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St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the south ambulatory.
Andrew Seton Campbell, who is depicted in this south ambulatory window, was a member of the St Mark's Parish. He died on an RAAF mission on the 10th of March 1943. The sun rises to a new dawn, and eternal hills of high vision. The bird depicted symbolises the passing of Andrew's soul.
Christian Waller depicted the young man in a true likeness, which was a controversial thing to do in the 1940s.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
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There are three churches near to home that I feel I needed to revisit, St Margaret's itself I should be able to get the key from the village shop at any time, but St Mary in Dover hasn't been open the last few times I have been in town, and Barfrestone was closed most of the year due to vandalism.
But Saturday morning there is usually a coffee morning in St Mary, so I went down armed with camera and lenses to take more shots of the details, especially of the windows.
This is one dedicated to the search and rescue pilots and the MTBs that rescued ditched pilots during the Battle of Britain. Very colourful.
Many more shots to come, I took some 150 shots here.
But that was nothing compared to how many I took at Barfrestone.....
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In the heart of the town with a prominent twelfth-century tower. From the outside it is obvious that much work was carried out in the nineteenth century. The church has major connections with the Lord Wardens of the Cinque Ports and is much used for ceremonial services. The western bays of the nave with their low semi-circular arches are contemporary with the tower, while the pointed arches to the east are entirely nineteenth century. The scale and choice of stone is entirely wrong, although the carving is very well done. However the east end, with its tall narrow lancet windows, is not so successful. The Royal Arms, of the reign of William and Mary, are of carved and painted wood, with a French motto - Jay Maintendray - instead of the more usual Dieu et Mon Droit. The church was badly damaged in the Second World War, but one of the survivors was the typical Norman font of square Purbeck marble construction. One of the more recent additions to the church is the Herald of Free Enterprise memorial window of 1989 designed by Frederick Cole.
www.kentchurches.info/church.asp?p=Dover+1
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THE TOWN AND PORT OF DOVER.
DOVER lies at the eastern extremity of Kent, adjoining to the sea, the great high London road towards France ending at it. It lies adjoining to the parish of Charlton last-described, eastward, in the lath of St. Augustine and eastern division of the county. It is within the liberty of the cinque ports, and the juristion of the corporation of the town and port of Dover.
DOVER, written in the Latin Itinerary of Antonine, Dubris. By the Saxons, Dorsa, and Dofris. By later historians, Doveria; and in the book of Domesday, Dovere; took its name most probably from the British words, Dufir, signifying water, or Dusirrha, high and steep, alluding to the cliffs adjoining to it. (fn. 1)
It is situated at the extremity of a wide and spacious valley, inclosed on each side by high and steep hills or cliffs, and making allowance for the sea's withdrawing itself from between them, answers well to the description given of it by Julius Cæfar in his Commentaries.
In the middle space, between this chain of high cliffs, in a break or opening, lies the town of Dover and its harbour, which latter, before the sea was shut out, so late as the Norman conquest, was situated much more within the land than it is at present, as will be further noticed hereafter.
ON THE SUMMIT of one of these cliffs, of sudden and stupendous height, close on the north side of the town and harbour, stands DOVER CASTLE, so famous and renowned in all the histories of former times. It is situated so exceeding high, that it is at most times plainly to be seen from the lowest lands on the coast of France, and as far beyond as the eye can discern. Its size, for it contains within it thirty five acres of ground, six of which are taken up by the antient buildings, gives it the appearance of a small city, having its citadel conspicuous in the midst of it, with extensive fortifications, around its walls. The hill, or rather rock, on which it stands, is ragged and steep towards the town and harbour; but towards the sea, it is a perpendicular precipice of a wonderful height, being more than three hundred and twenty feet high, from its basis on the shore.
Common tradition supposes, that Julius Cæfar was the builder of this castle, as well as others in this part of Britain, but surely without a probability of truth; for our brave countrymen found Cæfar sufficient employment of a far different sort, during his short stay in Britain, to give him any opportunity of erecting even this one fortress. Kilburne says, there was a tower here, called Cæsar's tower, afterwards the king's lodgings; but these, now called the king's keep, were built by king Henry II. as will be further mentioned hereafter; and he further says, there were to be seen here great pipes and casks bound with iron hoops, in which was liquor supposed to be wine, which by long lying had become as thick as treacle, and would cleave like birdlime; salt congealed together as hard as stone; cross and long bows and arrows, to which brass was fastened instead of feathers, and they were of such size, as not to be fit for the use of men of that or any late ages. These, Lambarde says, the inhabitants shewed as having belonged to Cæfar, and the wine and salt as part of the provision he had brought with him hither; and Camden relates, that he was shewn these arrows, which he thinks were such as the Romans used to shoot out of their engines, which were like to large crossbows. These last might, no doubt, though not Cæsar's, belong to the Romans of a later time; and the former might, perhaps, be part of the provisions and stores which king Henry VIII. laid in here, at a time when he passed from hence over sea to France. But for many years past it has not been known what is become of any of these things.
Others, averse to Cæsar's having built this castle, and yet willing to give the building of it to the empire of the Romans of a later time, suppose, and that perhaps with some probability, it was first erected by Arviragus, (or Arivog, as he is called on his coin) king of Britain, in the time of Claudius, the Roman emperor. (fn. 2)
That there was one built here, during the continuance of the Roman empire in Britain, must be supposed from the necessity of it, and the circumstances of those times; and the existence of one plainly appears, from the remains of the tower and other parts of the antient church within it, and the octagon tower at the west end, in which are quantities of Roman brick and tile. These towers are evidently the remains of Roman work, the former of much less antiquity than the latter, which may be well supposed to have been built as early as the emperor Claudius, whose expedition hither was about or immediately subsequent to the year of Christ 44. Of these towers, probably the latter was built for a speculum, or watch-tower, and was used, not only to watch the approach of enemies, but with another on the opposite hill, to point out the safe entrance into this port between them, by night as well as by day.
In this fortress, the Romans seem afterwards to have kept a garrison of veterans, as we learn from Pancirollus, who tells us that a company of soldiers under their chief, called Præpositus Militum Tungricanorum, was stationed within this fortess.
Out of the remains of part of the above-mentioned Roman buildings here, a Christian church was erected, as most historians write, by Lucius, king of Britain, about the year 161; but it is much to be doubted whether there ever was such a king in Britain; if there was, he was only a tributary chief to the Roman emperor, under whose peculiar government Britain was then accounted. This church was built, no doubt, for the use of that part of the garrison in particular, who were at that time believers of the gospel, and afterwards during the different changes of the Christian and Pagan religions in these parts, was made use of accordingly, till St. Augustine, soon after the year 597, at the request of king Ethelbert, reconsecrated it, and dedicated it anew, in honour of the blessed Virgin Mary.
¶His son and successor Eadbald, king of Kent, founded a college of secular canons and a provost in this church, whose habitations, undoubtedly near it, there are not the least traces of. These continued here till after the year 691; when Widred, king of Kent, having increated the fortifications, and finding the residence of the religious within them an incumbrance, removed them from hence into the town of Dover, to the antient church of St. Martin; in the description of which hereafter, a further account of them will be given.
DOVER does not seem to have been in much repute as a harbour, till some time after Cæsar's expedition hither; for the unfitness, as well as insecurity of the place, especially for a large fleet of shipping, added to the character which he had given of it, deterred the Romans from making a frequent use of it, so that from Boleyne, or Gessoriacum, their usual port in Gaul, they in general failed with their fleets to Richborough, or Portus Rutupinus, situated at the mouth of the Thames, in Britain, and thence back again; the latter being a most safe and commodious haven, with a large and extensive bay.
Notwithstanding which, Dover certainly was then made use of as a port for smaller vessels, and a nearer intercourse for passengers from the continent; and to render the entrance to it more safe, the Romans built two Specula, or watch-towers, here, on the two hills opposite to each other, to point out the approach to it, and one likewise on the opposite hill at Bologne, for the like purpose there; and it is mentioned as a port by Antoninus, in his Itinerary, in which, ITER III. is A Londinio ad Portum Dubris, i. e. from London to the port of Dover.
After the departure of the Romans from Britain, when the port of Bologne, as well as Richborough, fell into decay and disuse, and instead of the former a nearer port came into use, first at Whitsan, and when that was stopped up, a little higher at Calais, Dover quickly became the more usual and established port of passage between France and Britain, and it has continued so to the present time.
When the antient harbour of Dover was changed from its antient situation is not known; most probably by various occurrences of nature, the sea left it by degrees, till at last the farmer scite of it became entirely swallowed up by the beach. That the harbour was much further within land, even at the time of the conquest than it is at present, seems to be confirmed by Domesday, in which it is said, that at the entrance of it, there was a mill which damaged almost every ship that passed by it, on account of the great swell of the sea there. Where the scite of this mill was, is now totally unknown, though it is probable it was much within the land, and that by the still further accumulation of the beach, and other natural causes, this haven was in process of time so far filled up towards the inland part of it, as to change its situation still more to the south-west, towards the sea.
From the time of the Norman conquest this port continued the usual passage to the continent, and to confine the intercourse to this port only, there was a statute passed anno 4 Edward IV. that none should take shipping for Calais, but at Dover. (fn. 20) But in king Henry VII.'s time, which was almost the next reign, the harbour was become so swerved up, as to render it necessary for the king's immediate attention, to prevent its total ruin, and he expended great sums of money for its preservation. But it was found, that all that was done, would not answer the end proposed, without the building of a pier to seaward, which was determined on about the middle of Henry VIII.'s reign, and one was constructed, which was compiled of two rows of main posts, and great piles, which were let into holes hewn in the rock underneath, and some were shod with iron, and driven down into the main chalk, and fastened together with iron bands and bolts. The bottom being first filled up with great rocks of stone, and the remainder above with great chalk stones, beach, &c. During the whole of this work, the king greatly encouraged the undertaking, and came several times to view it; and in the whole is said to have expended near 63,000l. on it. But his absence afterwards abroad, his ill health, and at last his death, joined to the minority of his successor, king Edward VI. though some feeble efforts were made in his reign, towards the support of this pier, put a stop to, and in the end exposed this noble work to decay and ruin.
Queen Mary, indeed, attempted to carry it on again, but neither officers nor workmen being well paid, it came to nothing, so that in process of time the sea having brought up great quantities of beach again upon it, the harbour was choaked up, and the loss of Calais happening about the same time, threatened the entire destruction of it. Providentially the shelf of beach was of itself became a natural defence against the rage of the sea, insomuch, that if a passage could be made for ships to get safely within it, they might ride there securely.
To effect this, several projects were formed, and queen Elizabeth, to encourage it, gave to the town the free transportation of several thousand quarters of corn and tuns of beer; and in the 23d of her reign, an act passed for giving towards the repair of the harbour, a certain tonnage from every vessel above twenty tons burthen, passing by it, which amounted to 1000l. yearly income; and the lord Cobham, then lordwarden, and others, were appointed commissioners for this purpose; and in the end, after many different trials to effect it, a safe harbour was formed, with a pier, and different walls and sluices, at a great expence; during the time of which a universal diligence and public spirit appeared in every one concerned in this great and useful work. During the whole of the queen's reign, the improvement of this harbour continued without intermission, and several more acts passed for that purpose; but the future preservation of it was owing to the charter of incorporation of the governors of it, in the first year of king James I. by an act passed that year, by the name of the warden and assistants of the harbour of Dover, the warden being always the lord-warden of the cinque ports for the time being, and his assistants, his lieutenant, and the mayor of Dover, for the time being, and eight others, the warden and assistants only making a quorum; six to be present to make a session; at any of which, on a vacancy, the assistants to be elected; and the king granted to them his land or waste ground, or beach, commonly called the Pier, or Harbour ground, as it lay without Southgate, or Snargate, the rents of which are now of the yearly value of about three hundred pounds.
Under the direction of this corporation, the works and improvements of this harbour have been carried on, and acts of parliament have been passed in almost every reign since, to give the greater force to their proceedings.
From what has been said before, the reader will observe, that this harbour has always been a great national object, and that in the course of many ages, prodigious sums of money have been from time to time expended on it, and every endeavour used to keep it open, and render it commodious; but after all these repeated endeavours and expences, it still labours under such circumstances, as in a very great degree renders unsuccessful all that has ever been done for that purpose.
DOVER, as has been already mentioned, was of some estimation in the time of the Roman empire in Britain, on account of its haven, and afterwards for the castle, in which they kept a strong garrison of sol. diers, not only to guard the approach to it, but to keep the natives in subjection; and in proof of their residence here, the Rev. Mr. Lyon some years since discovered the remains of a Roman structure, which he apprehended to have been a bath, at the west end of the parish-church of St. Mary, in this town, which remains have since repeatedly been laid open when interments have taken place there.
This station of the Romans is mentioned by Antonine, in his Itinerary of the Roman roads in Britain, by the name of Dubris, as being situated from the station named Durovernum, or Canterbury, fourteen miles; which distance, compared with the miles as they are now numbered from Canterbury, shews the town, as well as the haven, for they were no doubt contiguous to each other, to have both been nearer within land than either of them are at present, the present distance from Canterbury being near sixteen miles as the road now goes, The sea, indeed, seems antiently to have occupied in great part the space where the present town of Dover, or at least the northwest part of it, now stands; but being shut out by the quantity of beach thrown up, and the harbour changed by that means to its present situation, left that place a dry ground, on which the town of Dover, the inhabitants following the traffic of the harbour, was afterwards built.
This town, called by the Saxons, Dofra, and Dofris; by later historians, Doveria; and in Domesday, Dovere; is agreed by all writers to have been privileged before the conquest; and by the survey of Domesday, appears to have been of ability in the time of king Edward the Confessor, to arm yearly twenty vessels for sea service. In consideration of which, that king granted to the inhabitants, not only to be free from the payment of thol and other privileges throughout the realm, but pardoned them all manner of suit and service to any of his courts whatsoever; and in those days, the town seems to have been under the protection and government of Godwin, earl of Kent, and governor of this castle.
Soon after the conquest, this town was so wasted by fire, that almost all the houses were reduced to ashes, as appears by the survey of Domesday, at the beginning of which is the following entry of it:
DOVERE, in the time of king Edward, paid eighteen pounds, of which money, king E had two parts, and earl Goduin the third. On the other hand, the canons of St. Martin had another moiety. The burgesses gave twenty ships to the king once in the year, for fifteen days; and in each ship were twenty and one men. This they did on the account that he had pardoned them sac and soc. When the messengers of the king came there, they gave for the passage of a horse three pence in winter, and two in summer. But the burgesses found a steerman, and one other assistant, and if there should be more necessary, they were provided at his cost. From the festival of St. Michael to the feast of St. Andrew, the king's peace was in the town. Sigerius had broke it, on which the king's bailiff had received the usual fine. Whoever resided constantly in the town paid custom to the king; he was free from thol throughout England. All these customs were there when king William came into England. On his first arrival in England, the town itself was burnt, and therefore its value could not be computed how much it was worth, when the bishop of Baieux received it. Now it is rated at forty pounds, and yet the bailiff pays from thence fifty-four pounds to the king; of which twenty-four pounds in money, which were twenty in an one, but thirty pounds to the earl by tale.
In Dovere there are twenty-nine plats of ground, of which the king had lost the custom. Of these Robert de Romenel has two. Ralph de Curbespine three. William, son of Tedald, one. William, son of Oger, one. William, son of Tedold, and Robert niger, six. William, son of Goisfrid, three, in which the guildhall of the burgesses was. Hugo de Montfort one house. Durand one. Rannulf de Colubels one. Wadard six. The son of Modbert one. And all these vouch the bishop of Baieux as the protector and giver of these houses. Of that plat of ground, which Rannulf de Colubels holds, which was a certain outlaw, they agree that the half of the land was the king's, and Rannulf himself has both parts. Humphry the lame man holds one plat of ground, of which half the forfeiture is the king's. Roger de Ostrabam made a certain house over the king's water, and held to this time the custom of the king; nor was a house there in the time of king Edward. In the entrance of the port of Dovere, there is one mill, which damages almost every ship, by the great swell of the sea, and does great damage to the king and his tenants; and it was not there in the time of king Edward. Concerning this, the grandson of Herbert says, that the bishop of Baieux granted it to his uncle Herbert, the son of Ivo.
And a little further, in the same record, under the bishop's possessions likewise:
In Estrei hundred, Wibertus holds half a yoke, which lies in the gild of Dover, and now is taxed with the land of Osbert, the son of Letard, and is worth per annum four shillings.
From the Norman conquest, the cities and towns of this realm appear to have been vested either in the crown, or else in the clergy or great men of the laity, and they were each, as such, immediately lords of the same. Thus, when the bishop of Baieux, to whom the king had, as may be seen by the above survey, granted this town, was disgraced. It returned into the king's hands by forfeiture, and king Richard I. afterwards granted it in ferme to Robt. Fitz-bernard. (fn. 21)
After the time of the taking of the survey of Domesday, the harbour of Dover still changing its situation more to the south-westward, the town seems to have altered its situation too, and to have been chiefly rebuilt along the sides of the new harbour, and as an encouragement to it, at the instance, and through favour especially to the prior of Dover, king Edward I. in corporated this town, the first that was so of any of the cinque ports, by the name of the mayor and commonalty. The mayor to be chosen out of the latter, from which body he was afterwards to chuse the assistants for his year, who were to be sworn for that purpose. At which time, the king had a mint for the coinage of money here; and by patent, anno 27 of that reign, the table of the exchequer of money was appointed to be held here, and at Yarmouth. (fn. 22) But the good effects of these marks of the royal favour were soon afterwards much lessened, by a dreadful disaster; for the French landed here in the night, in the 23d year of that reign, and burnt the greatest part of the town, and several of the religious houses, in it, and this was esteemed the more treacherousk, as it was done whilst the two cardinals were here, treating for a peace between England and France; which misfortune, however, does not seem to have totally impoverished it, for in the 17th year of the next reign of king Edward II it appears in some measure to have recovered its former state, and to have been rebuilt, as appears by the patent rolls of that year, in which the town of Dover is said to have then had in it twenty-one wards, each of which was charged with one ship for the king's use; in consideration of which, each ward had the privilege of a licensed packetboat, called a passenger, from Dover across the sea to Whitsan, in France, the usual port at that time of embarking from thence.
The state of this place in the reign of Henry VIII. is given by Leland, in his Itinerary, as follows:
"Dovar ys xii myles fro Canterbury and viii fro Sandwich. Ther hath bene a haven yn tyme past and yn taken ther of the ground that lyith up betwyxt the hilles is yet in digging found wosye. Ther hath bene found also peeces of cabelles and anchores and Itinerarium Antonini cawlyth hyt by the name of a haven. The towne on the front toward the se hath bene right strongly walled and embateled and almost al the residew; but now yt is parly fawlen downe and broken downe. The residew of the towne as far as I can perceyve was never waulled. The towne is devided into vi paroches. Wherof iii be under one rose at S. Martines yn the hart of the town. The other iii stand that yt hath be walled abowt but not dyked. The other iii stand abrode, of the which one is cawled S. James of Rudby or more likely Rodeby a statione navium. But this word ys not sufficient to prove that Dovar showld be that place, the which the Romaynes cawlled Portus Rutupi or Rutupinum. For I cannot yet se the contrary but Retesboro otherwise cawlled Richeboro by Sandwich, both ways corruptly, must neades be Rutupinum. The mayne strong and famose castel of Dovar stondeth on the loppe of a hille almost a quarter of a myle of fro the towne on the lyst side and withyn the castel ys a chapel, yn the sides wherof appere sum greate Briton brykes. In the town was a great priory of blacke monkes late suppressed. There is also an hospitalle cawlled the Meason dew. On the toppe of the hye clive betwene the towne and the peere remayneth yet abowt a slyte shot up ynto the land fro the very brymme of the se clysse as ruine of a towr, the which has bene as a pharos or a mark to shyppes on the se and therby was a place of templarys. As concerning the river of Dovar it hath no long cowrse from no spring or hedde notable that descendith to that botom. The principal hed, as they say is at a place cawled Ewelle and that is not past a iii or iiii myles fro Dovar. Ther be springes of frech waters also at a place cawled Rivers. Ther is also a great spring at a place cawled …… and that once in a vi or vii yeres brasted owt so abundantly that a great part of the water cummeth into Dovar streme, but als yt renneth yn to the se betwyxt Dovar and Folchestan, but nerer to Folchestan that is to say withyn a ii myles of yt. Surely the hedde standeth so that it might with no no great cost be brought to run alway into Dovar streame." (fn. 23)
Cougate Crosse-gate Bocheruy-gate stoode with toures toward the se. There is beside Beting-gate and Westegate.
Howbeyt MTuine tol me a late that yt hath be walled abowt but not dyked.
This was the state of Dover just before the time of the dissolution of religious houses, in Henry VIII.'s reign, when the abolition of private masses, obits, and such like services in churches, occasioned by the reformation, annillilated the greatest part of the income of the priests belonging to them, in this as well as in other towns, in consequence of which most of them were deserted, and falling to ruin, the parishes belonging to them were united to one or two of the principal ones of them. Thus, in this town, of the several churches in it, two only remained in use for divine service, viz. St. Mary's and St. James's, to which the parishes of the others were united.
After this, the haven continuting to decay more than ever, notwithstanding the national assistance afforded to it, the town itself seemed hastening to impoverishment. What the state of it was in the 8th year of queen Elizabeth, may be seen, by the certificate returned by the queen's order of the maritime places, in her 8th year, by which it appears that there were then in Dover, houses inhabited three hundred and fifty-eight; void, or lack of inhabiters, nineteen; a mayor, customer, comptroller of authorities, not joint but several; ships and crayers twenty, from four tons to one hundred and twenty.
¶This probable ruin of the town, however, most likely induced the queen, in her 20th year, to grant it a new charter of incorporation, in which the manner of chusing mayor, jurats, and commoners, and of making freemen, was new-modelled, and several surther liberties and privileges granted, and those of the charter of king Edward I. confirmed likewise by inspeximus. After which, king Charles II. in his 36th year, anno 1684, granted to it a new charter, which, however, was never inrolled in chancery, and in consequence of a writ of quo warranto was that same year surrendered, and another again granted next year; but this last, as well as another charter granted by king James II. and forced on the corporation, being made wholly subservient to the king's own purposes, were annulled by proclamation, made anno 1688, being the fourth and last year of his reign: but none of the above charters being at this time extant, (the charters of this corporation, as well as those of the other cinque ports, being in 1685, by the king's command, surrendered up to Col. Strode, then governor of Dover castle, and never returned again, nor is it known what became of them,) Dover is now held to be a corporation by prescription, by the stile of the mayor, jurats, and commonalty of the town and port of Dover. It consists at present of a mayor, twelve jurats, and thirty-six commoners, or freemen, together with a chamberlain, recorder, and town-clerk. The mayor, who is coroner by virtue of his office, is chosen on Sept. 8, yearly, in St. Mary's church, and together with the jurats, who are justices within this liberty, exclusive of all others, hold a court of general sessions of the peace and gaol delivery, together with a court of record, and it has other privileges, mostly the same as the other corporations, within the liberties of the cinque ports. It has the privilege of a mace. The election of mayor was antiently in the church of St. Peter, whence in 1581 it was removed to that of St. Mary, where it has been, as well as the elections of barons to serve in parliament, held ever since. These elections here, as well as elsewhere in churches, set apart for the worship of God, are certainly a scandal to decency and religion, and are the more inexcusable here, as there is a spacious court-hall, much more fit for the purposes. After this, there was another byelaw made, in June, 1706, for removing these elections into the court-hall; but why it was not put in execution does not appear, unless custom prevented it—for if a decree was of force to move them from one church to another, another decree was of equal force to remove them from the church to the courthall. Within these few years indeed, a motion was made in the house of commons, by the late alderman Sawbridge, a gentlemand not much addicted to speak in favour of the established church, to remove all such elections, through decency, from churches to other places not consecrated to divine worship; but though allowed to be highly proper, yet party resentment against the mover of it prevailed, and the motion was negatived by a great majority.
