floor, one being blown onto a rafter by the wind and the other landing on the roof of a car. The later was a young woman who after recovering, married the owner of the car.
At the time of completion in 1889, it was the world's tallest tower — a title it retained until 1930 when New York City's Chrysler Building (319 m — 1,047 ft tall) was completed. The tower is now the fifth-tallest structure in France and the tallest structure in Paris, with the second-tallest being the Tour Montparnasse (210 m, 689 ft). The Tour AXA will be taller still after renovation (225.11 m, 738.36 ft), but it is not actually within Paris, being in the nearby suburb of La Défense.
he metal structure of the Eiffel Tower weighs 7,300 tonnes while the entire structure including non-metal components is approximately 10,000 tonnes. Depending on the ambient temperature, the top of the tower may shift away from the sun by up to 18 cm (7.1 in) because of thermal expansion of the metal on the side facing the sun. The tower also sways 6–7 cm (2–3 in) in the wind.As demonstration of the economy of design, if the 7300 tonnes of the metal structure were melted down it would fill the 125 meter square base to a depth of only 6 cm (2.36 in), assuming a density of the metal to be 7.8 tonnes per cubic meter. The tower has a mass less than the mass of the air contained in a cylinder of the same dimensions, that is 324 meters high and 88.3 meters in radius. The weight of the tower is 10,100 tonnes compared to 10,265 tonnes of air.
The first and second levels are accessible by stairways and lifts. A ticket booth at the south tower base sells tickets to access the stairs which begin at that location. At the first platform the stairs continue up from the east tower and the third level summit is only accessible by lift. From the first or second platform the stairs are open for anyone to ascend or descend regardless of whether they have purchased a lift ticket or stair ticket. The actual count of stairs includes 9 steps to the ticket booth at the base, 328 steps to the first level, 340 steps to the second level and 18 steps to the lift platform on the second level. When exiting the lift at the third level there are 15 more steps to ascend to the upper observation platform. The step count is printed periodically on the side of the stairs to give an indication of progress of ascent. The majority of the ascent allows for an unhindered view of the area directly beneath and around the tower although some short stretches of the stairway are enclosed.
Maintenance of the tower includes applying 50 to 60 tonnes of paint every seven years to protect it from rust. In order to maintain a uniform appearance to an observer on the ground, three separate colors of paint are used on the tower, with the darkest on the bottom and the lightest at the top. On occasion the colour of the paint is changed; the tower is currently painted a shade of brownish-grey. On the first floor there are interactive consoles hosting a poll for the colour to use for a future session of painting. The co-architects of the Eiffel Tower are Emile Nouguier, Maurice Koechlin and Stephen Sauvestre.
The structure was built between 1887 and 1889 as the entrance arch for the Exposition Universelle, a World's Fair marking the centennial celebration of the French Revolution. Eiffel originally planned to build the tower in Barcelona, for the Universal Exposition of 1888, but those responsible at the Barcelona city hall thought it was a strange and expensive construction, which did not fit into the design of the city. After the refusal of the Consistory of Barcelona, Eiffel submitted his draft to those responsible for the Universal Exhibition in Paris, where he would build his tower a year later, in 1889. The tower was inaugurated on 31 March 1889, and opened on 6 May. Three hundred workers joined together 18,038 pieces of puddled iron (a very pure form of structural iron), using two and a half million rivets, in a structural design by Maurice Koechlin. The risk of accident was great, for unlike modern skyscrapers the tower is an open frame without any intermediate floors except the two platforms. However, because Eiffel took safety precautions, including the use of movable stagings, guard-rails and screens, only one man died.
Eiffel Tower Construction view: girders at the first story
The tower was met with much criticism from the public when it was built, with many calling it an eyesore. Newspapers of the day were filled with angry letters from the arts community of Paris. One is quoted extensively in William Watson's US Government Printing Office publication of 1892 Paris Universal Exposition: Civil Engineering, Public Works, and Architecture. “And during twenty years we shall see, stretching over the entire city, still thrilling with the genius of so many centuries, we shall see stretching out like a black blot the odious shadow of the odious column built up of riveted iron plates.” Signers of this letter included Jean-Louis-Ernest Meissonier, Charles Gounod, Charles Garnier, Jean-Léon Gérôme, William-Adolphe Bouguereau, and Alexandre Dumas.
