Pokemon PlatinumThis will help you to find more heart scales. You need these three things: First a Super Rod, the National Pokedex and then a Pokemon that knows the Hidden Move Fly. Go to the Route 224 or the Pokemon League to catch Luvdiscs. They have a 50% chance to be carrying a Heart Scale when you capture them. Action ReplayPress L & R to avtivate Action ReplayPress L & R To activateCatch a Yanma in the great marsh place in Pastoria City. 2. Train it to level 32 because it needs to know the move acientpower for it to evolve. 3. Once it's learned the move it will evolve during its next level up. Action ReplayPress L & R to activate Check our Legendary Pokemon Guide for he easiest ways to obtain EVERY legendary from Articuno to Zapdos! Chandelier - Walk a total of 300,000 stepsGreat Painting - hatch 30 eggsGuest Set - Defeat a total of 50 trainers in the trainer cafeMusic Box - Purchase RacksPiano - Defeat the Elite Four 10 timesPokemon Bust #1 - Obtain one silver print from the Battle FrontierPokemon bust #2 - Obtain 5 silver prints from the Battle FrontierTea Set - Purchase the Music BoxWall Clock - Plant 50 berries

These are the tasks you must complete to earn stars. chandeliers rfaThey may be completed in any order.hilden diaz chandelier cost - Defeat the Elite Four.chandelier peltro - Win any one Master Rank Super Contest - Obtain all Battle Frontier Colored Plates - Earn a Platinum flag in the Underground (capture 50 flags) - Capture all 493 Pokemon (not including event-only Pokemon) These are the colors you earn from completing the above tasks:Black Card - Earn Five StarsBlue Card - Earn One StarBronze Card - Earn Two StarsGold Card - Earn Four StarsSilver Card - Earn Three Stars Hearthome CityIn Hearthome City, go to the Pokemon Center, but don't go inside. Instead, go into the house right next to it. Talk to the blonde-haired girl inside.

She'll introduce herself as Bebe, and then offer you an Eevee. Make sure you have room for it, then answer yes to her question. Then she'll give you an Eevee. Spear PillarThere is a lot to do before these pokemon are yours: 1) Get the eighth gym badge, and get the HM Waterfall. 2) Go to Mount Coronet 3) Go up the waterfall, and into the secret cavern. (Just go up the mountain, you will notice the waterfall.) 4) Get the two orbs that belong to Dialga and Palkia, they are inside the small cavern. 5) Talk to the elder of Celestic Town. 6) Go to Spear Pillar! (Very top of Mount Coronet where you found the Distortion World.) 7) You will see a blue light. (After you beat/catch Dialga, enter the Mount Coronet, then step back out, there will now be a Pink Light which is PALKIA!) Note: You might have to beat the Elite Four first, I'm not sure. Both Dialga and Palkia will be Level 70. Rotom is in the Old Chateau. In order to get him (you don't need to beat the elite four) go to the top floor (2nd) go into the middle room.

You have to do this between 8pm and 4am. look for a room with a TV in it. Thump on the TV for him to go out. Rotom is Ghost and Electric and its lvl.20 so make sure you don't use a bird type but use a normal, rock, or physic and grass or ice to paralyze it and/or freeze it so its easier to catch also you need to lower it really down to health and use a really good ball like the dusk ball or quick ball or ultra ball or premier ball and maybe a timeball. Remember to save before the battle also he can regenerate so if you defeat, flee, get defeated he'll come back if you defeat him you have to wait for the next day. If you flee just start from the pokemon center. If you get defeated go back to a pokemon center and start again. Turn Back Cave/Distortion WorldAfter catching Giratina in the distortion world you will go through a portal that leads to turn back cave. Cynthia will be standing in front of the cave blocking the entrance. She will tell you to go see Rowan. Return there later and go to where you catch Giratina in D.P, and once their you will see a portal that leads to the distortion world.

Go in it and make your way through the it there you will find an item called Griseous Orb Give that to Giratina and he will stay or change into Origin form. 58 pokemon were added to the Sinnoh Pokedex (Before you beat the elite 4) These pokemon are: 151-Manaphy (Seen in the book at the Mansion, not catchable ingame) 152-Rotom (With new forms that learn different attacks) Complete the Sinnoh Pokedex by seeing all 210 regional Pokemon, then talk to Professor Rowan in his lab. After beating Elite 4, if you play the game on your birthday, or if you set the DS clock to your birthday, and talk to Dawn/Lucas, she/he will wish you a Happy Birthday Go to Snow Point City during the 12th of January and you will see Diamond Dusts falling on the town. It is because of the birthday of Junichi Masuda, Gamefreaks Director and Composer of Pokemon Music. Veilstone CityIn Veilstone City, go to the Poke'mon Center, but don't go inside. You'll see two houses directly above the Pokemon Center.