The mayor is chosen by the resident freemen. The jurats are nominated from the common-councilmen by the jurats, and appointed by the mayor, jurats, and common-councilmen, by ballot.
THE CHURCH OF ST. Mary stands at some distance from the entrance into this town from Canterbury, near the market-place. It is said to have been built by the prior and convent of St. Martin, (fn. 47) in the year 1216; but from what authority, I know not.—Certain it is, that it was in king John's reign, in the gift of the king, and was afterwards given by him to John de Burgh; but in the 8th year of Richard II.'s reign, anno 1384, it was become appropriated to the abbot of Pontiniac. After which, by what means, I cannot discover, this appropriation, as well as the advowson of the church, came into the possession of the master and brethren of the hospital of the Maison Dieu, who took care that the church should be daily served by a priest, who should officiate in it for the benefit of the parish. In which state it continued till the suppression of the hospital, in the 36th year of king Henry VIII.'s reign, when it came into the hands of the crown, at which time the parsonage was returned by John Thompson, master of the hospital, to be worth six pounds per annum.
Two years after which, the king being at Dover, at the humble entreaty of the inhabitants of this parish, gave to them, as it is said, this church, with the cemetery adjoining to it, to be used by them as a parochial church; at the same time he gave the pews of St. Martin's church for the use of it; and on the king's departure, in token of possession, they sealed up the church doors; since which, the patronage of it, which is now esteemed as a perpetual curacy, the minister of it being licensed by the archbishop, has been vested in the inhabitants of this parish. Every parishioner, paying scot and lot, having a vote in the chusing of the minister, whose maintenance had been from time to time, at their voluntary option, more or less. It is now fixed at eighty pounds per annum. Besides which he has the possession of a good house, where he resides, which was purchased by the inhabitants in 1754, for the perpetual use of the minister of it. It is exempt from the jurisdiction of the archdeacon. (fn. 48)
There is a piece of ground belonging, as it is said, to the glebe of this church, rented annually at ten pounds, which is done by vestry, without the minister being at all concerned in it. In 1588 here were eight hundred and twenty-one communicants. This parish contains more than five parts out of six of the whole town, and a greater proportion of the inhabitants.
The church of St. Mary is a large handsome building of three isles, having a high and south chancel, all covered with lead, and built of flints, with ashler windows and door cases, which are arched and ornamented. At the west end is the steeple, which is a spire covered with lead, in which are eight bells, a clock, and chimes. The pillars in the church are large and clumsy; the arches low and semicircular in the body, but eliptical in the chancel; but there is no separation between the body and chancel, and the pews are continued on to the east end of the church. In the high chancel, at the eastern extremity of it, beyond the altar, are the seats for the mayor and jurats; and here the mayor is now chosen, and the barons in parliament for this town and port constantly elected.
In 1683, there was a faculty granted to the churchwardens, to remove the magistrates seats from the east end of the church to the north side, or any other more convenient part of it, and for the more decent and commodious placing the communion table: in consequence of which, these seats were removed, and so placed, but they continued there no longer than 1689, when, by several orders of vestry, they were removed back again to where they remain at present.
The mayor was antiently chosen in St. Peter's church; but by a bye-law of the corporation, it was removed to this church in 1583, where it has ever since been held. In 1706, another bye law was made, to remove, for the sake of decency, all elections from this church to the court-hall, but it never took place. More of which has been mentioned before.
From the largeness, as well as the populousness of this parish, the church is far from being sufficient to contain the inhabitants who resort to it for public worship, notwithstanding there are four galleries in it, and it is otherwise well pewed. This church was paved in 1642, but it was not ceiled till 1706. In 1742, there was an organ erected in it. The two branches in it were given, one by subscription in 1738, and the other by the pilots in 1742.
Thomas Toke, of Dover, buried in the chapel of St. Katharine, in this church, by his will in 1484, gave seven acres of land at Dugate, under Windlass-down, to the wardens of this church, towards the repairs of it for ever.
¶The monuments and memorials in this church and church yard, are by far too numerous to mention here. Among them are the following: A small monument in the church for the celebrated Charles Churchill, who was buried in the old church-yard of St. Martin in this town, as has been noticed before; and a small stone, with a memorial for Samuel Foote, esq. the celebrated comedian, who died at the Ship inn, and had a grave dug for him in this church, but was afterwards carried to London, and buried there. A monument and several memorials for the family of Eaton; arms, Or, a sret, azure. A small tablet for John Ker, laird of Frogden, in Twit dale, in Scotland, who died suddenly at Dover, in his way to France, in 1730. Two monuments for Farbrace, arms, Azure, a bend, or, between two roses, argent, seeded, or, bearded vert. A monument in the middle isle, to the memory of the Minet family. In the north isle are several memorials for the Gunmans, of Dover; arms,. … a spread eagle, argent, gorged with a ducal coronet, or. There are others, to the memory of Broadley, Rouse, and others, of good account in this town.
IDed on the basis of flight date, appearance, range & habitat. Cherry Gall Azure (Late Spring Azure) late date in CT is 6/16, & this is a nice fresh specimen. Too well marked for Appalachian, and Black Cohosh (Appalachian's foodplant) is not on the Great Swamp NWR wildflower checklist. Too far north for Holly (no record north of Monmouth County in BAMONA, which includes legacy records from specimen collections).
Basis : Ferrari F12berlinetta
6.262 cc
V12
740 HP @ 8.250 rpm
690 Nm @ 6.000 rpm
1.525 kg
Geneva International Motor Show
Internationaler Auto-Salon Genf
Suisse - Schweiz - Switzerland
Maart 2015
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The "Entwicklung" tank series (= "development"), more commonly known as the E-Series, was a late-World War II attempt by Germany to produce a standardized series of tank designs. There were to be six standard designs in different weight classes, from which several specialized variants were to be developed. This intended to reverse the trend of extremely complex tank designs that had resulted in poor production rates and mechanical unreliability.
The E-series designs were simpler, cheaper to produce and more efficient than their predecessors; however, their design offered only modest improvements in armor and firepower over the designs they were intended to replace, such as the Jagdpanzer 38(t), Panther Ausf.G or Tiger II. However, the resulting high degree of standardization of German armored vehicles would also have made logistics and maintenance easier. Indeed, nearly all of the E-series vehicles — up through and including the E-75 — were intended to use what were essentially the Tiger II's eighty centimeter diameter, steel-rimmed road wheels for their suspension, meant to overlap each other (as on the later production Tiger I-E and Panther designs that also used them), even though in a much simplified fashion.
Focus of initial chassis and combat vehicle development was the E-50/75 Standardpanzer, designed by Adler, both being mostly identical and only differing in armor thickness, overall weight and running gear design to cope with the different weights.
The E-50 Standardpanzer was intended as a medium tank, replacing the Panther and Tiger I battle tanks and the conversions based on these older vehicles. The E-50 hull was to be longer than the Panther, and in fact it was practically identical to the Königstiger (Tiger II) in overall dimensions except for the glacis plate layout. Compared with the earlier designs, however, the amount of drilling and machining involved in producing the Standardpanzer designs was reduced drastically, which would have made them quicker, easier and cheaper to produce, as would the proposed conical spring system, replacing their predecessors' torsion bar system which required a special steel alloy.
The basis development, the E-50 Ausf. A combat tank, was to carry the narrow-mantlet 'Schmalturm' turret (originally designed for the Panther Ausf. F), coupled with a variant of the powerful KwK 43 88 mm L/71 gun, but heavier guns (a new 10,5 cm gun for both the E-50 and E-75 and the 12,8 cm caliber gun for the E-75) in bigger turrets were under development.
In service the vehicle received the inventory ordnance number "SdKfZ. 191" and was officially called "Einheitspanzer 50" (Standard tank), retaining its E-50 abbreviation. The weight of the E-50 vehicle family would fall between 50 and 75 tons. The engine was an improved Maybach HL234 with up to 900 hp output. Maximum speed was supposed to be up to 60 km/h.
The E-75 Standardpanzer (SdKfz. 192), based on the same hull, was intended to be the standard heavy tank and become the replacement of the heavy Tiger II and Jagdtiger tanks. The E-75 would have been built on the same production lines as the E-50 for ease of manufacture, and the two vehicles were to share many components, including the same Maybach HL 234 engine and running gear elements. As its name indicates, the resulting vehicle would have weighed in at over 75 tons, reducing its speed to around 40 km/h. To offset the increased weight, the bogies were spaced differently from on the E-50, with an extra pair added on each side and eight instead of six wheels plus a slightly wider track, giving the E-75 a slightly improved track to ground contact length.
The KwK 45 10,5cm gun had already started in 1943 as an answer to the heavy KV and later the IS series of Soviet combat tanks, and it was ready for service in September 1945, just in time for the deployment of the E-50/75 family of tanks. The KwK 45 was specifically designed to fit into the turret mountings of the 8.8cm KwK 43. This would enable older vehicles to be upgunned with minimum modifications; hence, the fleet could be upgraded in a shorter time and at a lower cost.
The breech used a horizontally sliding breech block for loading the fixed cartridge cases. The gun recoiled only approximately 29 cm (11.5 inch) in most applications, automatically opening the breech and ejecting the empty cartridge case as the gun returns to battery from full recoil. The cannon had a weight of 1.287 kg and was able to achieve a rate of fire of up to eight shots per minute Schuss/Minute, with an effective range of 4.000 m (2.5 mi) ). HE rounds were fired with a muzzle velocity of 1.100 m (3,600 ft ) per second and APDS rounds achieved 1.500 m (4,900 ft) per second. This was sufficient to penetrate 170 mm (6.7 in) of armor at a range of 1.800m (5,900 ft) or 280 mm (11 in) of armor with APDS rounds, respectively.
In the E-50 tank, the KwK 45 was carried by the Ausf. C variant in a voluminous Henschel turret, which was similar in outline to the earlier Königstiger heavy tank, but it was a simplified construction and had varying armor strengths for the E-50 and E-75 tanks. Instead of the initial L52 barrel, which made the KwK 45 compatible with the Schmalturm turret of the initial E-50 variants, the bigger turret of the Ausf. C allowed to add additional counterweights so that a longer caliber 60 barrel without a muzzle brake could be installed, which improved the weapon's range and hitting power further. Otherwise the E-50 Ausf. C was identical to the earlier versions. Thanks to the relatively spacious turret, a total of 64 105mm shells could be carried (typically 50% high explosive and 50% armor-piercing), plus 4.800 rounds for the secondary 7,92 MG 34s on board (32 ammunition belts with 150 round each).
In order to improve the tanks' long-range strike capability, some of the new E-50/75 battle tanks were additionally equipped with launch rails and a visual guidance system for the new Ruhrstahl X-7 anti-tank missile, unofficially nicknamed "Rotkäppchen" (Little Red Riding Hood).
The aircraft-shaped X-7 was the first operational anti-tank guided missile in history. It was created on the basis of a command of the Army Ordnance Office to Dr. Ing. Kramer and its origins dated back as far the beginning of the year 1934, but it had no high priority from official side and there were numerous problems to be eradicated. An appropriate number was built in the factory in Brackwede and handed over to the army for field-testing before the war, but the weapon initially did not receive much interest. The main version was wire-steered, but other trial versions were equipped with the automatic infrared steering system "Steinbock" (Capricorn) or with the electro-optical guidance systems "Pfeifenkopf" (Pipe bowl) and "Pinsel" (Brush) - the latter used vidicon cameras to detect the difference between the target and the background. Various guidance systems were tested, too, both for anti-aircraft and anti-tank use.
As an anti-tank weapon the small, aircraft-shaped missile could easily be transported and deployed on light vehicles, but it was also tested as an auxiliary weapon for tanks, from which it could be fired and steered from the inside with the help of an optical guidance system.
The X-7 was a compact weapon and had a length of 0,95 m (37 1/2 in), a body diameter of 150 mm (6 in), a wing span of 0,60 m (23 1/2 in). Its launch weight was about 9kg (~20 lb). It was powered by a solid fuel twin rocket engine that delivered 676 N of thrust for 3 seconds at the start for a maximum speed of 245 m/s (550 mph; 476 kn; 880 km/h) and sustained 55 N for another 8 seconds, achieving a cruise speed of 100 m/s. The missile carried a 2.5 kg (5.5 lb) hollow charge, triggered with an impact fuze, that could penetrate more than 200 mm (7.9 in) of armor at a 30° angle.
For the use on board of tanks, the X-7 was carried on special launch rigs which could be easily attached to turrets or casemate hulls. Typically, two of the missiles were carried, ready to launch. The optical guidance system was based on the ZG 1229 "Vampir" infrared night vision system - but for the X-7 guidance, the device had been modified into a periscope that was mounted on the roof of the gunner's station, so that the missile could be fired and guided in the safety of the armored turret.
However, initial field tests in early 1946 revealed that the X-7 hardly offered any benefit when compared with the heavy German cannon. The potential benefit of a dive attack on a tank target, which would reduce the relative armor strength of the target or hit the weaker upper armor of such a target, was only theoretical because aiming and guiding the missile even at a direct course was not easy. A ballistic flight path was possible, but under combat conditions unrealistic. Furthermore, the missiles unprotected storage made them highly vulnerable against enemy fire, and many were lost early because the fell off of the launch racks or were simply ripped away when the tank moved through obstacles like trees or ruins. An internal storage of the weapon in a tank was also impossible. Therefore, the X-7 was soon banned from battle tanks and either mounted on light, unarmored vehicles, which could more easily employ "hit-and-run" tactics, or the light missiles were carried by two man teams for ambushes. In mid-1946, trials to fire the X-7 from a Flettner Fl 282 Kolibri helicopter ensued.
Specifications:
Crew: Five (commander, gunner, loader, radio operator, driver)
Weight: 54 tonnes (60 short tons)
Length: 7.27 metres (23 ft 8 in) (hull only)
9.36 metres (30 ft 8 in) incl. gun
Width: 3.88 metres (12 ft 9 in)
Height 3.35 metres (11 ft)
Ground clearance: 495 to 510 mm (1 ft 7.5 in to 1 ft 8.1 in)
Suspension: Conical spring
Fuel capacity: 720 litres (160 imp gal; 190 US gal)
Armor:
30–120 mm (1.2 – 4.7 in)
Performance:
Speed
- Maximum, road: 44 km/h (27.3 mph)
- Sustained, road: 38 km/h (24 mph)
- Cross country: 15 to 20 km/h (9.3 to 12.4 mph)
Operational range: 160 km (99 miles)
Power/weight: 16,67 PS/tonne (14,75 hp/ton)
Engine:
V-12 Maybach HL 234 gasoline engine with 900 PS (885 hp/650 kW)
Transmission:
ZF AK 7-200 with 7 forward 1 reverse gears
Armament:
1× 10,5 cm KwK 45 L/60 with 64 rounds
2× 7.92 mm Maschinengewehr 34 with a total of 5.200 rounds (one mounted co-axially with
the main gun and an optional AA gun on the commander's cupola)
2× X-7 "Rotkäppchen" anti-tank missile launch rails on some vehicles
The kit and its assembly:
Another Heer '46 model, and again one of the many 1:72 Modelcollect kits. Even though I rather have a knack for exotic vehicles I thought that a relatively simple battle tank could not hurt in the collection - but I still had an idea how to add a personal touch and take the basic idea further.
This came when I remembered the small X-7 missile, and wondered if that could not have been used from 1945 onwards - e.g. as an additional stand-off weapon for tanks like the post-war AS.12 in France - the light AMX-13 tank could carry four of these above the gun on its oscillating turret. And that made me wonder if and how the German missile could find its way on a battle tank?
In an initial step I scratched a pair of X-7s from bombs and styrene profile material - they look a little clumsy and they became actually too large for authentic 1:72 scale, but their outlines turned out well. Using them as benchmarks I checked different tank kits and eventually settled for an E-50 with the large Tiger-II-style Henschel turret. This offered a good size and height to mount the two missiles in racks on the turret's flanks - these are scratched from styrene profile material, too. Otherwise the kit remained OOB, I just used the kit's night vision device and some material from the scrap box to create an optical guidance gear, mounted on the turret in front of the gunner's hatch.
The E-50 kit goes together well, just some light PSR is necessary at the turret's base. This version of the kit also came with a surplus Schmalturm sprue and it did not come with vinyl tracks, like some former kits from this series that I have built, but rather with molded single track elements. I am not a fan of these, at least in 1:72 scale, and mounting these small bits was a tedious affair that took a whole day. The low mud guards hampered the process further.
Painting and markings:
The paint scheme is a variation of the classic German "Hinterhalt" camouflage, consisting of Dark Yellow, Olive Green and Red Brown. However, the pattern is a little special, because I wanted to recreate the original concept of the scheme, the ideal “factory finish”. It was intended to apply the green and brown contrast colors on top of the dark yellow in the form of overlapping small, round dots of uniform size, applied with a gauge, that let the light color shine though here and there – plus small contrast speckles added to the dark yellow. A really complex camouflage pattern, but quite effective, because it mimicked well the fractal shadows under a tree, disrupting a vehicle’s silhouette.
In real life, however, only a few tanks had been painted this way around August 1944 in the factories (I have seen Panther, Hetzer, Jagdpanzer IV/L70 and a Sturmtiger, sometimes only partly, finished in this fashion), because the application was tedious and time-consuming. Eventually, the tanks were delivered to the frontline troops in a uniform dark yellow finish, together with the green and brown as thick pastes which were to be applied individually by the crew, depending on the local needs and with whatever was at hand.
I order to mimic the original Hinterhalt scheme’s look I initially gave the model an overall coat with RAL 8001 “Grünbraun” as primer and then added 7028 "Dunkelgelb" (Modelmaster) with a wide, flat brush, creating a cloudy finish. Once dry I used two self-made stamps for the application of the red brown (Humbrol 160) and the green (RAL 6003 from Modelmaster). The stamps were made from fine expanded rubber, die-punched into circles of 3 and 4mm diameter and then glued on top of sticks with superglue. Very simple, but worked like a charm!
Adding all the circles one by one was another tedious task, esp. on uneven underground and around corners. Once this basic painting was done, the kit received an overall wash with a mix of black and red brown acrylic paint. Next came the decal application; the crosses and the “kill marks” for the barrel were taken from the OOB sheet, the red tactical code and the small unit badges were taken from a TL Modellbau aftermarket sheet. Next came a light dry brushing treatment with beige and light grey, highlighting surface details and edges. After painting some details and adding some rust marks came a coat of matt varnish (from the rattle can), the tracks were finally mounted and the lower area of the tank received a treatment with a greyish-brown pigment mix, simulating dust and mud residue.
A relatively simple project, done in four days from which one day was spent with the camouflage and another one with the fiddly tracks. Creating the small X-7 missiles from scratch was tricky, too. Nevertheless, I think the effort was worthwhile, since the addition of the missiles and their racks give the otherwise simple battle tank a special touch and some Heer '46 futurism. After all, it’s a what-if model. The complex camouflage also looks good, and it demonstrates how effective the original concept of the Hinterhalt scheme actually was, had it been applied properly. I might re-apply the concept on a mecha model in the future – probably with different colors, though.
DOE Office of Nuclear Energy visits the BASIS DC Public Charter School on October 20, 2017.
(PHOTO CREDIT: DOE PHOTOGRAPHER, Donica Payne)
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Für die Rennen der wichtigsten Kategorie Gran Turismo (GT) wird 1963 eine Rennsportvariante auf Basis des 356 Carrera 2 gebaut. Der letzte Porsche-Rennsportwagen mit Aluminiumkarosserie hat die gleiche niedrige, keilförmige Nase und den abrupten Abbruch der Dachlinie wie der 718 GTR von 1962. In der Frontpartie gibt es 2 kreisrunde Öffnungen, in denen entweder die Signalhörner oder die Zusatzscheinwerfer untergebracht werden. Der Wagen erhält den Spitznamen 'Dreikantschaber', da die Silhouette der Karosserie einem Dreiantschaber-Werkzeug ähnelt. 1963 fällt der Rennwagen bei seinem einzigen Einsatz in Le Mans mit Heinz Schiller und Ben Pon aufgrund eines Motorschadens aus.
1.966 cc
4 Cylinder Boxer
155 PS
Vmax : 235 km/h
Sonderausstellung : 24 Stunden für die Ewigkeit
Special exhibition : 24 Hours for Eternity
Le Mans
26/03/2014 - 31/08/2014
Porsche Museum
Zuffenhausen - Stuttgart
Germany
Juli 2014
President Shimon Peres met on Sunday, November 22, 2009 in Cairo with Egyptian President Hosni Mubarak. They discussed ways to break the political deadlock and to bring Israel and the Palestinians back to the negotiating table, and agreed that Egypt should increase its involvement in renewing the negotiations quickly. They also discussed bilateral issues, including ways to prevent arms smuggling from Sinai into the Gaza Strip and the strengthening of cooperation between the two states in the areas of security and intelligence.
Following their meeting, Presidents Peres and Mubarak held a press conference. President Mubarak said: "I expressed my concern to President Peres that peace talks have not progressed, and we must not miss the opportunity for peace. We want to see a halt to settlement in the occupied territories, including East Jerusalem, and the continuation of negotiations on the basis of the 1967 lines and international agreements. I renew my call for a just, permanent agreement within a fixed time framework, an end to the siege of Gaza, and an increase of improvements for the Palestinian people. Israel must make courageous decisions to complete the process."
President Peres praised the Egyptian President for his responsibility in keeping the peace and respecting agreements for 25 years, and said, "I came to find ways and opportunities to advance the peace process. The government of Israel is prepared for a solution of two states for two peoples, with the establishment of a Palestinian states alongside Israel. We want to live in peace and mutual respect with our Palestinian neighbors. We seek peace and condemn the path of terror led by Iranian President Ahmadinejad, who wants to impose Iranian hegemony in the Middle East with bombs and threats. We will not allow the Middle East to be torn to shreds by Iranian terror and enriched uranium."
In response to a question on a settlement freeze, President Peres said that Israel is not expanding settlements, is not confiscating land and is not investing in infrastructure. With the entry into serious, sincere negotaitons, all issues will be discussed and resolved. There is no other way of resolving the differences between the two sides than serious negotiations which will in the end determine the permanent borders and the framework of the Palestinian state that will be established.
President Mubarak emphasized that the future of Jerusalem, which both Israelis and Palestinians claim as their capital, was an issue of concern for the entire Islamic world. Peres, in reply, said that Jerusalem was under Israeli sovereignty, and any change to that status would require Knesset approval. However, he added, "I want to send a clear message to the Arab world: we have no intention of building on the Temple Mount. We respect the Muslims, and I am sorry for the frequent rumors and lies. We should not create fabricated crises."