Novelist Guy de Maupassant — who claimed to hate the tower — supposedly ate lunch in the Tower's restaurant every day. When asked why, he answered that it was the one place in Paris where one could not see the structure. Today, the Tower is widely considered to be a striking piece of structural art.
One of the great Hollywood movie clichés is that the view from a Parisian window always includes the tower. In reality, since zoning restrictions limit the height of most buildings in Paris to 7 stories, only a very few of the taller buildings have a clear view of the tower.
Eiffel had a permit for the tower to stand for 20 years, meaning it would have had to be dismantled in 1909, when its ownership would revert to the City of Paris. The City had planned to tear it down (part of the original contest rules for designing a tower was that it could be easily demolished) but as the tower proved valuable for communication purposes, it was allowed to remain after the expiration of the permit. The military used it to dispatch Parisian taxis to the front line during the First Battle of the Marne, and it therefore became a victory statue of that battle.
4. Chateau of Versailles
The very haunted ghost filled Palace of Versailles, or simply Versailles, is a royal château in Versailles, the Île-de-France region of France. In French, it is known as the Château de Versailles. with it's long history and many occurrences how could it not be haunted. Many report ghost photos as well as being physically touched by ghosts while touring the elegant halls.
When the château was built, Versailles was a country village; today, however, it is a suburb of Paris, some twenty kilometers southwest of the French capital. The court of Versailles was the centre of political power in France from 1682, when Louis XIV moved from Paris, until the royal family was forced to return to the capital in October 1789. Versailles is therefore famous not only as a building, but as a symbol of the system of absolute monarchy of the Ancient Régime.
The earliest mention of the name of Versailles is found in a document dated 1038, the Charte de l'abbaye Saint-Père de Chartres (Charter of the Saint-Père of Chartres Abbey) (Guérard, 1840), in which one of the signatories was a certain Hugo de Versailliis (Hugues de Versailles), who was seigneur of Versailles. During this period, the village of Versailles centered on a small castle and church and the area was governed by a local lord. Its location on the road from Paris to Dreux and Normandy brought some prosperity to the village, but following an outbreak of the Plague and the Hundred Years' War, the village was largely destroyed and its population sharply declined (Bluche, 1991; Thompson, 2006; Verlet, 1985)
In 1575, Albert de Gondi, a naturalized Florentine who gained prominence at the court of Henry II, purchased the seigneury of Versailles. In the early seventeenth century, Gondi invited Louis XIII on several hunting trips in the forests surrounding Versailles. Pleased with the location, Louis ordered the construction of a hunting lodge in 1624. Designed by Philibert Le Roy, the structure, a small château, was constructed of stone and red brick with a based roof. Eight years later, Louis obtained the seigneury of Versailles from the Gondi family and began to make enlargements to the château (Batiffol, 1913; Bluche, 1991; Marie, 1968; Nolhac, 1901; Verlet 1985).
Louis's successor, Louis XIV, had a great interest in Versailles. He had grown up during the disorder of the Fronde, a civil war between rival factions of aristocrats, and wanted a site where he could organize and completely control a government of France by absolute personal rule. He settled on the royal hunting lodge at Versailles and over the following decades had it expanded into one of the largest palaces in the world (Félibien, 1703; Marie, 1972; Verlet, 1985).
Beginning in 1669, the architect Louis Le Vau, landscape architect André Le Nôtre, and painter-decorator Charles Le Brun began a detailed renovation and expansion of the château. This was done to fulfill Louis XIV's desire to establish a new centre for the royal court. Following the Treaty of Nijmegen in 1678, he began to gradually move the court to Versailles. The court was officially established there on 6 May 1682.
By moving his court and government to Versailles, Louis XIV hoped to extract more control of the government from the nobility, and to distance himself from the population of Paris. All the power of France emanated from this center: there were government offices here, as well as the homes of thousands of courtiers, their retinues, and all the attendant functionaries of court (Solnon, 1987). By requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power at the expense of his own and kept them from countering his efforts to centralise the French government in an absolute monarchy (Bluche, 1986, 1991; Bendix, 1978; Solnon, 1987). The meticulous and strict court etiquette that Louis established, which overwhelmed his heirs with its petty boredom, was epitomised in the elaborate ceremonies and exacting procedures that accompanied his rising in the morning, known as the Lever, divided into a petit lever for the most important and a grand lever for the whole court. Like other French court manners, étiquette was quickly imitated in other European courts (Benichou, 1948; Bluche, 1991; Solnon, 1987).
