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With four locomotives and 16000 tons of grain in tow, RJAY Struggles to get its train underway at Ferry Street on the Schaghticoke Grade. Eventually the train does get up to track speed just outside of North Hoosic where the Grade evens out and enters the famous Hoosic Tunnel.
Photo Taken by Anthony Giminiani
12/19/13
Also feel freee to watch my video of the Chase as we chase from East Glenville to North Hoosic
Duluth Missabe & Iron Range SD38 #201 charges up the hill out of Duluth, MN. Three locomotives, a half dozen cars and a caboose aren't much of a challenge for the steep grade on this day.
The MARC SC44 'Charger' Test Train thunders through Halethorpe, Maryland on its way north to Philadelphia.
The Sacré-Coeur Church is located in the western part of the old town of Chicoutimi, in the Bassin district. In 1903, the parish of Sacré-Coeur was erected against the backdrop of the growing population of the city, and more particularly that of the Basin. It is entrusted to the Eudists, a religious congregation founded in France in 1643 and in exile in Quebec to flee anticlericalism. The latter also obtained the charge of the apostolic prefecture of the Gulf of St. Lawrence, which became apostolic vicariate in 1905, and would keep it until 1945. As soon as it arrived, the congregation received land from the Compagnie de pulpe de Chicoutimi, founded in 1896, for the construction of a church and a presbytery. The design of the religious ensemble was entrusted to the architect René-Pamphile Lemay (1870-1915). This one draws the plans of a church preceded by a high staircase under which there is a sacristy accessible from the front, on the model in particular of the basilica of the Sacré-Coeur in Paris (1876). As the ground was unstable, the Eudists opted instead for a location on the Cran Chaud, part of which belonged to the Pulp Company. The latter cedes its property rights to the congregation in exchange for the land of the former Sacré-Coeur chapel (1892 and 1893). Lemay reviews the project on the basis of the new site and reduces its importance in order to reduce construction costs. The work, entrusted to the Lévis contractor Joseph Gosselin, began in 1903. The stone was extracted from a quarry specially opened for the occasion, at the corner of Bossé and Taché streets, with the exception of the gray stone of the facade. The shell was completed in 1905. The sacristy was temporarily housed in the choir pending its installation in a section already excavated under the steps. This project was abandoned in 1915 when the church square was fitted out with its Sacré-Coeur monument. The sacristy was erected against the apse in 1919 and 1920, according to the plans of Alfred Lamontagne (1883-1967). Built by Thomas Blanchette and Alphonse Pedneault, it includes on the ground floor a winter chapel with elaborate architectural decor. A parish hall intended to house the works of youth occupies the floor. In 1924, the sacristy was equipped with a high altar from the School of Sculpture of Saint-Romuald. In 1926, the Eudists requested the services of Lamontagne for the renewal of the structure of the church and its fireproofing as well as for the completion of the interior decoration. The works were carried out in 1928 and 1929. Side galleries and a second rear gallery were installed, and the woodwork as well as certain pieces of oak furniture were executed. The marble baptismal font comes from the Delwaide and Goffin workshops, while the plaster ornaments are made from models sculpted by Louis Sorbonne. Under the care of Father Joseph Nio, from 1935 to 1945, the church was the subject of numerous works. In 1938 and 1939, the existing choir partitions were replaced by wrought iron gates and housed the side altars. The church also has a Casavant et Frères organ. In 1954, stained glass windows from the E. Rault house were installed. In 1992, the heritage site of the Place de l'Eglise Sacré-Coeur, which includes the church, was established by the municipality. In 1996, the old high altar was dismantled. This year also marks the departure of the Eudists from the parish of the Sacré-Coeur. The Sacré-Coeur church was listed in 2001. Its presbytery was listed at the same time. These two monuments are included in the heritage site of the Sacré-Coeur, also classified in 2001. The heritage site of the place of the Sacré-Coeur church became a heritage site cited on the entry into force of the Law on cultural heritage in 2012.
With building cumulus clouds all around her, the Black River & Western's Locomotive #60 makes a spirited charge through downtown Flemington, NJ, with a short freight, during an April, 2023 photo shoot organized by the railroad and hosted by Photographer Dan Drennen. In this image, the former Great Western #60 is depicted crossing Central Avenue in Flemington with a short freight. This location is perhaps 900 ft. west of the old Central Railroad of New Jersey (CNJ) Station, which historically, was the terminus of the CNJ South Branch. Just off to the left side of the image, behind that grove of bushes, are the remains of a turntable pit, where the CNJ once turned their famous Camelback commuter locomotives. Today, this spot is a commercial development known as "Turntable Junction."
Tesla charging stations in Shamrock, Texas.
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DRS Class 57 No.s 57003 & 57007 in charge of todays 6K05 Carlisle to Crewe infrastructure train. Seen here approaching Bamber Bridge.
The whammy is about ready.
I wish my editing skills were better....
Model/HMUA: Hailey
Manager: Lynette Mizner
The sand Is flying as the TTI coal train crosses the south fork of the Licking River in Millersburg, KY enroute to the transloader on the Ohio River.
The Victorious Charge is a bronze Civil War monument by American artist John S. Conway located on the Court of Honor on West Wisconsin Avenue in downtown Milwaukee, Wisconsin.