Photofeed: Mark Neiman/GPO
Acne is an inflammatory disease of the pilo-sebaceous follicle, that is, the basis of hair on the skin. It’s found all over the surface of the body, except the palms of the hands and feet… just where you never have pimples. In this article we’ll discuss the causes of acne apart from hormonal imbalance. For hormonal acne you may read our previous post – How to prevent and treat hormonal acne?
As the name implies, a pilo-sebaceous follicle consists of a hair and a sebaceous gland, which secretes sebum. The appearance of acne shows a dysfunction related to several associated phenomena: hyperseborrhea, although acne also affects dry skin, dysseborrhea, hyperkeratinization, bacterial proliferation, but also a share of heredity.
Hyperseborrhea and Dysseborrhea: Two Different Sebum Problems
Hyperseborrhea: It corresponds to the overproduction of sebum resulting from the hormonal activity that triggers at puberty. During childhood, the skin secretes very little sebum. The activity of the sebaceous glands is fully established at the time of puberty, when male sex hormones (androgens) begin to function, in girls as in boys. In the majority of cases, an excess of sebum is then observed, before the hormonal balance is regulated. The skin becomes oily and shiny, but this hyperseborrhea is not enough to explain acne: some people have oily skin without having pimples.
Dysseborrhea: This is a change in the composition of sebum. Recently, research has shown a qualitative alteration of acne sebum compared to healthy sebum. In people affected by acne, sebum has a deficiency of vitamin E, which promotes the oxidation of skin lipids. Sebum flows more difficult out of the follicle and clogs the pillar canal, which further increases the risk of comedones.
Is Acne Just A Disease of Oily Skin?
Yes and no. A problem of sebum is always the cause of imperfections. But in adult acne especially, it is common that patients suffer from both pimples and nodules while having fragile skin, dehydrated and even with dander in places. Conventional biological causes are therefore not sufficient to explain the lesions.
In these cases, acne is explained by the effects of dysseborrhea, which helps to dehydrate the skin, by an imbalance of the skin microbiome, by poorly chosen hygiene and care products, but also by the side effects of years of aggressive anti-acne treatments.
Behind a problem of imperfections, there is always an excess of sebum it is true, so rather oily skin. But recent findings on dysseborrhea have refined the approach. Current scientific knowledge confirms the feeling expressed by many patients affected by acne, especially if the problem lasts over time. They speak of a skin that has become intolerant and can no longer stand anything, with oily and other ultra-sensitive areas.
Oily skin with an acne tendency is better understood today, it turns out more complex. This is a normal consequence of changing the qualitative composition of sebum, which leads to increased insensitive loss of water: therefore, oily skin can be dehydrated.
Due to lack of water, this oily skin is weakened and even more aggressed, if it receives a drying anti-acne treatment to combat imperfections.
The skin is a living ecosystem… let’s not forget that the skin has a microbiome, in other words a skin flora composed of microorganisms (bacteria, fungi, mites…) that makes barrier to unwanted germs and protects us from infections. But the slightest imbalance in this fragile environment can have important consequences and leave the field free to ” bad ” bacteria… no wonder that aggressive local treatments to treat acne modify the reactions of the skin. It is therefore necessary to adopt a more subtle therapeutic strategy, which takes into account the sensitivity of the acne skin.
Hyper-keratinization, Thickening of The Skin
Hyper-keratinization is the excessive multiplication of cells of the wall of the follicular canal leads to the formation of a real plug, which prevents the sebum from escaping normally.
The consequence is the appearance of comedones, small elevations of the skin, either of the color of the skin (closed comedone, white point or microkyst) giving a grainy skin appearance, or centered by a black point (Open comedone) which may correspond either to an oxidation of lipids in the air or to the presence of melanins (skin pigments) on the surface of the comedone. The Black color testifies to oxidation of lipids in the air. At this stage, it is a retentional acne.
Bacterial Proliferation, Microbes Multiply
Sebum is an ideal nutrient medium for certain bacteria, especially Cutibacterium acnes, more recently called Propionibacterium acnes.
This bacterium is normally present in all individuals. But the formation of a plug leads to an oxygen-poor environment, which promotes the proliferation of this bacterium ideal for growing and multiplying in the pilo-sebaceous follicle.
In the face of this aggression, the body defends itself and responds with inflammation. The comedone then turns into a painful red pimple called papule, sometimes surmounted by a pustule, which contains liquid of yellow color. This development corresponds to inflammatory acne.
Is Acne Hereditary?
The idea that acne has a genetic component and that there is a favorable family terrain is widespread. Sociological studies seem to partially confirm this idea, with stronger mother-related heredity for girls under the age of 20 and for women aged 25-40 with acne.
Although 46% of adolescents aged 12-19 confirm a family history of acne, the link so far does not seem to be scientifically established.
To moisturize dry skin at home, you can not only buy cosmetics, but also simpler means. This allows you to safely nourish and moisturize the skin.
Why Your Skin is Dry: The Main Reasons
Improper care, the use of inappropriate cosmetics and adverse weather conditions are the main causes of acne that also cause dry and rough skin.
These factors can also cause allergic diseases. A person’s skin reflects more than just how they are treated. This is a kind of indicator of the habits and conditions we live with.
Unfortunately, they are more and more unfavorable. The skin is negatively affected by:
Poor state of the natural environment;
Processed food;
Stay in rooms with extremely low humidity levels;
A lot of stress and the dynamics of everyday life;
Harmful and irritating substances contained in cosmetics.
Under the influence of these factors, the skin undergoes the aging process faster. This is mainly due to violations of the proper functioning of its natural protective and regenerative abilities. In this case, the cause is loss of moisture, which weakens its natural protection. The safest way to moisturize your skin is to use products that use natural ingredients in their formula.
What Should I Avoid to Keep My Skin Moist?
We have no direct influence on the adverse conditions in which we live. However, you can eliminate some of the factors that negatively affect the degree of skin hydration. These are:
Cigarette smoke;
Too frequent and intense sunburn;
Alcoholic and sweetened beverages;
Dehydration of the body, including by consuming too little liquid;
Lack of fat in Your daily diet;
Use of cosmetics that irritate and dehydrate the skin (containing alcohol, soap, flavorings, parabens and other harmful substances);
Too long, hot baths (cause dehydration of the skin);
Stay in air-conditioned rooms.
How to Moisturize Dry Skin at Home: The Most Important Thing
One of the natural methods to prevent excessive loss of moisture from the surface of the skin is to moisturize it from the inside. However, it is equally important not to drink too much water, which can deprive the body of micro and macro elements. To keep the skin hydrated, it is recommended to use daily care procedures.
The Most Important of Them Are:
Regular skin cleansing with the use of delicate preparations that do not require the use of water (micellar, lotion);
Removing dead skin with a gentle exfoliation;
Toning cleansed skin to optimize pH levels;
Proper application of the cream, which contains moisturizing components, restores the hydrolipidic layer;
Additional moisturizing treatments for the skin (masks, compresses) using natural ingredients;
Using not only a moisturizer, but also a more effective concentrated serum (in the form of a lotion, cream or spray);
Use of body oils after bathing.
During daily skin care procedures, it should be remembered that the water itself has an extremely negative effect on dry skin. Therefore, it is recommended to always wipe the skin with a cotton towel after contact with water. Avoid paper towels and dryers.
Procedures That Will Help to Moisturize Dry Skin at Home
The most popular home skin moisturizing treatments include the use of oil-based products.
Oils
Olive oil (mainly for skin care of hands and feet), argan and coconut oil for skin care of the body and face are ideal for cosmetic procedures.
Oils can be used as a bath additive. In combination with ground coffee, brown sugar or sea salt, they are an important element of home peeling.
Although this may seem a little absurd at first, the oils are great for cleansing the skin.
They dissolve dust, dirt and makeup, and at the same time do not damage the skin’s lipid layer — this is important in the winter months. Argan or wheat germ oil should work well.
Spread it in a circular motion over your face, then gently wipe with a soft cloth. Wash the cloth several times and remove the cleaning oil. Then rinse your face with cool water. Ready! Treated in this way, the skin will be better hydrated, soft and smooth.
Baths
Oatmeal bath-especially recommended when dry skin problems are accompanied by hypersensitivity and allergies.
A linen bag with oatmeal (about 400 grams) should be immersed in warm water or placed under a stream of water.
Pharmacy lotions and bath salts can dry your skin, so take advantage of mother nature and prepare a hydrating bath session.
An excellent remedy for dry skin is to add a decoction of Flaxseed to water.
Half a Cup of beans should be put in a pot of water and boil. Carefully pour the cooled jelly into the tub and take a bath.
This bath makes the skin elastic, moisturizes, nourishes and improves the overall condition of the skin.
Honey
Cosmetics containing honey are famous for their strong nutritional properties, and also have the ability to support recovery processes.
This is a very popular way to moisturize dry skin at home. It can be combined with milk, lemon, olive oil and other substances. It is also a natural lip balm.
Flax
Flax seed is used in many natural moisturizing treatments. It works well in baths, masks, and is also used as a natural shaving gel. You can use it alone or with honey.
Masks to Moisturize Dry Skin at Home
Here we have something to tell. Homemade masks perfectly nourish and moisturize the skin, as well as prepare it for other care. Below you will find three recipes for simple and cheap, but rich masks. They are ideal for moisturizing dry skin at home.
Simple banana mask
Prepare a porridge of ripe bananas (you will need 1 or 2, depending on Your needs).
Put the mush on your face and leave it for 15 minutes.
Then rinse with warm water.
Repeat the procedure once a week or when you feel that your skin needs hydration.
Honey-Egg Mask
We have described how the components contained in eggs help the skin here. In this article, you will find many recipes for egg masks that can be easily made at home.
Mix a teaspoon of honey with the egg yolk and one tablespoon of powdered milk (optional).
Apply to the skin and after a few minutes rinse with warm water.
The moisturizing effect is guaranteed!
Banana Honey Mask
Mix half a ripe banana with a tablespoon of honey and two tablespoons of plain yogurt.
Spread the pulp over the face and leave for 20 minutes.
Rinse off with warm water and enjoy a hydrated skin.
How to Moisturize Dry Dkin from the Inside?
The old saying “you are what you eat” really makes sense. Even the most expensive facial products will not help if You do not follow a proper diet. When it comes to dry skin, the basis for this is drinking a lot of water (which we often forget about in the fall and winter!).
But we can also keep the body healthy by consuming, for example, linseed oil. Its unusual properties were known in ancient Rome. To begin with, you should eat two tablespoons a day.
However, do not forget to heat-treat the oil. We can use it, for example, in salads or just like that-without any additions.
Avocado, rich in vitamins, proteins and unsaturated fats, is also great. You can prepare, for example, a delicious and simple pasta that can be spread on a sandwich. Just crush the avocado and mix it with the garlic and lemon.
How to Choose a Good Moisturizer?
A good moisturizer should enhance the protective functions of the skin, as well as prevent moisture loss. Increasingly, we pay attention to the amount of natural ingredients in cosmetics that we use every day.
It is important not only the composition, but also the cosmetic formula, which will allow the cream to be quickly absorbed and moisturize the skin. This protection is provided by a moisturizing serum in the form of a spray.
Natural substances that should be in a good moisturizer for dry skin care should include:
Fruit and vegetable oils. They are often found in the form of complexes (for example, from calendula, aloe, honey, pear);
Natural fruit extracts. For example, avocado, which holds water in the skin and prevents it from drying out.
Hyaluronic acid. It has the ability to maintain an adequate degree of skin hydration; its amount decreases with age and is low in people exposed to strong UV radiation;
Jelly. It supports the processes of skin regeneration and recovery;
Aloe Vera. Highly moisturizes and restores the skin, balances and soothes;
Grape seed oil. Regenerates and moisturizes, strengthens and tones the skin, delaying the effects of aging;
The macadamia oils. It has strong nutritional, regenerating and firming properties.
Dry skin can be particularly problematic in autumn and winter when it is exposed to cool outdoor air and dry indoor conditions.
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All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.
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The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
I already had them....but I found them on sale...and I saw their faces were prettier than the ones I already had made in Indonesia)...so I bought them again.. :-)
(further information and pictures are available by clicking on the link at the end of page!)
Cathedral of St. Pölten
The Cathedral of St. Pölten
Apse
The Cathedral of St. Pölten (also cathedral of the Assumption) is a cathedral and since 1785 the cathedral of the Diocese of St. Pölten. Until the dissolution of the Augustinian Canons monastery of St. Pölten in 1784 it was the abbey church. The building appears despite well-preserved late Roman core a baroque building.
History
General view of the monastery of St. Pölten from 1653, still with the now demolished Parish Church on Cathedral Square
Predecessors
The origins of today's monastery of St. Pölten (St. Hippolytus) and thus of the cathedral date back to the period around the year 790. During this time it is said that the brothers Adalbert and Otakar from the Tegernsee monastery founded a daughter house in St. Pölten. The Benedictines also brought the Hippolyt relics to St. Pölten, from which the modern name of the city is derived. Since 828 the monastery was in possession of the diocese of Passau. The from there outgoing missionary activity can be supposed in the Great Moravian Empire, the church on Pöltenberg in Znojmo is suspected to have been founded from there.
With the invasion of the Magyars around the year 907, the monastery was almost completely destroyed. Only after the Battle of Lechfeld in 955 it was rebuilt. The first written mention of the monastery is found in 976 in a charter of Emperor Otto II for Bishop Pilgrim of Passau. Under Bishop Altmann of Passau it was in 1081 converted into an Augustinian Canons monastery and from then on it bore the patronage of St. Peter, in the 12th Century the high altar was the SS. Stephen and Hippolytus consecrated.
Today's church
Around 1150, a three-aisled church without transept church with twin towers was built as West plant (Westwerk), which was, however, already generously rebuilt 1267-1280 after a fire. This church was consecrated in 1228 by Bishop Gebhard in honor of the Virgin Mary ascension into heaven (the Assumption) that Patotrozinium that the Cathedral till today carries. In 1512 there was a devastating fire in the city, thereafter the North Tower was demolished and never rebuilt.
Today's figure of the cathedral emerged in the 17th Century. After a fire in 1621 the present diocese building was designed in the early Baroque. The last high point in the history of construction experienced the former convent under provost Johann Michel Führer. He was thrilled by the high baroque splendor of neighboring residences as Melk Abbey and found in the in the city living Jacob Prandtauer a like-minded partner. The planned reconstruction should expand the diocese building to a second floor and the exterior view of the church should become a three-tower ensemble (similar to the Seitenstetten monastery) with the existing tower at its center. This plan was not fully implemented, mainly because Führer burned the candle at both ends and the monastery was nearly bankrupt when he resigned in 1739. In addition to the spacious redesigning of the entire interior, especially by Daniel Gran and Bartolomeo Altomonte, only the tower was raised and fitted with a new dome.
1784, the monastery was abandoned by Joseph II . On 28 January in the following year the building became diocesan seat (cathedral) of the newly established Diocese of Sankt Pölten on the basis of the by Pius VI. adopted papal bull Inter plurimas.
In 1873 the reverend Josef Kinzl founded the Catholic patriotic folk and Preßverein (press association) for Lower Austria, publishing the St. Pölten messenger. Hence the NÖN (Niederösterreichische Nachrichten - news of Lower Austria) and the Lower Austrian Pressehaus have developed.
Architecture
The Choir of the Cathedral of St. Pölten
"As little as the viewer is expecting when he is looking at the outside of this cathedral, so surprising is the entry in the same, because objects appear to meet him from all sides, which deserve special attention, but probably at the same time arouse the wish that more light might brighten these masterpieces, God's temple somewhat economically illuminating".
- Representation of Erzherzogthums (Archduchy) Austria under the Ens (River Enns), 1835
The exterior
The floor plan of the exterior facade still consists largely from the around 1150 constructed building. Originally built as a three-aisled church without transept with twin towers as Westwerk, it was between 1267-1280 generously rebuilt in late Romanesque style after a fire.
The cathedral is directly connected to the diocese building, on the north side the church closes at the cloister. Despite the high degree of conservation of the late Romanesque building structure, is the construction baroque dominated by the mighty south tower with its double onion dome and the dome lanterns on the south aisle. From the late Romanesque building, the apse and the south façade have been preserved.
With exception of the two lower floors of the south tower, both towers have a Eckquaderung (corner block). At the west facade is main portal of the cathedral located with skylights and a broken pediment attachment. On both sides of the portal at the level of the second floor each is a statue of a saint: Hippolytus left, right, Augustine.
The interior
The interior of the church by Jakob Prandtauer, Joseph Munggenast, Daniel Gran and Bartolomeo Altomonte was baroquised. The ceiling frescoes designed partly Thomas Friedrich Gedon.
Organ
The organ is a work of Swiss company Metzler organ building from 1973 with 36 stops on three manuals and pedal. The prospectus stems from the original organ from the year 1722, built by Johann Ignaz Egedacher.
Bell
The cathedral has an almost complete peal from the Baroque period, cast in 1696 by Mathias Prininger from Krems. Only the bell 3 went lost through the bell deliveries in World War I and had to be re-acquired after two world wars.
No. Name nominal weight
(kg) diameter
(cm) casting year caster
1 Immaculataglocke a0 +2 4318 189 1696 Mathias Prininger
2 Zwölferin (ringing at twelve o'clock) cis1 +0 2223 151 1696 Mathias Prininger
3 Bishop anniversary bell e1 +2 1066 120 1955 Josef Pfundner
4/4 or Poor soul bell a1 +0516 93 1696 Mathias Prininger
5 Food bell cis2 +0264 73 1696 Mathias Prininger
There are also two other small bells that do not belong to the actual bells.
History of the City St. Pölten
In order to present concise history of the Lower Austrian capital is in the shop of the city museum a richly illustrated full version on CD-ROM.
Tip
On the occasion of the commemoration of the pogroms of November 1938, the Institute for Jewish History of Austria its virtual Memorbuch (Memory book) for the destroyed St. Pölten Jewish community since 10th November 2012 is putting online.
Prehistory
The time from which there is no written record is named after the main materials used for tools and weapons: Stone Age, Bronze Age, Iron Age. Using the latest technologies, archaeologists from archaeological finds and aerial photographs can trace a fairly detailed picture of life at that time. Especially for the time from the settling down of the People (New Stone Age), now practicing agriculture and animal husbandry, in the territory of St. Pölten lively settlement activity can be proved. In particular, cemeteries are important for the research, because the dead were laid in the grave everyday objects and jewelry, the forms of burial changing over time - which in turn gives the archeology valuable clues for the temporal determination. At the same time, prehistory of Sankt Pölten would not be half as good documented without the construction of the expressway S33 and other large buildings, where millions of cubic meters of earth were moved - under the watchful eyes of the Federal Monuments Office!
A final primeval chapter characterized the Celts, who settled about 450 BC our area and in addition to a new culture and religion also brought with them the potter's wheel. The kingdom of Noricum influenced till the penetration of the Romans the development in our area.
Roman period, migrations
The Romans conquered in 15 BC the Celtic Empire and established hereinafter the Roman province of Noricum. Borders were protected by military camp (forts), in the hinterland emerged civilian cities, almost all systematically laid out according to the same plan. The civil and commercial city Aelium Cetium, as St. Pölten was called (city law 121/122), consisted in the 4th Century already of heated stone houses, trade and craft originated thriving urban life, before the Romans in the first third of the 5th Century retreated to Italy.
The subsequent period went down as the Migration Period in official historiography, for which the settlement of the Sankt Pöltner downtown can not be proved. Cemeteries witness the residence of the Lombards in our area, later it was the Avars, extending their empire to the Enns.
The recent archaeological excavations on the Cathedral Square 2010/2011, in fact, the previous knowledge of St.Pölten colonization not have turned upside down but enriched by many details, whose full analysis and publication are expected in the near future.
Middle Ages
With the submission of the Avars by Charlemagne around 800 AD Christianity was gaining a foothold, the Bavarian Benedictine monastery of Tegernsee establishing a daughter house here - as founder are mentioned the brothers Adalbert and Ottokar - equipped with the relics of St. Hippolytus. The name St. Ypolit over the centuries should turn into Sankt Pölten. After the Hungarian wars and the resettlement of the monastery as Canons Regular of St. Augustine under the influence of Passau St. Pölten received mid-11th Century market rights.
In the second half of the 20th century historians stated that records in which the rights of citizens were held were to be qualified as Town Charters. Vienna is indeed already in 1137 as a city ("civitas") mentioned in a document, but the oldest Viennese city charter dates only from the year 1221, while the Bishop of Passau, Konrad, already in 1159 the St. Pöltnern secured:
A St. Pöltner citizen who has to answer to the court, has the right to make use of an "advocate".
He must not be forced to rid himself of the accusation by a judgment of God.
A St. Pöltner citizen may be convicted only by statements of fellow citizens, not by strangers.
From the 13th Century exercised a city judge appointed by the lord of the city the high and low jurisdiction as chairman of the council meetings and the Municipal Court, Inner and Outer Council supported him during the finding of justice. Venue for the public verdict was the in the 13th Century created new marketplace, the "Broad Market", now the town hall square. Originally square-shaped, it was only later to a rectangle reduced. Around it arose the market district, which together with the monastery district, the wood district and the Ledererviertel (quarter of the leather goods manufacturer) was protected by a double city wall.
The dependence of St. Pölten of the bishop of Passau is shown in the municipal coat of arms and the city seal. Based on the emblem of the heraldic animal of the Lord of the city, so the Bishop of Passau, it shows an upright standing wolf holding a crosier in its paw.
Modern Times
In the course of the armed conflict between the Emperor Frederick III . and King Matthias of Hungary pledged the Bishop of Passau the town on the Hungarian king. From 1485 stood Lower Austria as a whole under Hungarian rule. The most important document of this period is the awarding of the city coat of arms by King Matthias Corvinus in the year 1487. After the death of the opponents 1490 and 1493 could Frederick's son Maximilian reconquer Lower Austria. He considered St. Pölten as spoils of war and had no intention of returning it to the diocese of Passau. The city government has often been leased subsequently, for instance, to the family Wellenstein, and later to the families Trautson and Auersperg.
That St. Pölten now was a princely city, found its expression in the coat of arms letter of the King Ferdinand I. from 1538: From now on, the wolf had no crosier anymore, and the from the viewer's point of view left half showed the reverse Austrian shield, so silver-red-silver.
To the 16th Century also goes back the construction of St. Pöltner City Hall. The 1503 by judge and council acquired house was subsequently expanded, rebuilt, extended and provided with a tower.
A for the urban history research important picture, painted in 1623, has captured scenes of the peasant uprising of 1597, but also allows a view to the city and lets the viewer read some of the details of the then state of construction. The economic inconveniences of that time were only exacerbated by the Thirty Years War, at the end of which a fifth of the houses were uninhabited and the citizenry was impoverished.
Baroque
After the successful defense against the Turks in 1683, the economy started to recover and a significant building boom began. Lower Austria turned into the land of the baroque abbeys and monasteries, as it is familiar to us today.