Go into the house on the right and speak to the man sitting at the table. He will ask you to take care of a Porygon for him. Say yes, and it's yours to keep. Just make sure you have room for it first though.The Ulster Museum (UM), Belfast, is a national museum charged with responsibility for, amongst other things, the preservation of objects in the fields of archaeology, ethnography, industrial archaeology, history (archives, numismatics and photographs), botany, zoology, geology, and fine and applied art. As with other national institutions, the UM is subject to scrutiny by Government Auditors. In 1989, a review by the Northern Ireland Audit Office1 contained a firm recommendation 'that the UM should take steps to quantify and cost all outstanding conservation work and set specific targets for dealing with the backlog in this important area'. Such steps are now being taken in the form of condition surveys. Unfortunately, however, not all the media represented in the diverse collections are catered for by existing conservation staff.

For instance, in ceramics (applied art) there is no specialist conservator in-house. Any proposal to employ such a person on either a temporary or permanent basis must be firmly related to identified needs. Faced with these circumstances, the UM decided to request advice and assistance from the Conservation Department at the V&A, a decision based on an awareness of its tradition of expertise, not only about ceramics2 , but also about surveys3 . This request was viewed sympathetically and arrangements made, on an appropriate cost basis, for Victoria Oakley to undertake the required survey. The collection comprises approximately 2000 objects which are grouped into four main sections. The historic section covers most areas in ceramic history with particular emphases on tin-glazed earthenware and eighteenth and nineteenth century British/European pottery and porcelain. Complementing this is a comprehensive collection of Irish and Irish-related wares dating from the late seventeenth century onwards.

A small but representative selection of Oriental ceramics, ranging from the Chinese Tang period (seventh to tenth century) through to early twentieth century Japanese, is also held. Finally, there is an important and growing collection of contemporary British, Irish and European work. The bulk of the collection is housed in a small store which was recently refurbished and fitted with a moving aisle storage system. It was recognised that such a system is not particularly appropriate for ceramics but its choice was dictated by an overriding need to maximise the use of limited space. It was important that the survey should be clearly defined and focused. Consequently, an initial visit was made to the UM in June 1994 in order to view the collection, meet the curators and discuss what was required. Following this, it was agreed that the survey would be carried out during August 1994 and that its aims should be as follows: to find out the condition of the collection; to highlight those objects in need of conservation, suggesting some level of priority;

and to make recommendations for the general care and storage of the objects. Despite ttie number of recent condition surveys that have been completed in the V&A Conservation Department, there is still no common approach. Different sections have independently developed their own methods, some employing simple paper records and others using various computer programs. The Ceramics Conservation section itself has used at least three different computer programs for surveys in twice as many years. For this survey it was decided to use a program developed in Microsoft Works, by Suzanne Keene whilst at the Museum of London4 . This seemed to offer a simple, quick and friendly methodology suited to the type of total survey that was required. Information recorded included the identification number, the location, a simple name, the materials involved, damage categories, condition grade, time code for treatment required and any additional comments. The now widely accepted four condition grades (good, fair, poor and unacceptable) were used.

In addition, the incorporation of a time code for conservation suggested the approximate amount of time treatment could be expected to take. A combination of the condition grade and treatment time code can be very helpful in prioritising work programmes. A total of five days were devoted to the survey, with a further two days to compile the report. Fortunately most of the objects are stored in one location which meant that access was relatively straightforward. On average just under 400 objects were examined each day. A recent school leaver on work experience provided valuable assistance with inputting data. In order to write the report, the amassed raw survey data had to be sorted into a form which would allow clear interpretation. Using the computer, it was possible to generate data from the survey in different ways: objects were listed in the order in which they were entered, and also sorted according to their condition grade and by the anticipated treatment time. For the purposes of the report, it was important to keep the information clear and simple.

Tables were included which showed statistics for the categories of damage, levels of priority for treatment of objects, and an assessment of the work that would be required. These could be linked together to give a realistic picture of how much conservation might be required on priority objects and, consequently, an indication of future requirements (such as for a contract conservator). Various simple recommendations were made to improve the storage area. These suggestions included basic preventive measures that would involve little or no outlay other than time, for example: re-assessing the use of the shelves so that lower shelves were used in preference to upper shelves; positioning delicate vulnerable objects on the shelves at a readily accessible height; and avoiding the practice of overstacking flat objects such as plates. Other recommendations included simple measures to make the mobile shelves safer: attaching restraining lips to the edge of each shelf; placing small items in padded trays and lining the shelves with polyester film.

Many of the recommendations made will cost nothing, or relatively little, to implement yet they will achieve much. Others will carry a cost in terms of staffing, materials and equipment - resources for which bids must be made. Against a backdrop of financial stringencies and competing museum priorities (including conservation), there can be no guarantee that the requisite funding will become available. However, the survey has provided a credible and justifiable basis for seeking additional resources. Though undeniably hard work, the project proved a very rewarding experience. It offered a chance to use and assess a relatively new survey method, some aspects of which could be appropriate to future V&A surveys. In addition, the opportunity to exchange information and consolidate contacts, whilst allowing another national museum to borrow expertise, can only be a healthy process for both organizations. 1. Northern Ireland Audit Office, 'Management of the Collections held by the Ulster Museum and the Ulster Folk and Transport Museum', HMSO,London 1989.