Palace of Versailles "GHOST PHOTO" this strange phot was sent to us by Robert Roode on his recent visit. Wheter it is a real ghost photo or not the choice is yours.
Many strange photos happen in all parts of the grande Palace of Versailles, EVP's and also many often report a feeling at times of dread or as if somone is pressing against them.
Evolution of Versailles
The expansion of the château became synonymous with the absolutism of Louis XIV (Bluche, 1986, 1991). In 1661, following the death of Cardinal Mazarin, chief minister of the government, Louis had declared that he would be his own chief minister. The idea of establishing the court at Versailles was conceived to ensure that all of his advisors and provincial rulers would be kept close to him. He feared that they would rise up against him and start a revolt. He thought that if he kept all of his potential threats near him, that they would be powerless. After the disgrace of Nicolas Fouquet in 1661 — Louis claimed the finance minister would not have been able to build his grand château at Vaux-le-Vicomte without having embezzled from the crown — Louis, after the confiscation of Fouquet’s state, employed the talents of Le Vau, Le Nôtre, and Le Brun, who all had worked on Vaux-le-Vicomte, for his building campaigns at Versailles and elsewhere. For Versailles, there were four distinct building campaigns (after minor alterations and enlargements had been executed on the château and the gardens in 1662-1663), all of which corresponded to Louis XIV’s wars (Bluche, 1986, 1991; Verlet, 1985).
First building campaign
The first building campaign (1664-1668) commenced with the Plaisirs de l’Île enchantée of 1664, a fête that was held between 7 and 13 May 1664. The fête was ostensibly given to celebrate the two queens of France — Anne of Austria, the Queen Mother, and Marie-Thérèse, Louis XIV’s wife, but in reality honored the king’s mistress, Louise de La Vallière. The celebration of the Plaisirs de l’Île enchantée is often regarded as a prelude to the War of Devolution, which Louis waged against Spain. The first building campaign (1664-1668) witnessed alterations in the château and gardens in order to accommodate the 600 guests invited to the party (Nolhac, 1899, 1901; Marie, 1968; Verlet, 1985).
Second building campaign
The second building campaign (1669-1672) was inaugurated with the signing of the Treaty of Aix-la-Chapelle, which ended the War of Devolution. During this campaign, the château began to assume some of the appearance that it has today. The most important modification of the château was Le Vau’s envelope of Louis XIII’s hunting lodge. The enveloppe — often referred to as the château neuf to distinguish it from the older structure of Louis XIII — enclosed the hunting lodge on the north, west, and south. The new structure provided new lodgings for the king and members of his family. The main floor — the piano nobile — of the château neuf was given over entirely to two apartments: one for the king, and one for the queen. The Grand appartement du roi occupied the northern part of the château neuf and Grand appartement de la reine occupied the southern part. The western part of the enveloppe was given over almost entirely to a terrace, which was later enclosed with the construction of the Hall of Mirrors (Galerie des Glaces). The ground floor of the northern part of the château neuf was occupied by the appartement des bains, which included a sunken octagonal tub with hot and cold running water. The king’s brother and sister-in-law, the duke and duchesse d’Orléans occupied apartments on the ground floor of the southern part of the château neuf. The upper story of the château neuf was reserved for private rooms for the king to the north and rooms for the king’s children above the queen’s apartment to the south (Nolhac, 1901; Marie, 1972; Verlet, 1985).
Significant to the design and construction of the grands appartements is that the rooms of both apartments are of the same configuration and dimensions — a hitherto unprecedented feature in French palace design. It has been suggested that this parallel configuration was intentional as Louis XIV had intended to establish Marie-Thérèse d’Autriche as queen of Spain, and thus thereby establish a dual monarchy (Johnson, 1981). Louis XIV’s rationale for the joining of the two kingdoms was seen largely as recompense for Philip IV's failure to pay his daughter Marie-Thérèse’s dowry, which was among the terms of capitulation to which Spain agreed with the promulgation of the Treaty of the Pyrenees, which ended the war between France and Spain that began in 1635 during the Thirty Years’ War. Louis XIV regarded his father-in-law’s act as a breach of the treaty and consequently engaged in the War of Devolution.