In St. Pölten, the change of the cityscape is closely connected to the Baroque architect Jakob Prandtauer. In addition to the Baroquisation of the interior of the cathedral, a number of buildings in St. Pölten go to his account, so the reconstruction of the castle Ochsenburg, the erection of the Schwaighof and of the core building of the Institute of the Blessed Virgin Mary (Englische Fräuleins - English Maidens) - from 1706 the seat of the first school order of St.Pölten - as well as of several bourgeois houses.
Joseph Munggenast, nephew and co-worker of Prandtauer, completed the Baroquisation of the cathedral, he baroquised the facade of the town hall (1727) and numerous bourgeois houses and designed a bridge over the Traisen which existed until 1907. In the decoration of the church buildings were throughout Tyroleans collaborating, which Jakob Prandtauer had brought along from his homeland (Tyrol) to St. Pölten, for example, Paul Troger and Peter Widerin.
Maria Theresa and her son Joseph II: Their reforms in the city of the 18th Century also left a significant mark. School foundings as a result of compulsory education, the dissolution of the monasteries and hereinafter - from 1785 - the new role of St. Pölten as a bishop's seat are consequences of their policies.
1785 was also the year of a fundamental alteration of the old Council Constitution: The city judge was replaced by one magistrate consisting of five persons, at the head was a mayor. For the first mayor the painter Josef Hackl was chosen.
The 19th century
Despite the Napoleonic Wars - St. Pölten in 1805 and 1809 was occupied by the French - and despite the state bankruptcy of 1811, increased the number of businesses constantly, although the economic importance of the city for the time being did not go beyond the near vicinity.
Against the background of monitoring by the state secret police, which prevented any political commitment between the Congress of Vienna and the 1848 revolution, the citizens withdrew into private life. Sense of family, fostering of domestic music, prominent salon societies in which even a Franz Schubert socialized, or the construction of the city theater were visible signs of this attitude.
The economic upswing of the city did not begin until after the revolution of the year 1848. A prerequisite for this was the construction of the Empress Elisabeth Western Railway, moving Vienna, Linz, soon Salzburg, too, in a reachable distance. The city walls were pulled down, St. Pölten could unfold. The convenient traffic situation favored factory start-ups, and so arose a lace factory, a revolver factory, a soap factory or, for example, as a precursor of a future large-scale enterprise, the braid, ribbon and Strickgarnerzeugung (knitting yarn production) of Matthias Salcher in Harland.
In other areas, too, the Gründerzeit (years of rapid industrial expansion in Germany - and Austria) in Sankt Pölten was honouring its name: The city got schools, a hospital, gas lanterns, canalization, hot springs and summer bath.
The 20th century
At the beginning of the 20th Century the city experienced another burst of development, initiated by the construction of the power station in 1903, because electricity was the prerequisite for the settlement of large companies. In particular, the companies Voith and Glanzstoff and the main workshop of the Federal Railways attracted many workers. New Traisen bridge, tram, Mariazell Railway and other infrastructure buildings were erected; St. Pölten obtained a synagogue. The Art Nouveau made it repeatedly into the urban architecture - just think of the Olbrich House - and inspired also the painting, as exponents worth to be mentioned are Ernst Stöhr or Ferdinand Andri.
What the outbreak of the First World War in broad outlines meant for the monarchy, on a smaller scale also St. Pölten has felt. The city was heavily impacted by the deployment of army units, a POW camp, a military hospital and a sick bay. Industrial enterprises were partly converted into war production, partly closed. Unemployment, housing emergency and food shortages long after the war still were felt painfully.
The 1919 to mayor elected Social Democrat Hubert Schnofl after the war tried to raise the standard of living of the people by improving the social welfare and health care. The founding of a housing cooperative (Wohnungsgenossenschaft), the construction of the water line and the establishment of new factories were further attempts to stimulate the stiffening economy whose descent could not be stopped until 1932.
After the National Socialist regime had stirred false hopes and plunged the world into war, St. Pölten was no longer the city as it has been before. Not only the ten devastating bombings of the last year of the war had left its marks, also the restrictive persecution of Jews and political dissidents had torn holes in the structure of the population. Ten years of Russian occupation subsequently did the rest to traumatize the population, but at this time arose from the ruins a more modern St. Pölten, with the new Traisen bridge, district heating, schools.
This trend continued, an era of recovery and modernization made the economic miracle palpable. Already in 1972 was - even if largely as a result of incorporations - exceeded the 50.000-inhabitant-limit.
Elevation to capital status (capital of Lower Austria), 10 July 1986: No other event in this dimension could have become the booster detonation of an up to now ongoing development thrust. Since then in a big way new residential and commercial areas were opened up, built infrastructure constructions, schools and universities brought into being to enrich the educational landscape. East of the Old Town arose the governmental and cultural district, and the list of architects wears sonorous names such as Ernst Hoffmann (NÖ (Lower Austria) Landhaus; Klangturm), Klaus Kada (Festspielhaus), Hans Hollein (Shedhalle and Lower Austrian Provincial Museum), Karin Bily, Paul Katzberger and Michael Loudon ( NÖ State Library and NÖ State Archive).
European Diploma, European flag, badge of honor, Europe Price: Between 1996 and 2001, received St. Pölten numerous appreciations of its EU commitment - as a sort of recognition of the Council of Europe for the dissemination of the EU-idea through international town twinnings, a major Europe exhibition or, for example, the establishment and chair of the "Network of European medium-sized cities".
On the way into the 21st century
Just now happened and already history: What the St. Pöltnern as just experienced sticks in their minds, travelers and newcomers within a short time should be told. The theater and the hospital handing over to the province of Lower Austria, a new mayor always on the go, who was able to earn since 2004 already numerous laurels (Tags: polytechnic, downtown enhancement, building lease scheme, bus concept) - all the recent changes are just now condensed into spoken and written language in order to make, from now on, the history of the young provincial capital in the 3rd millennium nachlesbar (checkable).
de.wikipedia.org/wiki/Dom_zu_St._P%C3%B6lten
www.st-poelten.gv.at/Content.Node/freizeit-kultur/kultur/...
For great photographs and the low down on the G20 Summit, Protests and Demonstrations visit www.ravishlondon.com/g20
The world faces a problem: recession and a spiraling fall in trade. The Economist puts it like this, “Trade is contracting again, at a rate unmatched in the post-war period. This week the World Trade Organisation (WTO) predicted that the volume of global merchandise trade would shrink by 9% this year. This will be the first fall in trade flows since 1982. Between 1990 and 2006 trade volumes grew by more than 6% a year, easily outstripping the growth rate of world output, which was about 3% (see chart 1). Now the global economic machine has gone into reverse: output is declining and trade is tumbling at a faster pace. The turmoil has shaken commerce in goods of all sorts, bought and sold by rich and poor countries alike.” According to the Economist, “The immediate cause of shrinking trade is plain: global recession means a collapse in demand. The credit crunch adds an additional squeeze, thanks to an estimated shortfall of $100 billion in trade finance, which lubricates 90% of world trade.”
According to the Guardian, “On Thursday 2 April Gordon Brown is going to host the G20 summit in London. Leaders from 22 countries will be at the summit. The G20 is an organisation for finance ministers and central bankers, who in the past met once a year to discuss international cooperation in finance. There are 19 countries who are members: Argentina, Australia, Brazil, Canada, China, France, Germany, India, Indonesia, Italy, Japan, Mexico, Russia, Saudi Arabia, South Africa, South Korea, Turkey, the United Kingdom and the United States. The 20th member is the European Union, which is represented by whichever country holds the EU presidency (currently, it's the Czech Republic). These countries represent 90% of global GDP, 80% of world trade and two thirds of the world's population. The IMF and the World Bank also attend G20 meetings, although technically the London event isn't a normal G20 meeting.”
This G20 meeting will be for the leaders of all G20 countries. According to the Guardian the policy agenda developed by the last G20 meeting “did not in fact go much beyond pre-existing international initiatives that had recently been developed in more technocratic international bodies.” According to the Guardian, “On the London summit website, the British government has explained what it hopes to achieve. At the summit, countries need to come together to enhance global coordination in order to help restore global economic growth. World leaders must make three commitments:
• First, to take whatever action is necessary to stabilise financial markets and enable families and businesses to get through the recession.
• Second, to reform and strengthen the global financial and economic system to restore confidence and trust.
• Third, to put the global economy on track for sustainable growth.
Gordon Brown has argued that the world must avoid protectionism. According to the Economist, “The World Bank says that, since the G20 leaders last met in November in Washington, DC, 17 of their countries have restricted trade. Some have raised tariffs, as Russia did on second-hand cars and India did on steel. Citing safety, China has banned imports of Irish pork and Italian brandy. Across the world, there has been a surge in actions against “dumping”—the sale of exports, supposedly at a loss, in order to undermine the competition. Governments everywhere are favouring locally made goods.” The Economist also says, “Kei-Mu Yi, an economist at the Federal Reserve Bank of Philadelphia, argues that trade has fallen so fast and so uniformly around the world largely because of the rise of “vertical specialisation”, or global supply chains. This contributed to trade’s rapid expansion in recent decades. Now it is adding to the rate of shrinkage. When David Ricardo argued in the early 19th century that comparative advantage was the basis of trade, he conceived of countries specialising in products, like wine or cloth. But Mr Yi points out that countries now specialise not so much in final products as in steps in the process of production.”
Protectionism in itself sounds bad – but it is a policy option available and used in all political economies – including the most liberal. Protectionism can also lead to a more self-sustainable economy, and can lead to the internal development of an economy, which means the economy is less reliant and dependent on external sources of finance. Development will be slower, but it can be more secure and sustainable. It is likely that if countries do operate protectionist policies it will be a short-term opportunist and populist response to workers and unions, but it could be seen as an alternative economic model of development. It worked in Brazil and Argentina during the 1960s and 1970s for a while, until a more neo-liberal and external finance model was preferred.
The Brazilian President Luiz Inacio Lula da Silva was reported on Channel 4 News to have told Mr Brown the crisis was caused by "white blue eyed people". This overtly racist remark has been noted, but there has been no visible backlash. It is interesting how the whole agenda about racism never applies to the dominant one, i.e. you can racially slur white people, and white people with blue eyes without anyone batting an eye lid, whereas if you racially slur other ethnic groups you can find yourself battered. I find this state of affairs deeply offensive to the human race in general, and very patronizing to those groups who don’t come from the dominant ethnic group (i.e. its almost to say the whole anti-racist thing is a way of patting you on the head and saying there, there – because when it comes to racism we don’t really give a shit – see the way we couldn’t give a f*** if you slur our own dominant white ethnic group).
The reality is that the summit will represent a reshuffling of position, support and dependencies between the world’s twenty richest countries. Spectators are expecting China to come out feeling puffed up and proud, given that China has faired relatively in recent years, or so we are led to believe. Meanwhile national demonstrations seem to be focusing our attention to the fact that a different way of working is needed. In fact it will be work as usual – the question is who will come out on top.
In anticipation of the G20 summit a demonstration was held in London. 10,000 were predicted to attend the demonstrations. The police reported 35,000. I was there at the demonstration and I don’t believe I saw 35,000 people walk past Big Ben – and I saw it from start to finish. As one commentator, on the Guardian observed, “Apart from the small contingent of student SWP calling 'One solution, Revolution' and about 20 anarchists making noise the spirit was generally depressed and lacking any anger or sense of direction.” Cognitator joked, “Perhaps the police were adding their number to the protesters. As opposed to taking them away as per usual.”
According to the Guardian, “The Put People First march yesterday was organised by a collaboration of more than 100 trade unions, church groups and charities including ActionAid, Save the Children and Friends of the Earth. The theme was "jobs, justice and climate" and the message was aimed at the world leaders who will be gathering for the G20 summit here this week.”
The march started on the Embankment. When I arrived there I walked around desperately finding somewhere where I could have a piss for free. I tried Starbucks and Costa Cofee, but they seemed to have no toilets, I even tried the stamp collectors fayre a subterranean culture of badly dressed old people, with poor eyesight and even worse posture, which was momentary distraction from my full bladder, but which did not provide the answer to my pressing problem as the toilet door was locked and for staff only. Stephen Moss writing for the Guardian said, “Westminster is not a great place for someone like me, who has a weak bladder, to go on a march. The public loos there cost an outrageous 50p a go. The Socialist Worker magazine-seller next to Embankment tube station is on to this in a flash. "50p to have a piss – a lesson in capitalism," he is soon shouting. Later, I'm pleased to see someone has punched a hole in the wooden sign advertising the price.” In the end I walked all the way to the National Portrait Gallery where you can always be assured a good quality toilet seat.
The Guardian continued, “The marchers, estimated at 35,000 by police, accompanied by brass bands and drummers and a colourful assortment of banners and flags, walked the four miles from Embankment to Hyde Park, where speeches from comedian Mark Thomas and environmental campaigner Tony Juniper, and music from the Kooks, made for a party-like atmosphere.”
The Guardian reported, “A group of fewer than 200 anarchists joined the march and were kept isolated and surrounded by police. Chants of "Burn the bankers!" were the closest anyone came to any show of aggression.’ Yes I witnessed this, it was clear that the anarchists, dressed in black, some of them with scarves covering their faces, generally looked cool as fuck, like some post-nuclear vigilante gang, their black signifying the dark depressing reality from which humanity starts, and the point from which they wish to depart. Whether the police presence was heavy is debatable but they certainly had a line of police accompanying them, whereas no other group were honored with such a presence. Of the anarchists Stephen Moss says, “I fall in with some anarchists halfway through the march – a delightful young Greek called Alex and an Italian, who is happy to talk about Bakunin, but is, I sense, a little suspicious of me. The anarchists march together – with the police flanking them in a way they don't with the rest of the march – and I am intrigued that they never shout slogans or bang drums. Their mission is a serious one.” Moss goes on, “Alex tells me a reporter from the Sunday Times has already approached him to ask why anarchists wear masks. "Work it out for yourself – you're a journalist," he'd told him. "People always ask why we wear masks; they never ask about our ideology," he complains. In essence, that ideology is: power corrupts; all elites will be corrupt; so government should be by the people, for the people – a mass movement of the type they claim is emerging in South America. Hezbollah is also mentioned favourably, a movement they see as developing organically. "Organic" is a key word for anarchists, and it would save a lot of aggro and bad press if they were called organicists rather than anarchists.” Good point. But who wants to be called an organicist? And in any case everything is organic really – its just that some organisms develop in a way we or anarchists done like and some do. To call anarchists, organic is to miss the point, anarachists are like Christian, they dream of a reality which transcends human nature as it is and known. Structure, corruption, self-interest and greed underpin all human activity – the question is not how we can do away with it, but how can we manage it in a fair way.
Stephen Moss wrote about the variety of organizations on the march. He said, “Socialist Worker has a three-point strategy: "Seize their wealth," "Stamp out poverty," "End all wars." Sounds good, but I can't work out exactly who "their" refers to. The Socialist party is hot on slogans, colder on the mechanism by which they are put into practice. The likely outcome to the current crisis still appears to be government by Etonians.” Most of these movements are nothing to do with instituting political change. The people involved in them do not want to genuinely change things. Instead what these groups function as is self-help groups for people, for whatever reason, feel that they have been wronged in life, probably at a personal level, and feeling quite hopeless about their personal wrongs, they want to transpose their personal woe on to a faceless, unintelligible other – the government, the state, the capitalist, the rich and the greedy. Its not so much that socialist workers and anarchists want to change things, they know they are completely ineffectual, and too screwed up and traumatized, too aggressive, unintelligent and incapable of engaging people into a different way of organizing; they just want to shout out to people ‘we hurt’. Fair enough.
The TUC don’t seem to be turning up to do anything more than saying ‘there there’ to threatened workers, and stating the downright bloody obvious to the government. Their message is “The importance of this summit cannot be underestimated. Unemployment and deprivation will grow massively over the next two years unless governments work together. People need to know that there is an international solution to this crisis. If the summit suggests that there is not, many will turn to nationalist and protectionist politics with all that implies for the global economy and world peace.” Mind you they do go on to say that, “But while the immediate response to the crisis will be at the forefront of the leaders' minds, the unprecedented Put People First coalition shows there is a huge appetite for a new economic direction. Thirty years of the increasing dominance of the neo-liberal agenda has got us into this mess. The summit must show that the next 30 years need to be about a renewed era of economic growth based on a much fairer share of the proceeds. One that is environmentally sustainable and one that does not end in the burst of yet another financial bubble.” But what are they really saying? Nothing much.
There is of course something about how all of this is just about having a laugh, getting a kick, getting an emotional fix. There’s something very similar to the way that some of the more violent groups get ready for a rumble with the police and football hooliganism. Football hooligans are much more honest about the emotional kick they get from fighting. The protestors pretend that they are doing it for the people. Whatever the so called reasons, it is clear that a lot of protestors enjoy confrontation. They are much more focused on the enemy and combating the enemy than they are on creating peaceful societies. So Stephen Moss makes the interesting observation, “When the march eventually gets to Hyde Park, the anarchists refuse to join the "TUC bureaucrats" for the official rally and hold their own open-platform meeting at Speakers' Corner, dominated by elderly men in hats who talk less about Bakunin than about beating up the BNP and confronting the police on the streets of Whitechapel. It's all a bit depressing (and expletive-filled – I take serious exception to the denunciation of "Oxbridge cunts"), though I like the fact that the elderly men refuse even to use a megaphone – only the ordinary human voice is organic enough.” The media and police have both hyped the April 2009 marches as like the possible end of the British way of life, of democracy, of capitalism. Nothing could be further from the truth, but its like we all want to will it to happen – we all are looking for excitement – war may be bad but peace is fucking boring – I once read.
The Guardian also reported, “Thomas told the Observer he believed the protest marked "the start of a grassroots movement". He added: "This is a moment. This is the first time people have had a chance to come out on to the streets in a big way." But this is nonsense. This was just an opportunity for a plethora of groups, amongst whom there are more differences, and the only thing that can unite them is a general concern for jobs, justice and climate, which incidentally are three themes that unite most of the country, and all the main political parties, to catch the government at a weak moment, and hope to build up support for whatever cause they have, on the back of the anger and desperation amongst people at this time.
The protest ended up in Hyde Park. I didn’t go, it was too cold and rainy, and although I did aim to walk there via a short-cut through Victoria, I ended up taking refuge in Westminster Cathedral, where I saw another procession, of Catholic priests and altar boys, who were holding a service for the Union of Catholic Mothers. I listened to the Catholic priests, they sounded much more happy and at peace with themselves and their surroundings, than the rankerous socialist bile spitting leaders.
People are blaming the bankers, but there is in actual fact no-one to blame for this. The this needs to be qualified too. The ‘this’ is the fact that people are loosing their jobs, consumption will have to be reduced. It is ironic that it is precisely that people are facing the prospect of lower consumption that they are out on the streets protesting against greedy bankers, it is not so much the greed of the bankers that people resent, so much as the increased consuming power of the bankers that they are envious of. The bankers are not to blame for working within a system, which promoted risky investments, a system which was encouraged and deregulated by politicians who realized that whilst the bubble was growing there were huge financial gains to be made from encouraging bankers to reap the rewards both for themselves but through the state through taxation, and politicians who were encouraged by the people who voted them in, who probably formed the majority of people marching in demonstration and protest today, who voted in the governments believing the deregulation of banks not to be a serious enough issue to vote against a government for, and realizing that even if it was a risk, whilst the bubble was growing, they were happy enough to see their elected government ensuring that the country got a share of the pie. We all contributed to this fucking mess – if you can call it a mess – its only a mess for those who no longer have jobs and cannot consume so much – by voting in the government, who deregulated the banks and encouraged the lending of our money several times over to riskier and riskier ventures which in actual fact were not producing anything of material benefit, but were instead relying on house prices going up and up, as more people poured their money into it. Now we are in deep shit, because Gordon Brown has poured what little remaining money we have, and we have on credit into the black hole – it has simply disappeared.
There are some people who are saying the bankers should pay for the crisis they created. It doesn’t work like that – it works by people putting their money into a bank – and entrusting the bank to invest it wisely. Where the bank looses the money – the original investor looses the money. This creates a motivation on behalf of the investor to invest wisely, e.g. on the basis of what we know right now investing in Barclays rather than Lloyds TSB or the Royal Bank of Scotland. However reality begins to change once one’s livelihood is threatened – now it is solely the banker’s responsibility to have invested the money wisely, the public who invest their money into the banks are seen to be helpless, powerless twits, whose securities should have been looked after by a paternalistic and caring banking sector. So for example, according to Fox New, “Berlin police estimated that around 10,000 people gathered in front of the capital's city hall and more than 1,000 in Frankfurt, Germany's banking capital, for similar demonstrations under the slogan: "We won't pay for your crisis." Its not a crisis – its just that there are now lots of personal crises – the public didn’t bother to check whether their banks were investing their money properly or wisely and now they are paying for it. But the banks aren’t responsible for this – they really aren’t.
We have two problems. The first was created by the fact that banks lent out our money several times over – so we thought the country was several times as wealthy as it actually was. This led to inflationary pressures especially in the housing market – where the same money was lent to several different people – all investing in housing leading to unrealistic housing prices. We now realize we have a fraction of the wealth we thought we had. This creates deflationary pressures – i.e. where everyone has less money prices are reduced. This problem can be solved by creating a soft deflationary landing to a level where the price of labor and goods reflects the value of the money we have not the value of the money we have and we loaned. This means everyone has to accept lower wages – we can either do this peacefully based around a consensus and agreement between corporations, banks, trade unions or governments – or we can do it aggressively – letting perfectly good companies whose workers refuse to take pay cuts go to the wall – and then watch as millions of unemployed people try to reform and reorganize new companies and enterprises.
The second problem is that banks are no longer making such risky investments – so they are not looking to lend their money on to others – which means there is less money to be lent to people – which means less activity and less economy. We have to get used to less activity – but at least the activity will be invested in activities which are genuinely producing material benefit for people – not leading to an apparent generation of wealth – which is the artificial effect of lending x amount of money to people ten times, making it seem that we are ten times as rich as previously – when actual fact we are equally as wealthy – but with prices ten times as high. We should have also let the banks go to the wall – and started again with a heavily regulated banking sector – which was not allowed to lend out peoples’ money irresponsibly. No-one wants to have to feel the pain from this – i.e. the rich bankers who keep their pensions and bonuses, the people who have banked with them who want to keep their savings, and the businesses who are funded by the banks who want to hang on to their business and jobs. So what Gordon Brown is doing, is in the name of the people, funneling money into the banking system, paying for the debts, and thus, keeping the bankers sweet, keeping the investors sweet, keeping the businesses sweet. Who looses out? All of us – the poor! They never really had anything to loose in the first place, however whilst Gordon Brown borrows money to give to the banks so they can lend to businesses and pay bankers bonuses and salaries, we move a step closer to becoming bankrupt – i.e. not being able to borrow any more money because no-one believes we can pay it back. Once we become bankrupt, social services and welfare will be cut.
According to Gaby Hinsliff, “Many economists believe a recovery now requires bursting that artificial bubble and rebalancing the economy so that Chinese consumers are encouraged spend a little more - reducing America's trade deficit - and Americans a little less. Malloch Brown suggests Britons, too, will need to relearn the art of saving.”
