Brad, Texas (CNN) -- Authorities were working on plans Friday for residents who were forced to flee a wildfire in northern Texas to return home, a day after firefighters made progress battling the blaze that destroyed dozens of homes. The blaze in Palo Pinto County scorched 6,200 acres by Thursday, according to the Texas Forest Service. The fire is burning near the resort of Possum Kingdom Lake, near the town of Brad, about 100 miles west of Dallas. "We feel much better about this fire today," as the blaze is now 50% contained, said John Nichols, a spokesman for the Forest Service. He said evacuations were lifted for some residents forced to evacuate the fire, which was driven by high temperatures and dry winds. The wildfire has destroyed 40 homes and nine RVs since it began Tuesday, the Forest Service said Thursday. Firefighters were receiving support from aerial tankers and helicopters. Authorities are mapping out plans to allow residents to return to their homes, said Palo Pinto County Sheriff Ira Mercer. Authorities also are trying to open the lake for the Labor Day holiday, he said. On Wednesday, evacuations were ordered in several communities on the north side of the lake after the fire charged over a ridge and approached a dam on the lake, CNN affiliate WFAA reported. The wildfire was moving so fast that the Forest Service pulled out of its command observation post, telling journalists and onlookers to get out of the way of the fire. "My house is right through here, though it may be gone," Tom Hardeston told WFAA as he watched the fire. Nearby ranchers battled to save their herds from the encroaching fire. "I'm just moving them from pasture to pasture," Cindi McCoy told WFAA, referring to her livestock. "As one pasture burns, I'm moving them back to that one and bring(ing) them back around."
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At length, as I entered the pass, the huge rocks began to close around in all their wild, mysterious impressiveness, when suddenly, as I was gazing eagerly about me, a drove of gray hairy beings came in sight, lumbering toward me with a kind of boneless, wallowing motion like bears. I never turn back, though often so inclined, and in this particular instance, amid such surroundings, everything seemed singularly unfavorable for the calm acceptance of so grim a company. Suppressing my fears, I soon discovered that although as hairy as bears and as crooked as summit pines, the strange creatures were sufficiently erect to belong to our own species. They proved to be nothing more formidable than Mono Indians dressed in the skins of sage-rabbits. Both the men and the women begged persistently for whisky and tobacco, and seemed so accustomed to denials that I found it impossible to convince them that I had none to give. Excepting the names of these two products of civilization, they seemed to understand not a word of English; but I afterward learned that they were on their way to Yosemite Valley to feast awhile on trout and procure a load of acorns to carry back through the pass to their huts on the shore of Mono Lake.
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Answer: What did the strangers want and what were they wearing?

Appended to the last book, however, is a self-contained essay on aesthetics, which Durer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Durer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Durer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naive approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Durer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Durer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Durer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year."
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Answer: How many years passed between the first and final drafts of Durer's essay on aesthetics?

Water flowing over Earths surface or underground causes erosion and deposition. Water flowing over a steeper slope moves faster and causes more erosion. How water transports particles depends on their size. When water slows down, it starts depositing sediment. This process starts with the largest particles first. Runoff erodes the land after a heavy rain. It picks up sediment. Runoff carries most of the sediment to bodies of water. Mountain streams erode narrow, V-shaped valleys and waterfalls. Erosion and deposition by slow-flowing rivers create broad floodplains and meanders. Deposition by streams and rivers may form alluvial fans and deltas. Floodwaters may deposit natural levees. Erosion and deposition by groundwater can form caves and sinkholes. Stalactites and stalagmites are mineral deposits. They build up in caves as water continues to drip.
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Answer:
Where do stalactites and stalagmites occur?