Answer:
C. Airborne ash and rocks from a volcanic eruption remain suspended in the air for a long time before eventually settling to the ground in a new location far from the volcano.
Explanation:
Tephra deposits take many forms and shape, and their composition doesn't really matter either. The only thing that defines a tephra really is that it was ejected from the mouth of a volcano and fell on the ground where it remained intact (not merged with something else).
So, forms of tephra could be big boulders landing on the volcano's side or ashes that travel around the globe to land on the other side of the planet.
After some research and studying the graph you posted with your question, there are many reasons why all four latitudes have the same number of hours of daylight on March 20th and also September 22nd.
Some of the reasons are:
These two dates are equinoxes, the sun's direct rays are over the equator, and the Earth's North Pole is not is not tilted toward or away from the Sun on those specific dates. Any of these answers are acceptable for the question you asked.
Just before 1500, Italian amateur actors were performing classical comedies on stages with no decoration except for a row of curtained booths. By 1589, complex painted scenery and scene changes were being featured in production in Florence. And by 1650, Italy had developed staging practices that would dominate European theatre for the next 150 years.
In the beginning of the Renaissance, there were two distinct kinds of theatrical productions. The first was of the type presented by the humanist Julius Laetus at the Accademia Romana, a semisecret society he founded in the mid-15th century for the purpose of reviving classical ideals. In terms of staging, several medieval-type mansions were clustered to form a single large unit. There were, however, two elements not found previously. One was that the mansions were probably framed by decorative columns. This was the first movement toward the framework that would develop into the proscenium arch—the arch that encloses the curtain and frames the stage from the viewpoint of the audience. (The first permanent proscenium was built in the Teatro Farnese at Parma, Italy, in 1618–19, a temporary one having been constructed by Francesco Salviati 50 years earlier.) The second innovation was that the mansions, by being linked, were treated as components of a general city street. In 1508 at Ferrara a background painted according to the rules of perspective was substituted for the mansions; the scene included houses, churches, towers, and gardens.