According to the Guardian, “But Scotland Yard is expecting a greater challenge on Wednesday 1 April, dubbed "Financial Fools Day", with a series of protests aiming to cause disruption in the Square Mile and elsewhere.” The Guardian says, “On 1 April an alliance of anti-capitalist groups called G20 Meltdown is organising a carnival headed by "Four Horsefolk of the Apocalypse", which will converge in front of the Bank of England. Anarchists are planning to target the second day of the summit at ExCel. Other groups mounting demonstrations include Climate Camp, the Stop the War Coalition, and Government of the Dead. An alternative summit will be held a few hundred yards from the ExCel centre at the University of East London.”
The alternative G20 summit website provides the following manifesto: Can we oust the bankers from power? Can we get rid of the corrupt politicians in their pay? Can we guarantee everyone a job, a home, a future? Can we establish government by the people, for the people, of the people? Can we abolish all borders and be patriots for our planet? Can we all live sustainably and stop climate chaos? Can we make capitalism history? YES WE CAN!
According to the Daily Telegraph, “The G20 conference will lead to a London "lockdown" next week, with parks, roads and businesses closed to keep world leaders safe, Government officials are warning.” The media are really building this up, as an attempt to build readership and sell advertising. Its interesting how a force created by the desire to advertise and promote consumption causes papers to distort and promote a threat and confrontation to the very system upon which it is built. The Daily Telegraph article continues, “Protesters with armed with buckets and spades are among several thousand people who are planning to bring chaos to the heart of central London.Last night it emerged that City workers were being advised to "dress down" next week to avoid drawing attention to themselves.”
To anyone really wanting revolution bear in mind these words from Stephen Moss, “Changing society is hard, and usually starts with a split in the elite. The English civil war and the French revolution both began with a fissure in the governing classes; their falling-out created the space for populist movements to develop. For a grassroots movement to effect change is enormously difficult. It was only possible in Russia in 1917 because of the devastation wrought by war.”
The reality of the demo was perhaps best summer up by ‘one789’ who said, “My experience of the demo, in talking to people and observing, is that no one had any real clue of why they were there. They recognise 'blame the bankers' to be futile and a distraction, think capitalism 'is rubbish' and 'want change', but say nothing beyond that.I at least expected a high degree of frustration and anger, but more than anything what came across was disillusionment and confusion. But then, that's what you get I suppose from such a middle-class yummy-mummy bleeding-heart rally.”
As rabbit95 said, “Be glad we live in a society free enough to protest and where, apart from the police possibly taping your presence at such a demo, there will be no comeback.”
www.londonsummit.gov.uk/en/summit-aims/summit-progress/
www.economist.com/opinion/displayStory.cfm?story_id=13362...
www.economist.com/opinion/displaystory.cfm?story_id=13362027
www.guardian.co.uk/world/2009/mar/29/g20-protests-london
www.guardian.co.uk/world/gallery/2009/mar/28/g20-protest-...
www.guardian.co.uk/commentisfree/video/2009/mar/28/g20-su...
www.guardian.co.uk/commentisfree/2009/mar/28/g20-protest
www.guardian.co.uk/world/2009/mar/29/g20-summit-globalisa...
www.guardian.co.uk/politics/2009/mar/25/g20-q-a
news.google.co.uk/news?q=G20+summit+London+2009&oe=ut...
www.telegraph.co.uk/finance/financetopics/g20-summit/5050...
www.guardian.co.uk/world/2009/mar/29/g20-summit
www.londonsummit.gov.uk/en/global-update/cp-china/active-...
www.londonsummit.gov.uk/en/summit-aims/summit-progress/qu...
www.channel4.com/news/articles/politics/domestic_politics...
www.channel4.com/news/articles/politics/international_pol...
For great photographs and the low down on the G20 Summit, Protests and Demonstrations visit www.ravishlondon.com/g20
Kristiansand kanonmuseum (Cannon Museum) on October 28, 2020. World War II German Raumbild-Entfernunsmesser mit fester Marke von 1 m 25 Basis Modell 1934. This is a stereoscopic rangefinder, made by the French factory OPL (Optique et Precision de Levallois) for the German army. The production happened while France was occupied by Germany. The stand has the following text engraved; "Stativ für Raumbild-Entfernungsmesser mit fixer Marke 1 m 25 Basis Modell 1934 OPL". I think the displayed item has been used for educational purposes.
Once more, new pics from a old kit (from ~2009), from which I originally had only taken three shots.
This is another, fictional major conversion of an Aoshima (ex Gunze Sangyo) stock PA-36 kit. This one has no OAV paradigm (much like the former "Guntos" conversion), it is rather the interpretation of an idea on the basis of a Dorvack Powered Armor.
This time, the idea or theme was “Russian battle tank”, with both modern and historic elements. Another, separate idea was to apply a brown color scheme to a PA – and finally, both came together in this model.
The inspiration for a Russian version came originally when I saw MiG Production’s KV-X2 resin kit (anyone remember?) of a fictional 4-legged tank which carries a modified KV-2 tank turret on top. This thing looked steampunk, but blunt and IMHO totally unbalanced, and until today I wonder where a driver would be located? "Ground pressure” or “ballistic windows” obviously had also not been anything the designer(s) had ever heard of. But… what if a Dorvack PA would accompany it?
Additionally, I was reading a very interesting book about modern battle tanks, 'Kampfpanzer - heute und morgen', written by Rolf Hilmes in 2007, highly recommended if you are into tank technology. It offered lots of state-of-the art picture material and also technical information, as well as insights into design philosophies of modern military combat vehicles around the world.
The final inspirational spark lured finally in my bathroom! One morning, while pondering about these ideas, I used my deo, and... saw the lines and forms of the can’s spray head! *BINGO*! This form would be a perfect addition to a basic PA-36 kit, changing its helmet lines into a much bulkier design. Consequently, the 'PA-36S' (the 'S' suffix was inspired by the famous Russian WWII shtormovik ground attack planes) project was born. And its name would also fit: “Nove горбун”, or “gorbach”, which means “hunchback” in Russian language – also a reminiscence, to the Ilyushin Il-20 ground attack aircraft prototype.
Work started quickly. The spray head from the can was surprisingly easy to transplant, even though major putty work was necessary to make the lines flush. The spray head's plastic was also a bit waxy (I suppose it is PVC), but with super glue and the help of Tamiya putty, everything held together. Surprisingly, the parts fitted well, and the result looks really COOL and pretty different from the round standard PA design – but still consistent.
From there, I incorporated many Russian tank design elements. Since Russian battle tanks are primarily designed for assault/charge attacks, I decided that the front would need extra protection. The new bulky head already suggests this, but as an additional measure I applied reactive armour plating on the upper body and the front areas, wherever possible/plausible and where it would not hamper mobility – keeping the look in line with the Russian KONTAKT system.
The necessary explosive plates were cut from 1mm polystyrol plates, glued onto the hull, sanded with a brass brush on a mini drill in order to achieve a softer and irregular look, and finally the bolts were manually added with small tips of casein glue.
Further modifications include custom knee caps/protectors. These are parts from a plundered Gundam Endless Waltz “Serpent Custom” kit in 1:144 scale, adapted to their new position and embedded with putty. From the same kit also come the shoulder shields – also modified, dented and put on extenders on the upper arms, so that there is room between them and the arm. The idea behind them is to offer additional protection from hollow explosive charges for the hull, esp. the shoulder and air intake area. These new shields actually had to be added, because the original horizontal shoulder shields in front of the jet pack’s air intakes could not be fitted anymore – the air intakes were replaced by scrap parts from an Airfix Kamov Ka-25 helicopter in 1:72. This helicopter kit also donated two searchlights, which were added on the PA’s front hull.
Furthermore, many small details were changed or added. First of all, a new visor unit with 3 lenses was implanted in the front with a protective frame. These parts come from a PAM-74AM’s hand weapon, and they give the PA-36S quite a grunty retro look. On the PA’s top, the typical hump on the left side was replaced by a bigger/longer piece (a 1:48 scale WWII bomb half). On the back, a heat exchanger (for those cold Russian nights…) was placed and surrounded by reactive armour plates. If I remember correctly, this part comes from the horrible 1:72 'Aliens' Dropship kit from Halcyon and was modified. The PA-36's typical pipelines on the right shoulder were replaced with more rustic, self-made pieces. These hoses are actually made from Christmas tree decoration: fine metal coils, which were fitted onto a steel thread and then cut and bent into shape.
The feet also received some tuning, making them broader in order to improve the PA’s weight distribution in the field and offer improved hold. These parts come from an ESCI 1:72 Jagdpanzer IV kit (track and side skirt parts).
For active defensive measures, I added an IR decoy device on a pole on the PA's back. This thing looks similar to the current Russian ARENA radar defence system's sensor boom. Additionally, on the PA’s helmet sides and on the back, small laser detectors were added, inspired by the similar real Russian SCHTORA (russ. Штора, “curtain”) system. In case of enemy detection and laser designation, the system will trigger IR smoke dischargers (on the PA, four smoke mortars are placed on the left shoulder – parts from an Arii 1:100 Super Valkyrie) for emergency defence.
For armament, I settled for the standard R6 gun which comes with the stock kit, but also modified it for a beefier look. While the basis was kept, a short barrel extension was added and a nozzle brake (from a PAM-74C “Dunc” kit) put in the front. The idea was to create a gun with a smaller calibre, which would not only fire “slow” HE ammunition (which I suppose the R6 cannon uses – it looks like a mortar or howitzer), but faster AP shells. The impressive nozzle break is supposed to catch the stronger recoil of this different weapon concept, and it looks good ;)
On the blank (an ugly!) back of the gun, some technical parts were added which “simulate” recoil and gas pressure compensators. The huge, basically empty box on top of the gun (A visor unit? A camera? A bread basket?) received 3 lenses which double the PA’s new 3-lobed visor unit. Finally, a set of flexible, fabric-covered cables connects the gun with an adapter box on the PA’s breast (the original PA-36 has a small flap under its visor for this purpose). This gun then received my personal designation R6M, “M” for modified , an authentic Russian suffix.
From the beginning, this PA conversion was to be painted in a single colour. Since all-green PA’s frequently appear in the TV series (see e. g. episode 14 & 16) and will definitively show up in my collection, I settled on brown. Another factor was the background picture (see above), which had much influence on the kit's finish. And finally, since I have seen several pictures of all-brown/dark sand Russian WWII tanks, the single brown colour seemed to be plausible. Mmm… brown. Or better: коричневый цвет!
The basic overall tone is Tamiya’s XF-64 “Red Brown”, everywhere. Some details like the inside of the visor unit were painted with Testor’s 2002 “Burnt Umber” from the figure colour series for extra contrast. The joints received a mix of Gold (Testors 1144), a bit gun metal (Humbrol 53) and Burnt Umber.
After a first turn of dry painting with Humbrol 186 and 118, decals were applied. Numbers and unit markings come from a 1:35 scale WWII Russian tank sheet from German decal specialist Peddinghaus. The many light grey Russian labels come from the vast decal sheet of Italieri/Testor’s MiG-37 “Ferret B” kit in 1:72 scale, and typical Dorvack markings come from the original PA-36 and a spare PAM-74 decal sheet. Sadly, most of them disappeared under the final coat of snow...
“Nose art” on the HD-R6M gun consists of a hand-written “плохая новость”, which simply means “Bad news”. What else to expect from this tank on legs? But this, too, unfortunately disappeared under the snow.
After a matte varnish coat the kit received a thorough black ink wash in order to point out the reactive armour plating. Then, several turns with dry paint, including hemp, gulf war sand, light grey, sand and chocolate (Humbrol 168, 187, 64, 63 and 98, respectively) were applied to point out the many surface details. Some dents and blank edges were added with dry-brushed silver, but sparsely. Also, some smoke was simulated with black and dark grey paint (Humbrol 33 and 32), and as a final step some rust and oil was simulated with water-based acrylic paint in burnt umbra and sienna.
In order to enhance the heavy duty impression (and remind of harsh conditions this piece might encounter), the PA finally received a mud treatment around its legs. Plaster, mixed with grass filament, fine sand and water-based mixing colour, was prepared in a shallow bowl and the kit’s feet simply stumped into this artificial sludge – leaving the mud and splashes wherever they might end up.
From above, the kit then received a coat or light snow, made from coloured joint mortar (white, plaster is too grayish!), rinsed through a fine mesh onto the kit which was sprayed with water.
Finally, I must say that this kit was an interesting experience. On one side, it surely was plain fun to convert such a kit into something very different, seeing a vague idea taking shape. But on the other side, this project also has the more or less serious claim to incorporate realistic defence technology – and while building the kit, I became aware how tricky it actually is to construct and protect something like a tank from various battlefield dangers, and how naïve mecha can come along.
On June 8, 2022 the 16th annual LAFD Merit Scholar Awards Ceremony honored the academic excellence and demonstrated leadership of 11 college-bound students.
The Merit Scholar Awards are cash grants, made possible through the Jean Perkins Foundation, of up to $30,000 ($7,500 per year while the student continues to be enrolled and making normal progress toward a college degree). To be eligible, a student must be the child or stepchild of an active or fallen LAFD sworn employee. The eligible student must be a high school senior or college freshman, who will be enrolled in the fall as a full-time student in an accredited college or university. The scholarships are awarded on the basis of merit. The single most important factor is academic achievement, but the all-civilian Selection Committee considered other relevant criteria, including personal character and extracurricular accomplishments.
This year’s awardees were students who demonstrated excellence in academic studies, good character, high moral standards, leadership, distinction in extra-curricular activities, personal accomplishments and a potential for future success. The LAFD Merit Scholarship Fund Board of Directors had the difficult task of selecting the top candidates from an extremely competitive pool.
The 2022 LAFD Merit Scholar Award Recipients are Mariah Alvarado, daughter of Battalion Chief Vincent Alvarado; Kelsey Barrett, daughter of Engineer/Paramedic Keith Barrett; Kurt Ruedy, son of Inspector I Brent Ruedy; Shelby Richmond, daughter of Deputy Chief Trevor Richmond (all bio's provided below).
This year’s seven Runner-Up Award winners are to be congratulated for their outstanding merits. Each received a one time grant of $5,000. They are Aidan Byrne, Jasmine Da Broi, Hadley Goodwin, Carmen Ibarra, Caitlin Perry, Jake Petersen and Jessica Woodcock.
The winner of this year’s “Best Essay” award of $2,500, generously sponsored by the LAFD Foundation, is Jasmine Da Broi.
We would like to thank Mr. James Carroll III and Mr. Joe Connolly, Executive Board Members of the Jean Perkins Foundation and the LAFD Merit Scholarship Fund’s Board of Directors, Dick Barrett, John Anglin, G. Louis Graziadio III, Vicky Leck, Tom Mizo, Robert Nicholas and Molly Taylor for their dedication and support of our members and their children. We are also grateful to the Los Angeles Fire Department Foundation for their sponsorship of the “Best Essay” award and to the LAFD Sertoma Club, the United Firefighters of Los Angeles City, LAFD Historical Society and the Los Angeles Firefighter’s Association and the Stentorians of City of Los Angeles who sponsored the awards reception.
2022 LAFD MERIT SCHOLAR AWARD RECIPIENT BIOGRAPHIES
Mariah Alvarado is a graduating senior from Troy High School (THS) and the
daughter of Battalion Chief Vincent Alvarado, assigned to Battalion 12 (20
years LAFD). Mariah will be attending the University of California San Diego
(UCSD), majoring in Chemical Engineering. Mariah pursued an
engineering pathway where she was able to immerse her passions for STEM through different engineering courses and a 150-hour internship. Mariah is able to meet the rigorous course work of THS while still remaining motivated
and passionate in her endeavors. She serves as the Secretary of THS Compass Club. The Club strives to promote the exploration of different career fields through a variety of interviews with a wide range of career models i.e. computer scientist, business CEO, newscaster, and firefighter.
Mariah records the weekly meeting minutes and schedules the interviews. She is a member of the THS varsity dance team and attends advanced dance
classes in the evenings. She has trained and competed with select elite teams for 11 years in ballet, jazz, tap, lyrical, contemporary and hip hop.
She was appointed captain for five teams out of 60+ dancers to lead dance teams at regional and national competitions. Mariah will continue dancing
on the collegiate Division1 dance team at UCSD. In addition to academic and athletic endeavors, Mariah volunteers for Ronald McDonald House Charities, Meals on Wheels, Pathways of Hope for the Homeless, and Crittenton Services for Children and Families. There, Mariah provides attention and comfort to support attention-deprived infants and toddlers from neglected households. Mariah has “an addiction to Minecraft which consumes an unhealthy fraction of my homework time.”
Mariah’s honors and awards include:
Captain, The Dance Spot Elite Competitive Dance Team 2018-2022
National Title Recipient Varsity Troy
Redhots Dance Team 2018-2022
CADTD Regionals Jazz Soloist Champion 2019 and 2020
WCE Nationals Gold Solo Qualifier
Florida Contest of Champions Nationals Medium Jazz Finalist 2020
National Honors Society 2020-2021,
Principal’s Honor Role 2018-2022,
California Scholarship Federation Seal - Bearer 2018 - 2022
Mariah graduates with a 4.5 GPA
Kelsey Barrett is a graduating senior from San Dimas High School (SDHS) and the daughter of Engineer/Paramedic Keith Barrett, assigned to FS 25 (22 years LAFD). Kelsey will be attending the University of Tennessee, Knoxville, majoring in Nursing. Her goal is to earn her Doctorate of Nursing Anesthesia Practices (DNA) and become a Certified Registered Nurse Anesthetist. Kelsey has challenged herself at SDHS with difficult classes that include advanced placement, honors and accelerated classes. Her rigorous class schedule, exceptional grades and demanding schedule attest to her academic excellence and ability to balance her time. Kelsey is a dedicated team player and a role model committed to her team, school and community. She is a tri-sport athlete, participating in varsity volleyball, water polo and softball. She was the Captain of all three teams and helped win league championships in all three sports. She was active in school clubs. She served as ASB Athletics Commissioner, planning and organizing school events, Link Crew Leader, assisting freshmen students, and Best Buddies Team Leader, assisting special education students. Kelsey has actively volunteered at Lake Elder Care and Assistance with elderly care and assistance. At Victoria Village Dentistry, her duties included setting up equipment trays, assisting with x-rays and
creating patient charts. Kelsey’s responsibilities at Guide Dogs for the Blind included training and fostering dogs to improve the quality of life and allowing independence for the blind. During the COVID-19 Pandemic, Kelsey had free time and wanted to help expectant mothers who had delivered babies all alone at the Pomona Valley Hospital. She started knitting beanies for babies and has knitted 125 beanies, which are included in care packages for the moms to take home. She hopes to knit 25 more before leaving to the University ofTennessee in August.
Kelsey’s Honors and Awards include:
•First Team All-League Softball, Water Polo, Volleyball 2018-2022
•HEART Award (Hustle, Energy, Attitude, Respect, Team) 2019
•Valle Vista League MVP Volleyball 2022
•Top 10% of Class 2018 - 2022
•Gold Star Award 2018 - 2022
•Renaissance Award 2018 - 2022
•Merit Award 2019, 2020, 2022
Kelsey graduates with a 4.3 GPA
Kurt Ruedy is a graduating senior from Royal High School (RHS) and the son of Inspector I Brent Ruedy, assigned to the Fire Prevention Bureau, VIC Unit (22 years LAFD). Kurt will be attending the University of Alabama, majoring in political science. Kurt is a talented baseball player. He is intelligent, re-spectful and hardworking. He is a consummate team player, being flexible to play a variety of positions to better suit his team’s needs. Kurt brings these traits into the classroom as well as in service to his community. He is a Link Crew Group Leader for RHS, helping incoming freshmen transition to high school throughout the school year. Kurt serves on the RHS Senior Class Council where he was involved in making decisions on spending and asset allocation, organizing, planning and executing events. Kurt is a member of the National Honor Society (NHS). NHS members are required to maintain excellent academic standing as well as service to their community. Kurt volunteered for RHS’ Math for Good program by tutoring math online. He volunteers at the yearly church summer camps as a group leader for preschool to sixth grade. Through the RHS baseball program, Kurt is involved with the Challenger League in Simi Valley, a program helping disabled kids to play baseball, work together and build friendships. As he mentored and interacted with the players on and off the field, Kurt became more aware of his gratitude for his health and abilities. Kurt looks forward to applying to law school and practicing contract law as a sports agent.
Kurt’s honors and awards include:
•National Honor Society 2020-2022
•Scholar Athlete Achievement 2019-2022
•Valedictorian - 2022
Kurt graduates with a 4.3 GPA.
Shelby Richmond is a graduating senior from Thousand Oaks High School (TOHS) and is the daughter of Deputy Chief Trevor Richmond,
Operations Valley Bureau (33 years LAFD). Shelby will be attending
Dartmouth College, majoring in Biology, pre-med track. Shelby hopes to attend a medical or Physician Assistant school, or do research in the medical field. Shelby is a student at TOHS’s The Center, for Advance Studies and Research, (The Center) an AP Capstone Program. As a jun-ior, she completed her AP Research project successfully and overa-chieved with a score of five. The Center is the only course of its kind which involves high school students in advance college level research. In addition to academics, Shelby has been involved with various extra-curricular activities. She is a dedicated student athlete, on the TOHS track team, winning scholar athlete awards, MVP, and served as Varsity Sprint Captain. Shelby actively participates in community events through TOHS’ Key Club, volunteering at animal and homeless shelters, CROP Hunger Walk, and Leukemia and Lymphoma Society Student of the Year Campaign (LLS). LLS is a philanthropic leadership development program. Throughout the campaign, students learn to develop professional skills, i.e. marketing, entrepreneurship as well as project and team management. Shelby organized various charity events and conducted sponsorship Zoom meetings and contacted corporate offices. Her team, Bella’s Buddies, raised over $113,000, winning the LLS award of Southern California and donating all funds to cancer research.
Shelby’s honors and awards include:
•MVP Girls 200-meter Dash 2021
•Ventura County Champion 200 Meters 2021
•Milesplit Junior Girls First Team All-State Team 2021
•Marmonte League Champion 200 Meters
•Scholar Athlete Award 2019 - 2022
•Society of Women’s Engineers Award 2021
Shelby graduates with a 4.4 GPA.
LAFD Event-060822
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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
In the late 1970s the Mikoyan OKB began development of a hypersonic high-altitude reconnaissance aircraft. Designated "Izdeliye 301" (also known as 3.01), the machine had an unusual design, combining a tailless layout with variable geometry wings. The two engines fueled by kerosene were located side by side above the rear fuselage, with the single vertical fin raising above them, not unlike the Tu-22 “Blinder” bomber of that time, but also reminiscent of the US-American SR-71 Mach 3 reconnaissance aircraft.
Only few and rather corny information leaked into the West, and the 301 was believed not only to act as a reconnaissance plane , it was also believed to have (nuclear) bombing capabilities. Despite wind tunnel testing with models, no hardware of the 301 was ever produced - aven though the aircraft could have become a basis for a long-range interceptor that would replace by time the PVO's Tupolew Tu-28P (ASCC code "Fiddler"), a large aircraft armed solely with missiles.