Both the grand appartement du roi and the grand appartement de la reine formed a suite of seven enfilade rooms. Each room is dedicated to one of the then known celestial bodies and is personified by the appropriate Greco-Roman deity. The decoration of the rooms, which was conducted under Le Brun's direction depicted the “heroic actions of the king” and were represented in allegorical form by the actions of historical figures from the antique past (Alexander the Great, Augustus, Cyrus, etc.) (Berger, 1986; Félibien, 1674; Verlet, 1985).
Third building campaign
With the signing of the Treaty of Nijmegen in 1678, which ended the Dutch War, the third building campaign at Versailles began (1678-1684). Under the direction of the architect, Jules Hardouin-Mansart, the Palace of Versailles acquired much of the look that it has today. In addition to the Hall of Mirrors, Hardouin-Mansart designed the north and south wings, which were used, respectively, by the nobility and Princes of the Bloods, and the Orangerie. Le Brun was occupied not only with the interior decoration of the new additions of the palace, but also collaborated with Le Nôtre's in landscaping the palace gardens (Berger, 1985; Thompson, 2006; Verlet, 1985). As symbol of France’s new prominence as a European super-power, Louis XIV officially installed his court at Versailles in May of 1682 (Bluche, 1986, 1991).
Fourth building campaign
Soon after the crushing defeat of the War of the League of Augsburg (1688-1697) and owing possibly to the pious influence of Madame de Maintenon, Louis XIV undertook his last building campaign at Versailles. The fourth building campaign (1699-1710) concentrated almost exclusively on construction of the royal chapel designed by Hardouin-Mansart and finished by Robert de Cotte and his team of decorative designers. There were also some modifications in the appartement du roi, namely the construction of the Salon de l’Œil de Bœuf and the King’s Bedchamber. With the completion of the chapel in 1710, virtually all construction at Versailles ceased; building would not be resumed at Versailles until some twenty years later during the reign of Louis XV (Nolhac, 1911; Marie, 1976, 1984; Verlet, 1985).
After the death of the Louis XIV in 1715, the five-year old king Louis XV, the court, and the Régence government of Philippe II d’Orléans returned to Paris. In May 1717, during his visit to France, the Russian czar Peter the Great stayed at the Grand Trianon. His time at Versailles was used to observe and study the palace and gardens, which he later used as a source of inspiration when he built Peterhof on the Bay of Finland west of Saint Petersburg (Verlet, 1985).
During the reign of Louis XV, Versailles underwent transformation, but not on the scale that had been seen during the reign of Louis XIV. When the king and the court returned to Versailles in 1722, the first project was the completion of the Salon d'Hercule, which had been begun during the last years of Louis XIV's reign but was never finished due to the king’s death.
Significant among Louis XV’s contributions to Versailles were the petit appartement du roi; the appartements de Mesdames, the appartement du dauphin, and the appartement de la dauphine on the ground floor; and the two private apartments of Louis XV – petit appartement du roi au deuxième étage (later transformed into the appartement de Madame du Barry) and the petit appartement du roi au troisième étage – on the second and third floors of the palace. The crowning achievements of Louis XV’s reign were the construction of the Opéra and the Petit Trianon (Verlet, 1985).
Equally significant was the destruction of the Escalier des Ambassadeurs (Ambassadors' Stair), the only fitting approach to the State Apartments, which Louis XV undertook to make way for apartments for his dowager great-aunts.
The gardens remained largely unchanged from the time of Louis XIV; only the completion of the Bassin de Neptune between 1738 and 1741 was the most important legacy Louis XV made to the gardens (Marie 1984; Thompson, 2006; Verlet 1985). Towards the end of his reign, Louis XV, under the advice of Ange-Jacques Gabriel, began to remodel the courtyard façades of the palace. With the objective revetting the entrance of the palace with classical façades, Louis XV began a project that was continued during the reign of Louis XVI, but which did not see completion until the 20th century (Verlet, 1985).
Many believe this photo to be of the ghost of Louis XVI haunting the Hall of Mirrors. ghost photo sent to us by Mr. and Mrs. David Meyers And Joilianna Cross - Myers while on their second honeymoon.
Much of Louis XVI’s contributions to Versailles were largely dictated by the unfinished projects left to him by his grandfather. Shortly after his ascension, Louis XVI ordered a complete replantation of the gardens with the intention of transforming the jardins français to an English-style garden, which had become popular during the late 18th century (Verlet, 1985). In the palace, the library and the salon des jeux in the petit appartement du roi and the decoration of the petit appartement de la reine for Marie-Antoinette are among the finest examples of the style Louis XVI (Verlet, 1945; 1985)
On 6 October 1789, the royal family had to leave Versailles and to move to the Tuileries Palace in Paris. During the early years of the French Revolution, preservation of the palace was largely in the hands of the citizens of Versailles. In October 1790, Louis XVI ordered the palace to be emptied of its furniture, requesting that most be sent to the Tuileries Palace. In response to the order, the mayor of Versailles and the municipal council met to draft a letter to Louis XVI in which they stated that if the furniture was removed, it would be certainly precipitate economic ruin on the city (Gatin, 1908). A deputation from Versailles met with the king on 12 October after which Louis XVI, touched by the sentiments of the residents of Versailles, rescinded the order. However, eight months later, the fate of Versailles was sealed.
On 21 June 1791, Louis XVI was arrested at Varennes after which the Assemblée nationale constituante accordingly declared that all possessions of the royal family had been abandoned. To safeguard the palace, the Assemblée nationale constituante ordered the palace of Versailles to be sealed. On 20 October 1792 a letter was read before the National Convention in which Jean-Marie Roland de la Platière, interior minister, proposed that the furnishings of the palace and those of the residences in Versailles that had been abandoned be sold and that the palace be either sold or rented. The sale of furniture transpired at auctions held between 23 August 1793 and 30 nivôse an III (19 January 1795). Only items of particular artistic or intellectual merit were exempt from the sale. These items were consigned to be part of the collection of a museum, which had been planned at the time of the sale of the palace furnishings.
In 1793, Charles-François Delacroix deputy to the Convention and father of the painter Eugène Delacroix proposed that the metal statuary in the gardens of Versailles be confiscated and sent to the foundry to be made into cannon (Gatin, 1908). The proposal was debated but eventually it was tabled. On 28 floréal an II (5 May 1794) the Convention decreed that the château and gardens of Versailles, as well as other former royal residences in the environs, would not be sold but placed under the care of the Republic for the public good (Fromegot, 1903). Following this decree, the château became a repository for art work seized from churches and princely homes. As a result of Versailles serving as a repository for confiscated art works, collections were amassed that eventually became part of the proposed museum (Fromegot, 1903).
Among the items found at Versailles at this time a collection of natural curiosities that has been assembled by the sieur Fayolle during his voyages in America. The collection was sold to the comte d’Artois and was later confiscated by the state. Fayolle, who had been nominated to the Commission des arts, became guardian of the collection and was later, in June 1794, nominated by the Convention to be the first directeur du Conservatoire du Muséum national de Versailles (Fromageot, 1903). The next year, André Dumont the people's representative, became administrator for the department of the Seine-et-Oise. Upon assuming his administrative duties, Dumont was struck with the deplorable state into which the palace and gardens had sunk. He quickly assumed administrative duties of the château and assembled a team of conservators to oversee the various collections of the museum (Fromageot, 1903).
One of Dumont’s first appointments was that of Huges Lagarde (10 messidor an III (28 June 1795), a wealthy soap merchant from Marseille with strong political connections, as bibliographer of the museum. With the abandonment of the palace, there remained no less that 104 libraries which contained in excess of 200,000 printed volumes and manuscripts. Lagarde, with his political connections and his association with Dumont, became the driving force behind Versailles as a museum at this time. Lagarde was able to assemble a team of curators including sieur Fayolle for natural history and, Louis-Jean-Jacques Durameau, the painter responsible for the ceiling painting in the Opéra, was appointed as curator for painting (Fromageot, 1903).