Despite limitations, the Tu-28P served well in its role, but the concept of a very fast interceptor aircraft, lingered on, since the Soviet Union had large areas to defend against aerial intruders, esp. from the North and the East. High speed, coupled with long range and the ability to intercept an incoming target at long distances independently from ground guidance had high priority for the Soviet Air Defence Forces. Even though no official requirement was issued, the concept of Izdeliye 301 from the Seventies was eventually developed further into the fixed-wing "Izdeliye 701" ultra-long-range high-altitude interceptor in the 1980ies.
The impulse for this new approach came when Oleg S. Samoylovich joined the Mikoyan OKB after having worked at Suchoi OKB on the T-60S missile carrier project. Similar in overall design to the former 301, the 701 was primarily intended as a kind of successor for the MiG-31 Foxhound for the 21st century, which just had completed flight tests and was about to enter PVO's front line units.
Being based on a long range cruise missile carrier, the 701 would have been a huge plane, featuring a length of 30-31m, a wing span of 19m (featuring a highly swept double delta wing) and having a maximum TOW of 70 tons! Target performance figures included a top speed of 2.500km/h, a cruising speed of 2.100km/h at 17.000m and an effective range of 7.000km in supersonic or 11.000km in subsonic mode. Eventually, the 701 program was mothballed, too, being too ambitious and expensive for a specialized development that could also have been a fighter version of the Tu-22 bomber!
Anyway, while the MiG-31 was successfully introduced in 1979 and had evolved in into a capable long-range interceptor with a top speed of more than Mach 3 (limited to Mach 2.8 in order to protect the aircraft's structural integrity), MiG OKB decided in 1984 to take further action and to develop a next-generation technology demonstrator, knowing that even the formidable "Foxhound" was only an interim solution on the way to a true "Four plus" of even a 6th generation fighter. Other new threats like low-flying cruise missiles, the USAF's "Project Pluto" or the assumed SR-71 Mach 5 successor “Aurora” kept Soviet military officials on the edge of their seats, too.
Main objective was to expand the Foxhound's state-of the-art performance, and coiple it with modern features like aerodynamic instability, supercruise, stealth features and further development potential.
The aircraft's core mission objectives comprised:
- Provide strategic air defense and surveillance in areas not covered by ground-based air defense systems (incl. guidance of other aircraft with less sophisticated avionics)
- Top speed of Mach 3.2 or more in a dash and cruise at Mach 3.0 for prolonged periods
- Long range/high speed interception of airspace intruders of any kind, including low flying cruise missiles, UAVs and helicopters
- Intercept cruise missiles and their launch aircraft from sea level up to 30.000m altitude by reaching missile launch range in the lowest possible time after departing the loiter area
Because funding was scarce and no official GOR had been issued, the project was taken on as a private venture. The new project was internally known as "Izdeliye 710" or "71.0". It was based on both 301 and 701 layout ideas and the wind tunnel experiences with their unusual layouts, as well as Oleg Samoylovich's experience with the Suchoi T-4 Mach 3 bomber project and the T-60S.
"Izdeliye 710" was from the start intended only as a proof-of-concept prototype, yet fully functional. It would also incorporate new technologies like heat-resistant ceramics against kinetic heating at prolonged high speeds (the airframe had to resist temperatures of 300°C/570°F and more for considerable periods), but with potential for future development into a full-fledged interceptor, penetrator and reconnaissance aircraft.
Overall, “Izdeliye 710" looked like a shrinked version of a mix of both former MiG OKB 301 and 701 designs, limited to the MiG-31's weight class of about 40 tons TOW. Compared with the former designs, the airframe received an aerodynamically more refined, partly blended, slender fuselage that also incorporated mild stealth features like a “clean” underside, softened contours and partly shielded air intakes. Structurally, the airframe's speed limit was set at Mach 3.8.
From the earlier 301 design,the plane retained the variable geometry wing. Despite the system's complexity and weight, this solution was deemed to be the best approach for a combination of a high continuous top speed, extended loiter time in the mission’s patrol areas and good performance on improvised airfields. Minimum sweep was a mere 10°, while, fully swept at 68°, the wings blended into the LERXes. Additional lift was created through the fuselage shape itself, so that aerodynamic surfaces and therefore drag could be reduced.
Pilot and radar operator sat in tandem under a common canopy with rather limited sight. The cockpit was equipped with a modern glass cockpit with LCD screens. The aircraft’s two engines were, again, placed in a large, mutual nacelle on the upper rear fuselage, fed by large air intakes with two-dimensional vertical ramps and a carefully modulated airflow over the aircraft’s dorsal area.
Initially, the 71.0 was to be powered by a pair of Soloviev D-30F6 afterburning turbofans with a dry thrust of 93 kN (20,900 lbf) each, and with 152 kN (34,172 lbf) with full afterburner. These were the same engines that powered the MiG-31, but there were high hopes for the Kolesov NK-101 engine: a variable bypass engine with a maximum thrust in the 200kN range, at the time of the 71.0's design undergoing bench tests and originally developed for the advanced Suchoj T-4MS strike aircraft.
With the D-30F6, the 71.0 was expected to reach Mach 3.2 (making the aircraft capable of effectively intercepting the SR-71), but the NK-101 would offer in pure jet mode a top speed in excess of Mach 3.5 and also improve range and especially loiter time when running as a subsonic turbofan engine.
A single fin with an all-moving top and an additional deep rudder at its base was placed on top of the engine nacelle. Additional maneuverability at lower speed was achieved by retractable, all-moving foreplanes, stowed in narrow slits under the cockpit. Longitudinal stability at high speed was improved through deflectable stabilizers: these were kept horizontal for take-off and added to the overall lift, but they could be folded down by up to 60° in flight, acting additionally as stabilizer strakes.
Due to the aircraft’s slender shape and unique proportions, the 71.0 quickly received the unofficial nickname "жура́вль" (‘Zhurávl' = Crane). The aircaft’s stalky impression was emphasized even more through its unusual landing gear arrangement: Due to the limited internal space for the main landing gear wells between the weapons bay, the wing folding mechanisms and the engine nacelle, MiG OKB decided to incorporate a bicycle landing gear, normally a trademark of Yakovlew OKB designs, but a conventional landing gear could simply not be mounted, or its construction would have become much too heavy and complex.
In order to facilitate operations from improvised airfields and on snow the landing gear featured twin front wheels on a conventional strut and a single four wheel bogie as main wheels. Smaller, single stabilizer wheels were mounted on outriggers that retracted into slender fairings at the wings’ fixed section trailing edge, reminiscent of early Tupolev designs.
All standard air-to-air weaponry, as well as fuel, was to be carried internally. Main armament would be the K-100 missile (in service eventually designated R-100), stored in a large weapons bay behind the cockpit on a rotary mount. The K-100 had been under development at that time at NPO Novator, internally coded ‘Izdeliye 172’. The K-100 missile was an impressive weapon, and specifically designed to attack vital and heavily defended aerial targets like NATO’s AWACS aircraft at BVR distance.
Being 15’ (4.57 m) long and weighing 1.370 lb (620 kg), this huge ultra-long-range weapon had a maximum range of 250 mi (400 km) in a cruise/glide profile and attained a speed of Mach 6 with its solid rocket engine. This range could be boosted even further with a pair of jettisonable ramjets in tubular pods on the missile’s flanks for another 60 mi (100 km). The missile could attack targets ranging in altitude between 15 – 25,000 meters.
The weapon would initially be allocated to a specified target through the launch aircraft’s on-board radar and sent via inertial guidance into the target’s direction. Closing in, the K-100’s Agat 9B-1388 active seeker would identify the target, lock on, and independently attack it, also in coordination with other K-100’s shot at the same target, so that the attack would be coordinated in time and approach directions in order to overload defense and ensure a hit.
The 71.0’s internal mount could hold four of these large missiles, or, alternatively, the same number of the MiG-31’s R-33 AAMs. The mount also had a slot for the storage of additional mid- and short-range missiles for self-defense, e .g. three R-60 or two R-73 AAMs. An internal gun was not considered to be necessary, since the 71.0 or potential derivatives would fight their targets at very long distances and rather rely on a "hit-and-run" tactic, sacrificing dogfight capabilities for long loitering time in stand-by mode, high approach speed and outstanding acceleration and altitude performance.
Anyway, provisions were made to carry a Gsh-301-250 gun pod on a retractable hardpoint in the weapons bay instead of a K-100. Alternatively, such pods could be carried externally on four optional wing root pylons, which were primarily intended for PTB-1500 or PTB-3000 drop tanks, or further missiles - theoretically, a maximum of ten K-100 missiles could be carried, plus a pair of short-range AAMs.
Additionally, a "buddy-to-buffy" IFR set with a retractable drogue (probably the same system as used on the Su-24) was tested (71.2 was outfitted with a retractable refuelling probe in front of the cockpit), as well as the carriage of simple iron bombs or nuclear stores, to be delivered from very high altitudes. Several pallets with cameras and sensors (e .g. a high resolution SLAR) were also envisioned, which could easily replace the missile mounts and the folding weapon bay covers for recce missions.
Since there had been little official support for the project, work on the 710 up to the hardware stage made only little progress, since the MiG-31 already filled the long-range interceptor role in a sufficient fashion and offered further development potential.
A wooden mockup of the cockpit section was presented to PVO and VVS officials in 1989, and airframe work (including tests with composite materials on structural parts, including ceramic tiles for leading edges) were undertaken throughout 1990 and 1991, including test rigs for the engine nacelle and the swing wing mechanism.
Eventually, the collapse of the Soviet Union in 1991 suddenly stopped most of the project work, after two prototype airframes had been completed. Their internal designations were Izdeliye 71.1 and 71.2, respectively. It took a while until the political situation as well as the ex-Soviet Air Force’s status were settled, and work on Izdeliye 710 resumed at a slow pace.
After taking two years to be completed, 71.1 eventually made its roll-out and maiden flight in summer 1994, just when MiG-31 production had ended. MiG OKB still had high hopes in this aircraft, since the MiG-31 would have to be replaced in the next couple of years and "Izdeliye 710" was just in time for the potential procurement process. The first prototype wore a striking all-white livery, with dark grey ceramic tiles on the wings’ leading edges standing out prominently – in this guise and with its futuristic lines the slender aircraft reminded a lot of the American Space Shuttle.
71.1 was primarily intended for engine and flight tests (esp. for the eagerly awaited NK-101 engines), as well as for the development of the envisioned ramjet propulsion system for full-scale production and further development of Izdeliye 710 into a Mach 3+ interceptor. No mission avionics were initially fitted to this plane, but it carried a comprehensive test equipment suite and ballast.
Its sister ship 71.2 flew for the first time in late 1994, wearing a more unpretentious grey/bare metal livery. This plane was earmarked for avionics development and weapons integration, especially as a test bed for the K-100 missile, which shared Izdeliye 710’s fate of being a leftover Soviet project with an uncertain future and an even more corny funding outlook.
Anyway, aircraft 71.2 was from the start equipped with a complete RP-31 ('Zaslon-M') weapon control system, which had been under development at that time as an upgrade for the Russian MiG-31 fleet being part of the radar’s development program secured financial support from the government and allowed the flight tests to continue. The RP-31 possessed a maximum detection range of 400 km (250 mi) against airliner-sized targets at high altitude or 200 km against fighter-sized targets; the typical width of detection along the front was given as 225 km. The system could track 24 airborne targets at one time at a range of 120 km, 6 of which could be simultaneously attacked with missiles.
With these capabilities the RP-31 suite could, coupled with an appropriate carrier airframe, fulfil the originally intended airspace control function and would render a dedicated and highly vulnerable airspace control aircraft (like the Beriev A-50 derivative of the Il-76 transport) more or less obsolete. A group of four aircraft equipped with the 'Zaslon-M' suite would be able to permanently control an area of airspace across a total length of 800–900 km, while having ultra-long range weapons at hand to counter any intrusion into airspace with a quicker reaction time than any ground-based fighter on QRA duty. The 71.0, outfitted with the RP-31/K-100 system, would have posed a serious threat to any aggressor.
In March 1995 both prototypes were eventually transferred to the Kerchenskaya Guards Air Base at Savasleyka in the Oblast Vladimir, 300 km east of Mocsow, where they received tactical codes of '11 Blue' and '12 Blue'. Besides the basic test program and the RP-31/K-100 system tests, both machines were directly evaluated against the MiG-31 and Su-27 fighters by the Air Force's 4th TsBPi PLS, based at the same site.
Both aircraft exceeded expectations, but also fell short in certain aspects. The 71.0’s calculated top speed of Mach 3.2 was achieved during the tests with a top speed of 3,394 km/h (2.108 mph) at 21,000 m (69.000 ft). Top speed at sea level was confirmed at 1.200 km/h (745 mph) indicated airspeed.
Combat radius with full weapon load and internal fuel only was limited to 1,450 km (900 mi) at Mach 0.8 and at an altitude of 10,000 m (33,000 ft), though, and it sank to a mere 720 km (450 mi) at Mach 2.35 and at an altitude of 18,000 m (59,000 ft). Combat range with 4x K-100 internally and 2 drop tanks was settled at 3,000 km (1,860 mi), rising to 5,400 km (3,360 mi) with one in-flight refueling, tested with the 71.2. Endurance at altitude was only slightly above 3 hours, though. Service ceiling was 22,800 m (74,680 ft), 2.000 m higher than the MiG-31.
While these figures were impressive, Soviet officials were not truly convinced: they did not show a significant improvement over the simpler MiG-31. MiG OKB tried to persuade the government into more flight tests and begged for access to the NK-101, but the Soviet Union's collapse halted this project, too, so that both Izdeliye 710 had to keep the Soloviev D-30F6.
Little is known about the Izdeliye 710 project’s progress or further developments. The initial tests lasted until at least 1997, and obviously the updated MiG-31M received official favor instead of a completely new aircraft. The K-100 was also dropped, since the R-33 missile and later its R-37 derivative sufficiently performed in the long-range aerial strike role.
Development on the aircraft as such seemed to have stopped with the advent of modernized Su-27 derivatives and the PAK FA project, resulting in the Suchoi T-50 prototype. Unconfirmed reports suggest that one of the prototypes (probably 71.1) was used in the development of the N014 Pulse-Doppler radar with a passive electronically scanned array antenna in the wake of the MFI program. The N014 was designed with a range of 420 km, detection target of 250km to 1m and able to track 40 targets while able to shoot against 20.
Most interestingly, Izdeliye 710 was never officially presented to the public, but NATO became aware of its development through satellite pictures in the early Nineties and the aircraft consequently received the ASCC reporting codename "Fastback".
Until today, only the two prototypes have been known to exist, and it is assumed – had the type entered service – that the long-range fighter had received the official designation "MiG-41".
General characteristics:
Crew: 2 (Pilot, weapon system officer)
Length (incl. pitot): 93 ft 10 in (28.66 m)
Wingspan:
- minimum 10° sweep: 69 ft 4 in (21.16 m)
- maximum 68° sweep: 48 ft 9 in (14,88 m)
Height: 23 ft 1 1/2 in (7,06 m )
Wing area: 1008.9 ft² (90.8 m²)
Weight: 88.151 lbs (39.986 kg)
Performance:
Maximum speed:
- Mach 3.2 (2.050 mph (3.300 km/h) at height
- 995 mph (1.600 km/h) supercruise speed at 36,000 ft (11,000 m)
- 915 mph (1.470 km/h) at sea level
Range: 3.705 miles (5.955 km) with internal fuel
Service ceiling: 75.000 ft (22.500 m)
Rate of climb: 31.000 ft/min (155 m/s)
Engine:
2x Soloviev D-30F6 afterburning turbofans with a dry thrust of 93 kN (20,900 lbf) each
and with 152 kN (34,172 lbf) with full afterburner.
Armament:
Internal weapons bay, main armament comprises a flexible missile load; basic ordnance of 4x K-100 ultra long range AAMs plus 2x R-73 short-range AAMs: other types like the R-27, R-33, R-60 and R-77 have been carried and tested, too, as well as podded guns on internal and external mounts. Alternatively, the weapon bay can hold various sensor pallets.
Four hardpoints under the wing roots, the outer pair “wet” for drop tanks of up to 3.000 l capacity, ECM pods or a buddy-buddy refueling drogue system. Maximum payload mass is 9000 kg.
The kit and its assembly
The second entry for the 2017 “Soviet” Group Build at whatifmodelers.com – a true Frankenstein creation, based on the scarce information about the real (but never realized) MiG 301 and 701 projects, the Suchoj T-60S, as well as some vague design sketches you can find online and in literature.
This one had been on my project list for years and I already had donor kits stashed away – but the sheer size (where will I leave it once done…?) and potential complexity kept me from tackling it.
The whole thing was an ambitious project and just the unique layout with a massive engine nacelle on top of the slender fuselage instead of an all-in-one design makes these aircraft an interesting topic to build. The GB was a good motivator.
“My” fictional interpretation of the MiG concepts is mainly based on a Dragon B-1B in 1:144 scale (fuselage, wings), a PM Model Su-15 two seater (donating the nose section and the cockpit, as well as wing parts for the fin) and a Kangnam MiG-31 (for the engine pod and some small parts). Another major ingredient is a pair of horizontal stabilizers from a 1:72 Hasegawa A-5 Vigilante.
Fitting the cockpit section took some major surgery and even more putty to blend the parts smoothly together. Another major surgical area was the tail; the "engine box" came to be rather straightforward, using the complete rear fuselage section from the MiG-31 and adding the intakes form the same kit, but mounted horizontally with a vertical splitter.
Blending the thing to the cut-away tail section of the B-1 was quite a task, though, since I not only wanted to add the element to the fuselage, but rather make it look a bit 'organic'. More than putty was necessary, I also had to made some cuts and transplantations. And after six PSR rounds I stopped counting…
The landing gear was built from scratch – the front wheel comes mostly from the MiG-31 kit. The central bogie and its massive leg come from a VEB Plasticart 1:100 Tu-20/95 bomber, plus some additional struts. The outriggers are leftover landing gear struts from a Hobby Boss Fw 190, mated with wheels which I believe come from a 1:200 VEB Plasticart kit, an An-24. Not certain, though. The fairings are slender MiG-21 drop tanks blended into the wing training edge. For the whole landing gear, the covers were improvised with styrene sheet, parts from a plastic straw(!) or leftover bits from the B-1B.
The main landing gear well was well as the weapons’ bay themselves were cut into the B-1B underside and an interior scratched from sheet and various leftover materials – I tried to maximize their space while still leaving enough room for the B-1B kit’s internal VG mechanism.
The large missiles (two were visible fitted and the rotary launcher just visibly hinted at) are, in fact, AGM-78 ‘Standard’ ARMs in a fantasy guise. They look pretty Soviet, though, like big brothers of the already not small R-33 missiles from the MiG-31.
While not in the focus of attention, the cockpit interior is completely new, too – OOB, the Su-15 cockpit only has a floor and rather stubby seats, under a massive single piece canopy. On top of the front wheel well (from a Hasegawa F-4) I added a new floor and added side consoles, scratched from styrene sheet. F-4 dashboards improve the decoration, and I added a pair of Soviet election seats from the scrap box – IIRC left over from two KP MiG-19 kits.
The canopy was taken OOB, I just cut it into five parts for open display. The material’s thickness does not look too bad on this aircraft – after all, it would need a rather sturdy construction when flying at Mach 3+ and withstanding the respective pressures and temperatures.
Painting
As a pure whif, I was free to use a weirdo design - but I rejected this idea quickly. I did not want a garish splinter scheme or a bright “Greenbottle Fly” Su-27 finish.
With the strange layout of the aircraft, the prototype idea was soon settled – and Soviet prototypes tend to look very utilitarian and lusterless, might even be left in grey. Consequently, I adapted a kind of bare look for this one, inspired by the rather shaggy Soviet Tu-22 “Blinder” bombers which carried a mix of bare metal and white and grey panels. With additional black leading edges on the aerodynamic surfaces, this would create a special/provisional but still purposeful look.
For the painting, I used a mix of several metallizer tones from ModelMaster and Humbrol (including Steel, Magnesium, Titanium, as well as matt and polished aluminum, and some Gun Metal and Exhaust around the engine nozzles, partly mixed with a bit of blue) and opaque tones (Humbrol 147 and 127). The “scheme” evolved panel-wise and step by step. The black leading edges were an interim addition, coming as things evolved, and they were painted first with black acrylic paint as a rough foundation and later trimmed with generic black decal stripes (from TL Modellbau). A very convenient and clean solution!
The radomes on nose and tail and other di-electric panels became dark grey (Humbrol 125). The cockpit tub was painted with Soviet Cockpit Teal (from ModelMaster), while the cockpit opening and canopy frames were kept in a more modest medium grey (Revell 57). On the outside of the cabin windows, a fat, deep yellow sealant frame (Humbrol 93, actually “Sand”) was added.
The weapon bay was painted in a yellow-ish primer tone (seen on pics of Tu-160 bombers) while the landing gear wells received a mix of gold and sand; the struts were painted in a mixed color, too, made of Humbrol 56 (Aluminum) and 34 (Flat White). The green wheel discs (Humbrol 131), a typical Soviet detail, stand out well from the rather subdued but not boring aircraft, and they make a nice contrast to the red Stars and the blue tactical code – the only major markings, besides a pair of MiG OKB logos under the cockpit.
Decals were puzzled together from various sheets, and I also added a lot of stencils for a more technical look. In order to enhance the prototype look further I added some photo calibration markings on the nose and the tail, made from scratch.
A massive kitbashing project that I had pushed away for years - but I am happy that I finally tackled it, and the result looks spectacular. The "Firefox" similarity was not intended, but this beast really looks like a movie prop - and who knwos if the Firefox was not inspired by the same projects (the MiG 301 and 701) as my kitbash model?
The background info is a bit lengthy, but there's some good background info concerning the aforementioned projects, and this aircraft - as a weapon system - would have played a very special and complex role, so a lot of explanations are worthwhile - also in order to emphasize that I di not simply try to glue some model parts together, but rather try to spin real world ideas further.
Mighty bird!
This is what I carry on a daily basis. See the notes for details. Taken on a cell phone camera (not mine) so the camera I do carry shows in the photo. I've considered getting a bigger bag, but I know it would just fill up with yarn and books, and weigh three tons.
On June 6, 2018 the 12th annual LAFD Merit Scholar Awards Ceremony honored the academic excellence and demonstrated leadership of 11 college-bound students.
The Merit Scholar Awards are cash grants, made possible through the Jean Perkins Foundation, of up to $30,000 ($7,500 per year while the student continues to be enrolled and making normal progress toward a college degree). To be eligible, a student must be the child or stepchild of an active or fallen LAFD sworn employee. The eligible student must be a high school senior or college freshman, who will be enrolled in the fall as a full-time student in an accredited college or university. The scholarships are awarded on the basis of merit. The single most important factor is academic achievement, but the all-civilian Selection Committee considered other relevant criteria, including personal character and extracurricular accomplishments.
This year’s awardees were students who demonstrated excellence in academic studies, good character, high moral standards, leadership, distinction in extra-curricular activities, personal accomplishments and a potential for future success. The LAFD Merit Scholarship Fund Board of Directors had the difficult task of selecting the top candidates from an extremely competitive pool.
The 2018 LAFD Merit Scholar Award Recipients are Simone Decker, daughter of Firefighter III/Paramedic Dieter Decker; Abigail Sedillos and Brady Sedillos, children of Captain I Leonard Sedillos;Teagan Wasserman, daughter of Firefighter III/Paramedic Curt Wasserman (all bio's provided below).