Owing largely to political vicissitudes that occurred in France during the 1790s, Versailles succumbed to further degradations. Mirrors were assigned by the finance ministry for payment of debts of the Republic and draperies, upholstery, and fringes were confiscated and sent to the mint to recuperate the gold and silver used in their manufacture. Despite its designation as a museum, Versailles served as an annex to the Hôtel des Invalides pursuant to the decree of 7 frimaire an VIII (28 November 1799), which commandeered part of the palace and which had wounded soldiers being housed in the petit appartement du roi (Gatin, 1908)
In 1797, the Muséum national was reorganised and renamed Musée spécial de l’École française (Dutilleux, 1887). The grands appartements were used as galleries in which the morceaux de réception submitted by artists seeking admission to the Académie royale de peinture et de sculpture during the 17th and 18th centuries, the series The Life of Saint Bruno by Eustache Le Sueur and the Life of Marie de Médicis by Peter Paul Rubens were placed on display. The museum, which included the sculptures in the garden, became the finest museum of classic French art that had existed (Verlet, 1985).
With the advent of Napoléon and the First Empire, the status of Versailles changed. Paintings and art work that had previously been assigned to Muséum national and the Musée spécial de l’École française were systematically dispersed to other locations and eventually the museum was closed. In accordance to provisions of the 1804 Constitution, Versailles was designated as an imperial palace for the department of the Seine-et-Oise.
While Napoléon did not reside in the château, apartments were, however, arranged and decorated for the use of the empress Marie-Louise. The emperor chose to reside at the Grand Trianon. The château continued to serve, however, as an annex of the Hôtel des Invalides (Mauguin, 1940-1942; Pradel, 1937; Verlet, 1985). Nevertheless, on 3 January 1805, Pope Pius VII, who came to France to officiate at Napoléon's coronation, visited the palace and blessed the throng of people gathered on the parterre d'eau from the balcony of the Hall of Mirrors (Mauguin, 1940-1942).
Is this the ghost of Palace of Versailles, Marie Antoinette's who has been haunting the bedroom since home from 1770's? This ghost photo sent to us by Glenn Schwander.
The Bourbon Restoration saw little activity at Versailles. Areas of the gardens were replanted but no significant restoration and modifications of the interiors were undertaken, despite the fact that Louis XVIII would often visit the palace and walk through the vacant rooms (Manse, 2004; Thompson, 2006). Charles X chose the Tuileries Palace over Versailles and rarely visited his former home (Castelot, 2001).
With the Revolution of 1830 and the establishment of the July Monarchy, the status of Versailles changed. In March 1832, the Loi de la Liste civile was promulgated, which designated Versailles as a crown dependency. Like Napoléon before him, Louis-Philippe chose to live at the Grand Trianon; however, unlike Napoléon, Louis-Philippe did have a grand design for Versailles.
In 1833, Louis-Philippe proposed the establishment of a museum dedicated to “all the glories of France,” which included the Orléans dynasty and the Revolution of 1830 that put Louis-Philippe on the throne of France. For the next decade, under the direction of Eugène-Charles-Frédéric Nepveu and Pierre-François-Léonard Fontaine, the château underwent irreversible alterations (Constans, 1985; 1987; Mauguin, 1937; Verlet, 1985). The museum was officially inaugurated on 10 June 1837 as part of the festivities that surrounded the marriage of the Prince royal, Ferdinand-Philippe d’Orléans with princess Hélène of Mecklenburg-Schwerin and represented one of the most ambitious and costly undertakings of Louis-Philippe’s reign. Over 3,000 paintings depicting glorious events in French history and a small army of busts of French heroes were commissioned by Louis-Philippe to decorate his new museum.Louis-Philippe’s efforts were praised and condemned by his contemporaries. Victor Hugo, who was present at the inaugural ceremonies, characterised the king’s efforts:
“ What Louis-Philippe did at Versailles is good. Having accomplished this work, is to have been great as a king and impartial as a philosopher; is to have made a national monument of a monarchical monument; is to have put an immense idea in an immense edifice; is to have installed the present in the past: 1789 vis-à-vis 1688, the emperor at the king’s home – Napoléon at Louis XIV’s; in a word, it is having given to this magnificent book that is called French history this magnificent binding that is called Versailles (Victor Hugo).”
Later, Balzac characterised, in less laudatory terms, the effort as the “hospital of the glories of France” (Balzac, 1853).
The aile du Midi, was given over to the galerie des Batailles, which necessitated the demolition of most of the apartments of the Princes of the Blood who lived in this part of the palace during the Ancien Régime. The galerie des Batailles was an epigone of the Grande galerie of the Louvre and was intended to glorify French military history from the Battle of Tolbiac (traditionally dated 495) to the Battle of Wagram (5-6 July 1809). While a number of the paintings displayed in the galerie des Batailles were of questionable quality, a few masterpieces, such as the Battle of Taillebourg by Eugène Delacroix, were displayed here. Part of the aile du Nord was converted for the salle des Croisades, a room dedicated to famous knights of the Crusades and decorated with their names and coats of arms. The apartments of the dauphin and the dauphine as well as those of Louis XV’s daughters on the ground floor of the corps de logis were transformed into portrait galleries. In order to accommodate the displays, some of the boiseries were removed and either put into storage or sold. During the Prussian occupation of the palace in 1871, the boiseries in storage were burned as firewood (Constans, 1985; 1987; Mauguin, 1937; Verlet,1985).
During the Second Empire, the museum remained essentially intact. The palace did serve as the backdrop for a number of state events including the visit by Queen Victoria and Prince Albert in 1855 and the visit of Francis of Spain in 1864 (Verlet, 1985).
Pierre de Nolhac
Upon his appointment as conservator of the museum in 1892, Pierre de Nolhac embarked on a campaign of research, conservation, preservation, and restoration that continues to this day. The Rockefeller donations to Versailles made between 1924 and 1936 ensured the preservation of the palace and the Trianons (Société des Sciences morales, des Lettres et des Arts de Seine-et-Oise, 1925). However, it would not be until after the Second World War that concerted governmental initiatives directed at preservation and restoration of the palace would be undertaken.
Under the aegis of Gérald van der Kemp, chief conservator of the museum from 1952 to 1980, the museum witnessed some of its most ambitious conservation and restoration projects: new roofing for the galerie des glaces; restoration of the chambre de la reine; restoration of the chambre de Louis XIV; restoration of the Opéra (Lemoine, 1976). At this time, the ground floor of the aile du Nord was converted into a gallery of French history from the 17th century to the 19th century. Additionally, at this time, policy was established in which the French government would aggressively seek to acquire as much of original furniture and artwork that had been dispersed at the time of the Revolution of 1789 as possible (Kemp, 1976; Meyer, 1985).
Many believe the furnishings in the great palace are also haunted by different shades sppoks and specters. many will also tell you this is where the great ghosts of France's hitory truly haunts.
5. THE TOMB OF NOSTRDAMUS
Nostradamus's tombstone in the Collegiale St-Laurent at Salon-de-Provence, Bouches-du-Rhône, France.
The headstone, written in Latin and composed by his wife, reads as follows: "Here lie the bones of the illustrious Michel Nostradamus, alone of all mortals judged worthy to record events of the entire world with his almost divine pen, under the influence of the stars. He lived 62 years, 6 months, and 17 days. He died at Salon in the year 1566. Let not prosperity disturb his rest. Anne Pons Gemelle wishes her husband true happiness."
Many that visit the tomb of Michel de Nostredame in Salon-de-Provence, Bouches-du-Rhône, France will tell you that they often feel great engerys and strong emotions when standing before it. Many often say a silent prayer and ask him to intercede with god In Heaven so that no more of his terrible phrophices about 2012 and the future of Man kind will be saved.
Nostredame (14 December or 21 December 1503 – 2 July 1566), usually Latinised to Nostradamus, was a French apothecary and reputed seer who published collections of prophecies that have since become famous worldwide. He is best known for his book Les Propheties ("The Prophecies"), the first edition of which appeared in 1555. Since the publication of this book, which has rarely been out of print since his death, Nostradamus has attracted a following that, along with the popular press, credits him with predicting many major world events. The prophecies have in some cases been assimilated to the results of applying the alleged Bible code, as well as to other purported prophetic works. Most academic sources maintain that the associations made between world events and Nostradamus's quatrains are largely the result of misinterpretations or mistranslations (sometimes deliberate) or else are so tenuous as to render them useless as evidence of any genuine predictive power. Moreover, none of the sources listed offers any evidence that anyone has ever interpreted any of Nostradamus's quatrains specifically enough to allow a clear identification of any event in advance.