This year’s seven Runner-Up Award winners are to be congratulated for their outstanding merits. Each received a one time grant of $5,000. They are Mia Aguilar, Seth Aguilar, Nina Hernandez, Angelina Maldonado, Delanie McKeon, Derek Rueda, Anna Vidovich and Taylor Wasserman.
The winner of this year’s “Best Essay” award of $2,500, generously sponsored by the LAFD Foundation, is an impressive repeat winner, Nina Hernandez. Nina also received this award in 2017.
We would like to thank Mr. James Carroll III and Mr. Joe Connolly, Executive Board Members of the Jean Perkins Foundation and the LAFD Merit Scholarship Fund’s Board of Directors, Dick Barrett, John Anglin, G. Louis Graziadio III, Vicky Leck, Tom Mizo, Robert Nicholas and Molly Taylor for their dedication and support of our members and their children. We are also grateful to the Los Angeles Fire Department Foundation for their sponsorship of the “Best Essay” award and to the LAFD Sertoma Club, the United Firefighters of Los Angeles City, LAFD Historical Society and the Los Angeles Firefighter’s Association and the Stentorians of City of Los Angeles who sponsored the awards reception.
The announcement for the 2019 competition should be posted early 2019 at www.lafd.org/scholarship.
2017 LAFD MERIT SCHOLAR AWARD RECIPIENT BIOGRAPHIES
Simone Decker is a senior from Quartz Hill High School (QHHS) and is the daughter of Firefighter III Paramedic Dieter Decker, assigned to Fire Station 75 (15 years LAFD). She will be attending George Washington University, majoring in Political Science. Simone has volunteered with the Union Rescue Mission and the Children’s Department at Barnes and Noble. Simone has become involved with the Interfaith Youth Leadership Initiative (IYLI) and serves as the Secretary of the LA County Chapter. IYLI promotes religious tolerance through education and interaction. Simone feels the program allowed her to understand religion in a different light and become friends with people form a huge variety of faiths. The program provides a space for youth to interact with one another, free from societal stereotypes or preconceived notions. Simone has interned for Assemblyman Tom Lackey during 2016-2017 and with Congressman Steve Knight, on Capitol Hill, in 2018. She is very active in on-campus clubs. She is currently Social Media Commissioner for the QHHS ASB, Cheer Squad Captain, Multicultural Club, a Bollywood founding member and dance performer, member of Key Club and author of Blog with The Odyssey Online. Simone is a member of the National Society of High School Scholars (NSHSS) and was selected for the Award of Excellence from the National Academy of Future Scientists and Technologists. Other awards include NSHSS Ambassador Award 2017-2018, Principal’s List Honor Roll 2014-2018, and Academic Excellence Awards 2014-2018 after receiving all “A” grades in honors/advanced courses. Simone graduates with a 4.9 GPA.
Abigail Sedillos is a graduating senior from Palos Verdes Peninsula High School (PVPHS) and the daughter of Captain I Leonard Sedillos, assigned to Fire Station 80 (33 years LAFD). Abbie will be attending Northeastern University, Boston, MA, double majoring in Environmental Studies and Political Science on the Pre-Law track. Abbie has been volunteering since 2012 and believes in the power of service. She is dedicated to commu-nity service and actively volunteers at the National Charity League as a Big Sister/Little Sister coordinator. Abbie also volunteers in Blue Jackets, assisting with discharged patients and making deliveries within the Torrance Memorial Medical Center(TMMC): NOVAs of TMMC, which partners with high school volunteers to fundraise and support patient events. Abbie has received the Gold Presidential Volunteer Service Award for volunteering over 120 hours a year and the National Charity League Ticktocked Service Award for volunteering over 100 hours a year. Abbie has participated in the following PVPHS clubs: Link Crew, PLUS Leadership, Teen Court and Principal’s Advisory Council. She participated as a sprinter on the PVPHS Track and Field Team, competing in the 100 and 400 meter, 4 x 4 and 4 x1 relays from 2014- 2016. Abbie’s awards include National Hispanic Scholar 2017, Sociedad Honoraria Hispanica 2016, National Honor Society 2016-2018, Science National Honor Society 2016-2018, California Scholarship Federation 2015 - 2018, and AP Scholar with Honors 2017-2018. Abbie graduates with a 4.7 GPA.
Brady Sedillos is a graduating senior from Palos Verdes Peninsula High School (PVPHS) and the son of Captain I Leonard Sedillos assigned to Fire Station 80 (33 years LAFD). Brady will be attending Brown University majoring in Biological Sciences on the Pre-Med track. Brady’s inspiration and passion for Biological Sciences is due to his family trips to National Parks. Exploring the natural world and it’s workings while on those trips fueled his curiosity especially in his AP Biology Lab. Brady is a Blue Jacket and a NOVA volunteer at TorranceMemorial Medical Center (TMMC). He served as the Vice President and Social Chair of NOVA at TMMC. Brady is a Youth Leader at Saint John Fisher Catholic Church. He assists with meetings and mentors incoming classes. Brady competed on the PVPHS Swim Team CIF and Bay League, in the 200 meter IM, 2014-2017. He served on the Principal’s Advisory Council as a representative of the student body working to improve the school environment. Brady is a jury member of Teen Court 2014-2018, Peer Leadership Uniting Students (PLUS) 2016-2018, Model United Nations Team Under-Secretary-General of Logistics 2015-2018. Brady is a co-founder/vice president of the Go Toberman School Club, a Game of Thrones fan club. Brady also likes to play the ukulele. Brady’s awards and honors include: Model United Nations Conference Awards; 2016-2018, National Hispanic Scholar; 2017, National Honor Society; 2016-2018; Science and Math National Honor Society; 2016-2018 , and California Scholarship Federation; 2015 - 2018. Brady graduates with a 4.8 GPA.
Tegan Wasserman is a graduating senior from Edison High School (EHS) and the daughter of Firefighter III Paramedic Curt Wasserman assigned to Fire Station 99 (32 years LAFD). Teagan will be attending Wagner College, Staten Island, NY, in the five-year advanced Physician Assistant Program. Teagan is currently the Secretary of EHS’s Make a Wish Club, whose duties include raising money, planning and managing event logistics. In 2015, Teagan won Best Scientific Invention in Edison’s Worlds Fair. She continues to volunteer in EHS’s Innovation Lab, maintaining different projects including aquaponics system, fish breeding, etc. Teagan is a volunteer at Fountain Valley Regional Hospital, helping in multiple areas, including the operating room and the Surgical ICU. Tegan is a water safety instructor at Aquatots Swim School. Teagan teaches kids 0-18 years old and works with kids with disabilities. Teagan has participated in the Modeled United Nations (MUN) 2014-2018. This year she traveled to the MUN conference host nation Greece, where they learned and debated different world topics. Teagan mentors freshman taking MUN Geography course, by counseling and critiquing their papers. Teagan has played Club/Academy Soccer 2007 - 2018 and played EHS Varsity Soccer during 2014-2017. She is a decorated Scholar-Athlete. Teagan was the CIF Sports Conference and the OCAD Women in Sports Conference Representative for Edison Women’s Soccer. Teagan is the recipient of Edison Character Coalition Award Perseverance winner 2017. Teagan graduates with a 4.6 GPA.
LAFD Event-060618
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Gary Apodaca
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+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The P-74 "Charger" was a fighter aircraft built by Lockheed for the United States Army Air Forces (USAAF). Its configuration was unusual as it was designed as a twin boom pusher configuration, where the propeller is mounted in the rear of the fuselage, pushing the aircraft forward.
The P-74 entered service with the USAAF in late 1944, its conception dated back to 1939 when the U.S. Army Air Corps requested with the Circular Proposal R40C domestic manufacturers to develop high performance fighter types, allowing (even demanding) unusual configurations. Lockheed did not respond immediately and missed the chance to sign a development contract in mid-1940 until early 1941. Twenty-three proposals were submitted to R40C, and after a fist selection of ideas three companies, Vultee with the large XP-54 Swoose Goose, Curtiss with its XP-55 Ascender and Northrop's XP-56 Black Bullet were able to secure prototype contracts.
Vultee eventually won the competition, but all these innovative new aircraft suffered from various flaws or development delays, missing various performance goals, so that none ever entered service.
In the meantime, Lockheed had been working on the 1939 request in the background on a private venture basis, as it was clear that by 1944 a successor to the company's own P-38 Lightning had to be offered to the USAAC.
The new North American P-51 Mustang was also a sharp competitor, esp. for the Pacific conflict theatre where long range was needed. This role was filled out very well by the P-38, but it was a relatively large and complicated aircraft, so an alternative with a single engine was strived for. Even though jet engines already showed their potential, it was clear that the requested range for the new type could only be achieved through a piston engine.
This aircraft became the XP-74, originally christened “Laelaps”, following Lockheed’s tradition, after a female Greek mythological dog who never failed to catch what she was hunting. It was presented as a mock-up to USAAC officials on August 8th 1942 and immediately found sponsorship: with the disappointing results from the XP-54,55 and 56 was immediately ushered into the prototype stage. Its name, though, was rejected, and the more common name “Charger” was adopted.
Just like Lockheed’s successful P-38 the XP-74 Charger was designed as a twin-boom aircraft, but it was driven by only a single Packard (License-built Rolls Royce Merlin) V-1650 pusher engine in the aft part of the fuselage. The tail was mounted rearward between two mid-wing booms, with a four-bladed 12-ft propeller between them. The design also included a "ducted wing section" developed by the NACA that enabled installation of cooling radiators and intercoolers in the wing root section.
The advantages of a pusher design are that the view forward is unobstructed and armament can be concentrated in the nose, while a major drawback is difficulty in escaping from the aircraft in an emergency, as the pilot could get drawn into the propeller blades. Lockheed deliberated between systems that would eject the pilot, or jettison the propeller or the engine, via a system of explosive bolts. Lockheed eventually installed an early ejector seat which was driven by pressurized air, combined with a mechanism that would blow the canopy off. The system was successfully tested in summer 1943, even though skepticism remained among pilots.
Initial armament comprised one 20mm Hispano cannon and four 12.7mm Browning machine guns, the same as in the P-38, but two machine guns were relocated from the nose into the front ends of the tail booms because of the new aircraft’s smaller overall dimensions.
The first prototype was ready in October 1943, with a different engine and heavier armor fitted. The second prototype was built to this specification from the start, which would become the serial production standard, the P-74A.
The P-74A used the new V-1650-9 engine, a version of the Merlin that included Simmons automatic supercharger boost control with water injection, allowing War Emergency Power as high as 2,218 hp (1,500 kW). Another change concerned the armament: a longer weapon range was deemed necessary, so the gun armament was changed into four 20mm Hispano cannons, two of the placed in the fuselage nose and one in each tail boom front end. Each gun was supplied with 250 RPG.
Alternatively, a nose installment with a single 37mm cannon and two 12.7mm Browning MGs was tested on the first prototype, but this arrangement was found to be less effective than the four 20mm cannons. Another factor that turned this option down was the more complicated logistics demands for three different calibers in one aircraft.
The P-74A was ready for service in summer 1944, but its deployment into the Pacific region took until December – the 5th Air Force first units replaced most of its P-38 and also early P-47Ds with the P-74A.These new aircraft had their first clashes with Japanese forces in January 1945.
The P-74 was used in a variety of roles. It was designed as an intreceptor against bombers, but its good range and handling at all altitudes made it suitable for tasks like fighter sweeps against enemy airfields, support for U.S. ground forces and protection of sea convoys and transport routes.
While the P-74 could not out-turn the A6M Zero and most other Japanese fighters when flying below 200 mph (320 km/h), its superior speed coupled with a good rate of climb meant that it could utilize energy tactics, making multiple high-speed passes at its target. Also, its focused firepower was deadly to lightly armored Japanese warplanes.
Because of its late service introduction, only 305 P-74s were ever produced until the end of hostilities, and they were exclusively used in the Pacific theatre. The P-74's service record shows mixed results, but usually because of misinformation. P-74s have been described as being harder to fly than traditional, single-engined aircraft, but this was because of inadequate training in the first few months of service.
Another drawback was the ejection seat system – it worked basically well, but the tank for the pressurized air turned out to be very vulnerable to enemy fire. Several P-74s literally exploded in midair after cannon fire hits, and this poeblem could only be cured when the tank section behind the cockpit received a more rigid structure and additional armor. Anyway, the P-74 was quickly retired after WWII, as the USAAF focussed on P-47 and P-51.
General characteristics
Crew: 1
Length: 10.45 m (34 ft 3 in)
Wingspan: 11.6 m (38 ft 0 in)
Height: 3.97 (13 ft 0 in)
Wing area: 22.2 m² (238.87 ft²)
Empty weight: 3,250 kg (7,165 lb)
Loaded weight: 4,150 kg (9,149 lb)
Max. take-off weight: 4,413 kg (9,730 lb)
Powerplant:
1× Packard (License-built Rolls Royce Merlin) V-1650-9 ,
rated at 1,380 hp (1,030 kW) and 2,218 hp (1,500 kW) w. water injection
Performance
Maximum speed: 640 km/h (343 knots, 398 mph)
Cruise speed: 495 km/h (265 knots, 308 mph)
Range: 1,105 mi (1,778 km)
Ferry range: 1,330 nmi (1,530 mi, 2,460 km)
Service ceiling: 11,000 m (36,090 ft)
Rate of climb: 15 m/s (2,950 ft/min)
Armament
4× 20 mm (0.79 in) Hispano-Suiza HS.404 cannons with 250 RPG
2× hardpoints for up to 2,000 lb (907 kg) of bombs, 6 or 10× T64 5.0 in (127 mm) H.V.A.R rockets
The kit and its assembly:
This whif was inspired by a CG rendition of a Saab J21 in a natural metal finish and with (spurious) USAAF markings, probably a skin for a flight simulator. Anyway, I was more or less enchanted by the NMF on the Saab – I had to build one, and it would become the P-74, the only USAF fighter code that had never been used.
The kit is the venerable Heller Saab J21A, an “old style” design with raised panel lines. But it is still around and affordable. No big mods were made to the kit during its transition into a USAAF fighter, even though I changed some minor things:
● Main landing gear was completely exchanged through struts from an Airfix A-1 Skyraider and the wheels from a Hasegawa P-51D; thin wire was added as hydraulic tubes
● New propeller blades: instead of the three-bladed original I added four much broader blades with square tips (from a Heller P-51D) to the original spinner
● Different exhaust stubs, which actually belong to a Spitfire Merlin (Special Hobby kit)
● Underfuselage flap was slightly opened
● A pilot figure was added to the nice cockpit
● The gun barrels were replaced with hollow styrene tubes
Painting and markings:
NMF was certain, but the rest…? I wanted to have a colorful aircraft, and eventually settled for a machine in the Pacific theatre of operations. When I browsed for options I eventually decided to apply broad black stripes on wings and fuselage, typical 5th Air Force markings that were used e. g. on P-47Ds and P-51Ds.
Overall design benchmark for my aircraft is a P-47D-28 of 310th FS/58th FG. The tail would be all white, and the rudder sported red and white stripes, early war insignia. The red nose trim and the deep yellow spinner were taken over from this aircraft, too. The blue individual code number is a personal addition, as well as the nose art, which was puzzled together from a Czech 'Perdubice' Meeting MiG-21 and leftover bits from a Pacific use P-51.
The aircraft was basically painted with Aluminum Metallizer (Humbrol 27002) and Polished Steel Metallizer (Modelmaster), and some panels were contrasted with Aluminum (Humbrol 56).
The anti-glare panel in front of the cockpit was painted in Olive Drab (Humbrol 66), the red nose trim with Humbrol 19. The tail was painted with a mix of Humbrol 34 & 196, for a very light grey, and later dry-painted with pure white.
The black ID stripes as well as the red and blue rudder trim were not painted, but rather created through decal sheet material (from TL Modellbau), cut to size and shape to fit into their respective places. The tail was a PITA, but for the black stripes this turned out to be very effective and convenient - an experiment that willcertainly see more future use.
Cockpit interior was painted in Humbrol 226 (Cockpit Green) and Zinc Chromate Green from Model Master, the landing gear wells received a chrome yellow primer (Humbrol 225) finish.
The landing gear struts were kept in bare Aluminum.
For weathering the kit received a rubbing treatment with grinded graphite, which adds a dark, metallic shine and emphasizes the kit’s raised panel lines. Some dry painting with Aluminum was added, too, simulating chipped paint on the leading edges, and on the black ID stripes some dark grey shading was added.
A relatively simple whif, but I love how the Saab 21 looks in the unusual, shiny NMF finish - and the USAAF markings with the prominent ID stripes suit it well, even though it looks a bit like a circus attraction now?
Rear interior second story wall of a gutted house in the Balat district of Istanbul. The architectural technique was called Bagdadi. The walls were first covered with thin wooden lathes which, in turn, were covered with a mixture of gypsum, sisal fibers, water and eggwhite. After the mixture dried, the wall was painted on a chalk basis.
Ein Reigen
Premier on 29.04.2014 (April 2014)
Against the backdrop of Arthur Schnitzlers drama "La Ronde", the creators of this ballet (choreographer Ashley Page and designer Antony McDonald) evoke the almost explosive creativity which characterised Vienna in the years between 1900 and 1914. Based on real personalities, this ballet brings both the light and the dark sides of this period to the stage, portraying individual characters and shedding light on the relationships between them. Compositions which arose from this extraordinarily ric h artistic period provide the musical basis for the ballet.
www.volksoper.at/Content.Node2/home/spielplan/premieren.e...
Vienna Volksoper
The Volksoper is after the Vienna State Opera, the second-largest opera house in Vienna. The program will include operettas, operas, musicals and ballet.
(Pictures you can see by clicking on the link at the end of page!)
Seen from the Volksoper Währingerstraße from
History
Founding and time as spoken theater
The Jubilee City Theatre woodcut from the Leipzig magazine of 19 January 1899
1897 Karl Lueger was appointed mayor of Vienna. The architectural thought - ie the redesign of Vienna - was the prevailing social, economic and political trend in this as ring road time known era. In the same year the emperor anniversary Municipal Theatre Association (Kaiserjubiläums-Stadttheater-Verein) was founded by committed citizens of the City of Vienna to set up with the objective of the 50th Jubilee of Emperor Franz Joseph I in 1898 a theater for the performance of German speaking pieces in Waehring.
In addition to this club significantly involved was also the Christian Social dictrict leader of Währing Anton Baumann because the building until 1905 stood in the 18th District. The theater association commissioned the architect Alexander Graf with the implementation of the building, which together with the architect Franz Freiherr von Krauss built the Emperor's Jubilee City Theatre in just 10 months.
The total costs were estimated at 650,000 guilders before construction begins. This amount was financed through shares, which were sold like hot cakes. With some delay, the construction work was started in March, 1898. The high pressure of time led to a violation of the construction costs by approximately 25%, or 160,000 guilders. This missing amount was not subsidized by public authorities, but was imposed the director Adam Müller-Guttenbrunn in the form of a lease rate increase.
Another shadow over the opening on 14 December 1898 cast the fact that the emperor himself stayed away from the opening of the house, as his wife Elizabeth had been killed three months earlier. After this bad start of the theater followed after not yet five years in 1903, the first bankruptcy .
The musical theater from 1903 until the postwar years
The Jubilee City Theatre at the time of opening, 1898
On 1 September 1903, Rainer Simon took over the directorate. He for himself had completed his apprenticeship with famous singers such as Julius Stockhausen or composers like Engelbert Humperdinck. A clear goal in mind, although he would indeed continue the popular German speaking parts in the sense of its predecessor, but put the first steps towards musical theater. During the 1904/05 season - in which for the first time appeares in the subtitle Volksoper, too - Simons introduced the first comic operas. Due to the great public appeal, Simons already ventured 1906-1908 the leap to the big opera. From 1908 the venue operated only under the name Volksoper.
After many highly successful years, finally in 1925 the Volksoper massively had to fight with the effects of inflation. After some brief closures and various rescue attempts by the working groups Volksoper was closed on 5 July in 1928 and only on 5 November 1929 reopened as New Vienna Schauspielhaus. 1938 took over the city of Vienna the now Urban Vienna Volksoper (Städtische Wiener Volksoper) later renamed Opera House of the City of Vienna. Towards the end of the Second World War the Volksoper became, for several months, the second largest cinema of the city with 1,550 seats, since after 1 September 1944 for all theaters was ruling prohbition of theater performances and there were some Viennese cinemas already destroyed by air raids.
After the Second World War, the Volksoper served as temporary quarters for the destroyed Staatsoper. After the opening of the restored State Opera building in 1955, the People's Opera became again independent musical theater with operas, operettas and musicals. In the same year, the Volksoper was integrated into the Austrian Federal Theatre.
Recent history
Under the director Karl Dönch took place in 1973 a first major reconstruction of the theater house.
1979 Robert Jungbluth has initiated in his former role as Secretary General of the Federal Theatre Association for the Volksoper a guest performance in Japan. It was the first operetta which was performed in Japan. In 1984, followed an American tour.
September 1991 to June 1996, the Staatsoper and the Volksoper were under joint command. During this time singers were hired for both houses simultaneously. The season was, however, autonomous, since both platforms serve different priorities.
The People's Opera as stage house of the Austrian theater became with the Federal Law on the reorganization of the Federal Theatre (Federal Theatre Organisation Act) in 1998 a legally independent company. 1999 took place the establishment of the "Volksoper Wien GmbH" as a 100% subsidiary of the Federal Theatre Holding GmbH.
Since 1 September 2007 is the Volksoper Vienna conducted by Kammerschauspieler Robert Meyer as director and artistic director. Rainer Schubert acts as Deputy Director. At the same time Mag. Christoph Ladstätter was appointed Chief Financial Officer. Diethmar Strasser acts as artistic director of operations, and Gerrit Prießnitz is the musical director of studies.
Robert Meyer is pursuing a consistent policy of reform. Its goal is to position the Volksoper again as "the musical theater in Vienna" to enhance the operetta and to a wider audience.
Iron Curtain
An iron curtain of the Vienna Volksoper
On the Iron Curtain, the dedication of the house of the 50th anniversary of the reign of Franz Joseph I. By the two year figures 1848, on your left, and 1898, on your right, good recognisable. This was painted by Karl Schuller and Georg Janny.
The curtain is showing in the center front Vindobona. The man in the right half of the picture is supposed to symbolize the citizens of Vienna. By removal of the blindfold this one now should be able to see the beautiful muses, too.
Before the war, the curtain was cleared away and was then lost until it reappeared in the 1990s in the attic of the Theater an der Wien.
Facts and Figures
Spectators and house
Current seating plan of the Volksoper
At three different levels to visitors a total of 1261 seating and 72 standing places, and 2 wheelchair places are available. From September to June, there is, with few exceptions, every day a performance. The most important figures in recent years:
Season Performances Visitors avg seat utilization employees
2004/2005 [2 ] 287 293 695 75.41 % unknown
2005/2006 [3 ] 276 280 520 74.77 % 524
2006/2007 [ 4] 281 289 721 78.34 % 523
2007/2008 [ 5 ] 291 325 491 85.77 % 526
The for maintenance activities responsible federal-Holding has spent in the fiscal year 2006/2007 for a facade renovation of the historic building Volksoper EUR 1.1 million.