After another visit to Italy, Nostredame began to move away from medicine and toward the occult. Following popular trends, he wrote an almanac for 1550, for the first time Latinizing his name from Nostredame to Nostradamus. He was so encouraged by the almanac's success that he decided to write one or more annually. Taken together, they are known to have contained at least 6,338 prophecies, as well as at least eleven annual calendars, all of them starting on 1 January and not, as is sometimes supposed, in March. It was mainly in response to the almanacs that the nobility and other prominent persons from far away soon started asking for horoscopes and "psychic" advice from him, though he generally expected his clients to supply the birth charts on which these would be based, rather than calculating them himself as a professional astrologer would have done. When obliged to attempt this himself on the basis of the published tables of the day, he always made numerous errors, and never adjusted the figures for his clients' place or time of birth. (Refer to the analysis of these charts by Brind'Amour, 1993, and compare Gruber's comprehensive critique of Nostradamus’ horoscope for Crown Prince Rudolph Maximilian.)
He then began his project of writing a book of one thousand mainly French quatrains , which constitute the largely undated prophecies for which he is most famous today. Feeling vulnerable to religious fanatics, however, he devised a method of obscuring his meaning by using "Virgilianized" syntax, word games and a mixture of other languages such as Greek, Italian, Latin, and Provençal. For technical reasons connected with their publication in three installments (the publisher of the third and last installment seems to have been unwilling to start it in the middle of a "Century," or book of 100 verses), the last fifty-eight quatrains of the seventh "Century" have not survived into any extant edition.
The quatrains, published in a book titled Les Propheties (The Prophecies), received a mixed reaction when they were published. Some people thought Nostradamus was a servant of evil, a fake, or insane, while many of the elite thought his quatrains were spiritually inspired prophecies — as, in the light of their post-Biblical sources (see under Nostradamus's sources below), Nostradamus himself was indeed prone to claim. Catherine de Médicis, the queen consort of King Henri II of France, was one of Nostradamus's greatest admirers. After reading his almanacs for 1555, which hinted at unnamed threats to the royal family, she summoned him to Paris to explain them and to draw up horoscopes for her children. At the time, he feared that he would be beheaded, but by the time of his death in 1566, Catherine had made him Counselor and Physician-in-Ordinary to the King.
Some accounts of Nostradamus's life state that he was afraid of being persecuted for heresy by the Inquisition, but neither prophecy nor astrology fell in this bracket, and he would have been in danger only if he had practiced magic to support them. In fact, his relationship with the Church as a prophet and healer was excellent. His brief imprisonment at Marignane in late 1561 came about purely because he had published his 1562 almanac without the prior permission of a bishop, contrary to a recent royal decree.
By 1566, Nostradamus's gout, which had plagued him painfully for many years and made movement very difficult, turned into oedema, or dropsy. In late June he summoned his lawyer to draw up an extensive will bequeathing his property plus 3,444 crowns (around $300,000 US today) — minus a few debts — to his wife pending her remarriage, in trust for her sons pending their twenty-fifth birthdays and her daughters pending their marriages. This was followed by a much shorter codicil. On the evening of 1 July, he is alleged to have told his secretary Jean de Chavigny, "You will not find me alive at sunrise." The next morning he was reportedly found dead, lying on the floor next to his bed and a bench (Presage 141 [originally 152] for November 1567, as posthumously edited by Chavigny to fit). He was buried in the local Franciscan chapel (part of it now incorporated into the restaurant La Brocherie) but re-interred in the Collégiale St-Laurent during the French Revolution, where his tomb remains to this day.
Many who visit the tomb have said they have captured images of Nostradames 500 year old ghost standing and watching those that pay their final respects. As far as my ghost photo is concerend the real ghost of the fampus Nostradamus is in your choice to belive it or no.
I enjoy visiting sites great web sites like Nostradamus: 2012 nostradamus2012.com . They have and feature 2012 and Nostradamus joined in predictions. I love reading his many Prophecies of our very near future. The site states that Nostradamus predicted world war 3 with Iran and suggest you to "Check Israel Iran war in news".
This fantastic web site also offers a free "Nostradamus Quatrain" search, it leads you to a spot where you can "Find keywords in Prophecies of Nostradamus." The very easy to use Nostradamus quatrain-century finder is super simple. just enter keyword into field bellow. Press button to find your keyword in complete book of Nostradamus - The Prophecies. Database contain 10 centuries, which each includes 100 quatrains in french and english. Its 10*100*2=2000 quatrains. For best results search for one keyword (french or english) in one time. Everyone must visit the site and search "Nostradamus' Quatrains"and, oh yes, "Enjoy."
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