Specifications
Lighting and views to the orchestra pit at the Volksoper
The orchestra pit is equipped with two electrically powered lifting platforms. The load capacity is 500 kg/m² (front single podium, stage-sided double-decker panel) and is height adjustable from 0 to 2.65 feet below stage level.
The existing red velvet curtain head is hydraulically liftable and raff. The gathering speed is 0.15 to 3.0 m/s, the lifting speed is up to 2 m/s.
The sound curtain of aluminum frame also operates hydraulically. The additional capacity of 300 kg with a point load of 150 kg. The lifting speed as sound curtain is up to 0.8 m/s. The lifting speed as heavy truck is up to 0.5 m/s.
The hydraulically operated Schleierzug has a load capacity of 350 kg with a point load of 150 kg.
The stage area is 480 square meters with a maximum of 500 kg / m² load . The usable platform width is 17.2 meters and the depth of the stage from the front edge to the portal sliding gate are 19 meters.
Volksoper from the belt
The stage surface is made of a rotatable and raisable core disk having a diameter of 7.20 m in the middle, and a rotatable annular disc having an outer diameter of 15 meters of the core slices. Furthermore, there are three hand-operated, stationary personal meditations.
Organizational Structure
Since 1999, the Vienna Volksoper belongs to 100 % to the Federal Theatre holding just like the Staatsoper GmbH Vienna and Burgtheater GmbH. Another subsidiary is the theater GmbH which belongs to 51.1 % to the Federal Theatre Holding. The remaining 48.9% hold the three stage companies in equal parts (each 16.3%). Together with the Vienna State Opera, the Volksoper is subordinaded the independent consortium Ballet of the Vienna State Opera and Volksoper. Directors
Adam Müller- Guttenbrunn (1898-1903)
Rainer Simons (1903-1917)
Raoul Mader (1917-1919)
Felix Weingartner (1919-1924)
August Markowsky/Fritz Stiedry (1924 )
Hugo Gruder-Guntram/Leo Blech (1925 )
Frischler Hermann (1925-1928)
Jacob Feldhammer/Otto Preminger (1929-1931)
Leo Kraus (1931-1933)
Karl Funny-Prean/Jean Ernest (1934-1935)
Alexander Kovalevsky (1935-1938)
Anton Baumann (1938-1941)
Jölli Oskar (1941-1944)
Juch Hermann (1946-1955)
Salmhofer Franz (1955-1963)
Albert Moser (1963-1973)
Karl Dönch (1973-1986)
Eberhard Waechter (1987-1992, 1991-1992 also the director of the Vienna State Opera)
Ioan Holender (1992-1996, also the director of the Vienna State Opera)
Klaus Bachler (1996-1999)
Dominique Mentha (1999-2003)
Rudolf Berger (2003-2007)
Robert Meyer (from 2007)
Premieres
The Kuhreigen, Musical Theatre by Wilhelm Kienzl, 23 November 1911
Love chains, opera in three acts by Eugen d'Albert, 12th November 1912
The Testament, musical comedy by William Kienzl, on 6 December 1916
The lucky hand, drama with music by Arnold Schoenberg, on 14 October 1924
This is the first love affair, operetta by Eysler, 23 December 1934
On the green meadow, operetta by Jara Benes, on 9 October 1936
Spring Parade, operetta by Robert Stolz, on 5 March 1964
Felix. Or of someone who set out to learn to shudder, and jazz opera by Klaudia Kadlec (libretto ) and Max Nagl (music) after the fairy tale by the Brothers Grimm on 23 June 2002
Honorary members
Klaus Bachler
Franz Bauer-Theussl
Rudolf Bibl
Adolf Dallapozza
Otto Fritz
Hans Grötzer
Karlheinz Haberland
Johannes Heesters (since 1984)
Michael Heltau (since 2004)
Robert Herzl (since 1998)
Ioan Holender
Renate Holm
Mirjana Irosch
Wolfgang Schultze
Dagmar Koller
Erich Kuchar
Guggi Löwinger
Sigrid Martikke
Peter Minich
Sonja Mottl Dönch
Helga Papouschek
Herbert Prikopa (since 1986)
Harald Serafin
Wicus Slabbert (since 2005)
Christiane Sorell
Helmut Süß
Paul Walter Rudolf Wasserlof
The Maserati 300S was a racing car produced by Maserati of Italy between 1955-58, which competed in the FIA's World Sportscar Championship. Twenty eight examples were produced.
The 3.0-litre (approx 245 bhp (183 kW) at 6200 rpm) engine was based on the Straight-6 design of the Maserati 250F and incorporated a lengthened stroke developed by Vittorio Bellentani to increase the capacity from the original 2.5-litres. The compression ratio was reduced from 12:1 to 9.5:1, partly due to the FIA regulations requiring the engine to be run on road car fuel. It used three Weber carburettors, initially 42DCO3, later 45DCO3. A trellis structure was used instead of the tubular one of the 250F, and the aluminium body was by Medardo Fantuzzi. The brakes were the same as the 250F, beautifully machined alloy drums with extensive fining. The suspension was also of the same design as the 250F but with some strengthening to cope with the rougher tracks and road surfaces encountered in WSC racing. New features for the 300S included the incorporation of a DeDion type rear axle, a transverse four speed gearbox and two chain driven camshafts.
After a poor showing in the first season (1955) due mainly to mechanical malfunctions and development problems, it won at the Nurburgring in 1956 and finished second overall. It was second to the Maserati 450S, and was followed by the Maserati 350S. After the Guidizzolo accident (1957), the last few 300S were sold to customers in the USA. Giulio Alfieri gave up an attempt to fit it with fuel injection. One 300S was developed with the new V12 engine, becoming the Maserati 350S.
Mark Knopfler of Dire Straits fame is a long term owner of a 300S and has regularly raced the car in historic competitions.
(Wikipedia)
A primary school in Kerala/India that a friend of us set up. If you want to support the project, please visit
Storyline
The basis of this storyline was to play on people emotions and to use them to create an atmosphere that was enthralling, scary and frightening. I therefor decided to create a serious piece of facial animation work based on the concept of fear.
To get ideas for the features of my character I carried out an in depth research of evil characters by reading comics and graphic novels, reviewing films and investigating various internet sites. One of the characters that was very influential in my finished piece of work was “Red Skull” from Marvels Captain America, Nemesis as it he portrayed a lot of the characteristics that I wanted my facial animation to have.
One piece of research I found to be very useful was when I reviewed the film “Unbreakable” which is about a man who discovers he has super powers. One of the scenes at the beginning of the film is where Samuel Jackson’s character, Mr Glass, is appraising the cover art of a comic, with a colleague, which has been framed and is hanging on a wall in front of them. He describes it as a classic comparison of good versus evil. The thing that makes it so special is the realistic depiction of the characters. His description of the evil characters inspired me with the development of my own piece of facial animation and the evil characteristics that I wanted to build into it.
I also scoured the internet for relevant sites portraying monsters, demons and villainous characters that would further inspire me in creating my horrific piece of facial animation. As I progressed through my research I began to develop in my mind the elements that I wanted to bring together to form my piece of work. I developed my ideas from reviewing various sites. I then meshed together different elements of my character including decaying teeth, lips, ears, nose, horns, protruding brain and rotting flesh. At this stage I started looking into gathering video / audio reference material that would support my character. Since my character needed to portray a threatening and scary nature I looked for videos where the character(s) had either an intimidating presence that they projected or voice traits that made them sound threatening, aggressive and or violent.
Audio
I compiled the audio track from a mesh up of Ultron in the Avengers 2 trailers that I brought together in Moviemaker. I felt that this gave the video the right atmosphere with Ultrons deep and calm voice emphasising the element of fear in the video.
Storyboard
After deciding upon and finalising the choice of the video / audio track that I wanted to use with my character I started on the production of my storyboard. The process that I had followed had helped me develop in my mind a draft plan of how the storyboard would flow and the message that it would give. The storyboard outlines the basis of the animation from the starting point where the evil character appears on screen and immediately begins his evil and malicious rant. He does it in such a casual way as to leave no doubt in the viewers mind as to what sort of character he is.
Facial Structure
I wanted to create a facial structure that would leave a lasting impression of fear in the viewer’s mind. I also wanted my face to have a unique and creative look but not something that would alienate the viewer. Using my concept art drawings as reference material I started work on the front of the face working down from the forehead to the chin. The basis of the facial structure was a gaunt, bony and lifeless face with extra lines being added around the eyes & mouth to give them extra manoeuvrability and to allow them to be stretched.
Ears
Following on from this I moved onto the ears, which I started off by extruding faces out of the side of the head, which I then gave an elf like appearance to. I also used a torus which I merged to the bottom of the face giving each of my earlobes a giant disgusting hole.
Horns
Next I created the horns, from cones, which protruded from the crown of the head, the cheeks and the chin. I started off with the horns in the crown of the head giving them a deformed structure and having 3 of them extending awkwardly upwards from each side of the head. I shaped them to look like goat’s horns in order to give them more character with a more complex, terrifying and interesting look. To add extra character to the face I added in a single horn to each side which protruded out like an overgrown whisker from the cheekbone.
Chin
For the chin area I created several horns so that it exhibited a horn like beard. When I was developing the horns I gave them raised crater like bases that the horn would extend from. This was the same for all the horns that appeared on the face & head. To connect all these horns to the head I started off by deleting the bottom faces of all the horns/cones, I then created these dents all over the face in to which I could place the horns. To create these dents I selected the face, extruding it outwards and then in again to create the dents. I then deleted the faces in these dents; positioned the horns in the dents, combined the horns and the face and then connected the vertices.
Nose
In order to maintain the creepy image that I wanted my character to have I gave it a skeletal like nose with very little visible nasal passageway and 2 darkened holes for the noses entrance similar to that of a fleshless skull.
Brain
To make my character even scarier I crated a crater like indent on the side of the skull by extruding it inwards and then extending it outwards to create the organ like image of the brain protruding out of its skull. At this point I deleted the right side of the face, Duplicate Special the left side of the face, I then combined both sides of the face and connected the vertices, I was now able to see what my completed face looked like.
Mouth
For the mouth area I removed the lips revealing the decaying gums, which were created with a cube and moulded to the shape of a pair of gums. Next I developed a set of rotten piranha like teeth which I created from pyramids. The top and bottom sets of teeth meshed together with a vice like grip when the mouth closes.
Tongue
I created a basic tongue shape, from a cube, for my character then extended the tips on both sides so that it protruded out of the mouth to give it a forked “V” like shape similar to that of a snake. I then added dents and indents to the surface and underside of the tongue to give it a more realistic look.
Eyes
I started these off by drawing out a sphere to the size of my characters eye socket. For this process I didn’t lower the poly count, placing the eye ball roughly in the centre of an eye socket. The next step was shaping the eyeball to give it similar characteristics to that of a character from Lord of the Rings called the “Eye of Sauron”. To add more detail to the eyeball I extruded the front face of the eyeball inwards and then extruded the face inwards to create the pupil for the eyes.
Eyelid
To create the eyelid I drew another sphere that was the same as the one I had used for the eyeball. I then deleted half of the faces, so that only a half was left. I then selected all of the remaining faces and extruded them to add thickness to the eyelid. This was then duplicated to create the bottom half of the eyelid. I then duplicated both eyelids again to create a second pair of eyelids.
Body / Torso
Next I followed the tutorial video that created a basic body for my model. This consisted of cylinders where their topology was reduced to 8. I then started work on the upper part of the torso, stretching out the top part of the cylinder to enhance the muscle structure (i.e. pectoral, deltoid and abdomen) so that they were clearly visible. On the top part of the torso I then extruded out what was going to be my shoulders and neck where my head would be attached. On the stomach I selected six faces that I extruded outwards and shaped it into a six pack (Rectus abdominis muscle).
Arms
I created an arm using a cylinder where the topology was reduced to 8. I then developed the upper part of the arm by stretching the top part of the cylinder which enhanced the muscle structure (i.e. biceps and triceps) so that they were clearly visible. Once this process had been completed I copied the arm over to the opposite side of the torso using duplicate special.
Legs
I used the same basic process to create a leg with a cylinder where the topology was reduced to 8. I then developed the upper part of the leg by stretching the top part of the cylinder which enhanced its muscle structure (i.e. bicep femoris, gracilis, gastrocnemius etc.) so that they were clearly visible. Once this process had been completed I copied the leg over to the opposite side of the torso using duplicate special.
Connecting Arms & Legs to Torso
I deleted faces on both sides of the body where the arms were going to be placed; I also deleted the faces on top of the shoulder. I combined the arms with the body so that I could then connect the vertices. I then completed the same process for the legs. Having connected all the limbs to the body I then went on to smooth out the mesh to give it a more natural shape.
Hands
For the hands I initially drew out a cube, I then drew in several lines on the cube to create separate faces that I could extrude out for the fingers and thumb. After having shaped out a properly formed hand I then went on to add my own personal characteristics to the hand. I selected certain faces on the fingers and thumb and scaled them in to give the hand a bony appearance, like an old lady’s hands. I selected the faces on the ends of the finger tips and thumb and extruded those inwards to give a slightly sunken appearance. Having done that I created finger nails, out of cones, from which I removed the faces at the bottom of the nail and deleted the faces from the extrusion at the top of the finger. This allowed me to combine the vertices of the finger tips and nails. Once the hand was complete I removed the faces from the base of the hand and arm so that the vertices could be combined to provide a completed arm and hand.
Feet
For the feet I again drew out a cube and drew in several lines thereby creating several faces that could be extruded out to create the toes. Once the foot was completed I removed the faces on the leg and foot where they were to be joined so that the vertices could be combined to connect the foot to the leg. Having done that I created an ankle bone on each foot by selecting a vertice around the ankle area and pulled it out slightly to create the shape of the ankle. I also created an indent on the underside of each foot (representing the instep) and arched the top of the foot (representing the main foot bone).
Texturing
The body was now complete; the next stage was the texturing. All the texturing was created using a combination of Maya Miax Passes, Layered, Ramp, Surface Shader, Noise and Lambert. The body was textured using a combination of Mia, Layered & Ramp; this created a faded effect going from black below the waste to the feet and red above to waste up to the head.
The nails on the hand were next to be textured. Using Mia I gave them a dirty yellow colour to make them look infected. Using Mia I gave the gums a dull purple colour to make them look moist but lifeless. At their intersection with the gums I gave the teeth a yellow decayed look which gradually changed to a normal white colour as you moved towards the end of the tooth. This effect was created using a combination of Mia, Layered and Ramp. Using a combination of Noise and Lambert I gave the tongue a normal red colouring with a moist look for added reality. The combination of the Noise with Lambert helped create the visibility of the taste buds on the tongue. I used a combination of Mia, Layered, Ramp and Surface Shader to create the colouring for the eyeball and give it a glowing effect. The design of the eyeball was based on the character “Eye of Sauron” from Lord of the Rings. The final piece of texturing was for the horns. With the use of Mia, Layered and Ramp I again created a decaying look for the horns by giving the base a black aged look then changed the colouring to yellow, which gradually faded before becoming white at the tip of the horn.
Rigging
The layout of the rig gave an accurate representation of the anatomy. On my character I placed my first joint around the sacrum and then I placed three joints going upwards with a curve along the spine. I then placed three more joints going from the cervical vertebrae to the cranium. I then started work on the joints for the left leg by drawing in the joint that went from the hip down through the patella and then onto the ankle. I then created a joint for the sole of the foot which allowed me a closer and more accurate control of its movement. I then duplicated special the joints in the left leg so that there were the same joints in the right leg. Next I started work on the left arm joints. The first joint that I put in went from the first rib to the shoulder down to the elbow then the carpus finishing up at the palm of the hand. This then spawned three joints for each of the four fingers and two for the thumb. As the arm joints were now complete I duplicated special giving the right arm the same joints as the left. On my model I then placed two joints at the centre of each eyeball in order to give me complete and accurate control over them. Following on from this I placed eight joints around the mouth three on the top and bottom and one in each corner. This allowed me to have complete control over the movement of the lips and teeth and to produce various facial expressions with my model.
Skinning
To start the skinning process I selected the root joint, which was the sacrum and then my character and smooth bind it, I then flooded it with weights. Now the body is affected by the root joint only with all other joints becoming inactive. This gave me a more precise way of painting skin weight affected by particular joints.
Curves
To give me greater control over my character and to make it easier to move I created a network of individual and linked curves. For example, on each foot I attached 3 curves (to the ankle, sole and the toe end of the foot) which made it easier and gave me greater control over the movement of the feet. Overall this allowed me to easily move individual parts, selected parts or the whole of the body without detracting from the reality of the movement.
Blendshapes
I utilised this functionality which exists in Maya to create short-cut keys. This was beneficial when producing the animation as it allowed me to easily vary the individual characteristics of my character as well as synchronising its movement in line with the audio track. This process was achieved by creating several copies of my character, changing each one to portray a specific action, movement, emotion or look. I then selected all the blend shapes that I had created along with the main characters body before selected Blendshapes to bring them all together and creating the controls that enable manoeuvrability.
Control Buttons
In relation to the above I created control buttons and gave them parameters and the confines within which they had to operate / function to allow the appropriate control of my blendshapes and their settings. I then selected specific blendshape actions, movements, emotions and looks that I wanted my character to portray using these controls.
Auf Basis von Thomas / Ts__ wunderbarem Design seiner SBB CE 6/8 II 14253 habe ich das Modell BE 6/8 II 13254 abgeleitet.
Neben der offensichtlich anderen Farbgebung unterscheiden sie sich im Detail wie folgt:
- das Modell "BE" hat abweichende Leitern, Aufstiege und Haltestangen, das LEGO Modell sollte dies entsprechend widerspiegeln. Fotos des Originals im VHS Museum in Luzern dienten als Vorlage.
- dieses Modell ist R40 tauglich. Dafür büßt es etwas an Eleganz ein. Die hinteren Räder der Vorbauten (jeweils unter dem Mittelteil) haben keine Spurkränze und schwenken über die Kurve. Die Vorlaufachse schwenkt mitsamt Puffer und Magnet unterhalb der Frontleuchten. Der Drehpunkt ist optimiert, so dass die Vorbauten auch in R40 Kurven immer noch sauber vom Mittelteil eingefasst werden
- im Inneren arbeiten hier 2x PU-M Motoren mit einem PU Hub
- ein paar Details sind anders umgesetzt, was zum einen der geringeren Teileverfügbarkeit von Dark Green geschuldet ist, zum anderen bewusst anders umgesetzt wurde
Danke an Thomas für den schönen Austausch zur Umsetzung dieser legendären Lokomotive!
Hier einmal eine Luftaufnahme von einer VW Basis. In der Gegend gibt es sehr viel Schnee. Leider wird die Gegend in der diese Basis liegt, von Google Earth nicht hochauflösend dargestellt, sonst hätte ich die Basis mit großer Wahrscheinlichkeit schon gefunden.
ANDREAS SÖDERBERG
"Ecological Apple" 2009
1280 X 720 PIXEL HD PAL VIDEO
IMAGING THE APPLE
AC INSTITUTE [DIRECT CHAPEL]
547 W27th St. 5th and 6th floors
New York 10001
New York
Curated by:
JOHN R. NEESON
ELIZABETH GOWER
Exhibition dates:
MARCH 25 - MAY 1, 2010
imagingtheapple.com/pages/pressrelease1
IMAGING THE APPLE
PRESS RELEASE
Forty-eight artists have been invited to exhibit responses to IMAGING THE APPLE.
The exhibition is scheduled from March 25 to May 1, 2010 at AC Institute [Direct Chapel] 547 West 27th Street, 5th & 6th floors, New York. www.artcurrents.org
IMAGING THE APPLE is a development of a successful show that toured the Eastern states of Australia in 2004 . 2005. The original exhibition was organized by artist/curator John R. Neeson who is co-curating the New York version with Elizabeth Gower also a Melbourne based artist/curator.
The New York show includes Artists from Stockholm, Beijing, Pittsburg, New York, Toledo, Hollywood, Auckland, Plymouth, Melbourne and Sydney; and in the case of Billy Tjampijinpa Kenda from an area in Central Australia as geographically remote from New York City as it's possible to get.
The Artists represent a cross generational group, with established and well known Artists such as Yoko Ono and Billy Apple, exhibiting alongside mid-career and emerging Artists, using a diverse range of media including text, photography, installation, video, sound and painting.
The conceptual basis for IMAGING THE APPLE references Paul Cézanne's ambition to 'astound Paris with the painting of a single apple'.
The apple has been a significant and reoccurring emblem in factual stories, legends and myths throughout western history.
Never actually identified as the guilty 'fruit of temptation' in the Garden of Eden, an apple nevertheless has been universally represented as the culprit for twenty centuries.
The 'apple' features in the Judgment of Paris from Ancient Greece; in the various legends of William Tell and Snow White and the poison apple from central Europe, in Isaac Newton's revelation on gravity from England, in the origin of the Granny Smith apple from Australia, and from America, Johnny Apple seed.
There is also considerable mythology surrounding why New York City became known as the .big apple.. One story is, that in the jargon of US jazz musicians a gig was an .apple. and a gig in New York City, the big apple. A second tale. dating from the 19th Century concerns a high-class bordello, run by Eve, who had the best .apples. in town.
In colloquial Australian "she'll be apples" translates, as "it will be fine" while 'an Apple a day keeps the doctor away', 'an apple for the teacher' and 'the apple of my eye' are epithets common in the English-speaking world that associates the apple with health and goodness.
Finally 'apple' has become an enduring contemporary icon associated with the legendary Beatles company, the personal computers and ipod.
All these associations resonate in various degrees of intensity through the forty-eight responses in IMAGING THE APPLE.
IMAGING THE APPLE is accompanied by a catalogue, documenting the works, and including a project essay by John R.Neeson. It is published by AC Institute and distributed by Amazon and Barnes & Noble.
IMAGING THE APPLE has received a grant through the Dame Joan Sutherland Fund from the Australian American Association and in-kind sponsorship from Chapman & Bailey, an Australian based Art materials company.
Artists presenting responses: -
Billy Apple, Peter Burke, Jon Campbell, Ross Coulter, Holly Crawford, Penelope Davis, Kate Daw, Kim Donaldson, Janenne Eaton, Steve Ellis, Andrew Erdos, Juan Ford, Sue Ford, Clark V. Fox, Timothy Gaewsky, Martin Gantman, Michael Georgetti, Elizabeth Gower, Denise Green, Hao Guo & Thea Rechner, Jayne Holsinger, Natasha Johns-Messenger, Kate Just, Larry Kagan, Billy Tjampijinpa Kenda, Sardi Klein, Richard Kostelanetz, Kevin Laverty, Deven Marriner, Ben Matthews, Rob McKenzie & Kain Picken, My Dog Sighs, John R. Neeson, Yoko Ono, Mary Lou Pavlovic, Amy Pivak, Paul Ross, Andreas Söderberg, Spoonbill, Charles Tashiro, Brie Trenerry, Nico Vassilakis, Dan Waber, Cara Wood-Ginder, Max Yawney, Anne Zahalka.
Contact:
theappleprojects@gmail.com
info@artcurrents.com