Details enhanced by Topaz Adjust.
Randy Cofer takes his turn at the throttle as he puts on a show going up the hill at the Southeastern Railway Museum. 10-6-18
A westbound coal empty headed for the Savage load out near Price, UT. The train held at Leyden for a little while as UP 8186 would not load. The crew reset the fault causing it to not load, but was unable to keep the fault clear, and the unit stopped loading again soon after this shot. The train would ultimately take the siding at Rocky to further troubleshoot the problem.
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Some days you just need to throw on your helmet, grab your stick and charge through the day. (Also, if you have a unicorn handy, it helps) LOL.
After clearing Ba'erzhan junction the driver of JS 8225 builds up some speed to launch his train up the grade out of the pit at Sandaoling on 31 December 2017.
Sandaoling Coal Mine
Xinjiang, China
Les vitraux de Saint-Vincent. En 1939, prévoyant le pire, l'Administration prit la décision de déposer tous les vitraux anciens de l'église Saint-Vincent. Après classement en bonne et due forme, ils furent envoyés au donjon de Niort, dans les Deux-Sèvres. Les vitraux des XVIIIe et XIXe siècles restèrent en place. Avec l'église, ils furent réduits en miettes lors du bombardement allié du 31 mai 1944. On parvint à extraire des décombres quelques pièces de mobilier et des restes de sculpture. L'église avait été classée aux Monuments historiques. Elle fut déclassée, à l'exception du portail sud du transept, et partiellement rasée. Les vitraux, entreposés entre-temps à Paris, n'avaient donc plus d'édifice de destination. Que faire? Construire une nouvelle église? Bâtir un musée dédié? Les exposer à demeure dans un musée déjà existant? Il fallut trente-cinq ans pour régler l'affaire.
En 1951, la Ville envisagea d'exposer les plus beaux vitraux au musée le Secq des Tournelles. De Paris, ils revinrent donc à Rouen. Quatre furent exposés : l'Arbre de sainte Anne, les Chars, les Saints et le Jugement dernier.
En 1957, on partagea les verrières de Saint-Vincent en deux. Le premier groupe, jugé indivisible, comprenait les vitraux du chœur de l'ancienne église jusqu'au transept. Les autres, qui ne constituaient pas un véritable ensemble, formaient le second groupe. Huit verrières de ce groupe furent remontés, à la cathédrale, dans la chapelle de la Vierge et dans l'ancienne salle du trésor de la tour Saint-Romain.
Peu après, la décision fut prise de construire une nouvelle église place du Marché et l'on ne parlait plus vraiment d'y remonter les vitraux de l'ancien chœur. De quel style serait-elle? Néo-gothique? Résolument moderne? Les avis se heurtaient. Et puis, des vitraux anciens dans du moderne? Des services officiels s'y opposaient. Cependant, en 1962, les Amis des Monuments Rouennais bataillèrent pour que l'insertion des vitraux dans la nouvelle église fût inscrite au cahier des charges. L'idée de créer un musée du vitrail fut rejetée. L'historien d'art Jean Lafond fit alors une nouvelle répartition des vitraux : ceux qui appartenaient à l'église primitive avant la reconstruction du chœur ; ceux qui provenaient d'autres églises et avaient été remontés à Saint-Vincent pendant la Révolution ; enfin, la série installée dans le chœur. Cette série, indivisible, sera, au bout du compte, remontée en 1978 dans la nouvelle église après de nouvelles péripéties.
En 1972, le projet finalement choisi ne prévoyait pas de place pour l'insertion des treize verrières. Le projet était celui de l'architecte Louis Arretche, Architecte en Chef des Bâtiments Civils et des Palais Nationaux et urbaniste de la ville de Rouen. Les défenseurs des vitraux, scandalisés, firent pression. La vice-présidente des Amis des Monuments Rouennais, madame Néel-Soudais, à la tête d'un petit groupe, les Amis de Rouen et de Jeanne d'Arc, amena l'architecte, par sa force de persuasion, à modifier ses plans. Celui-ci accepta d'enfoncer de deux mètres l'église dans le sol afin de donner à la façade nord une hauteur suffisante pour les verrières. Les treize verrières furent restaurées de 1975 à 1978 par l'atelier Gaudin, et remontées à Sainte-Jeanne d'Arc au second semestre 1978.
The stained glass windows of Saint-Vincent. In 1939, foreseeing the worst, the Administration decided to remove all the old stained glass windows from the Saint-Vincent church. After proper classification, they were sent to the keep of Niort, in Deux-Sèvres. The stained glass windows from the 18th and 19th centuries remained in place. Along with the church, they were reduced to rubble during the Allied bombing of 31 May 1944. A few pieces of furniture and remains of sculpture were managed to be extracted from the rubble. The church had been classified as a Historic Monument. It was downgraded, with the exception of the south portal of the transept, and partially razed. The stained glass windows, stored in the meantime in Paris, therefore no longer had a destination building. What to do? Build a new church? Build a dedicated museum? Display them permanently in an existing museum? It took thirty-five years to resolve the matter. In 1951, the City considered exhibiting the most beautiful stained glass windows at the Secq des Tournelles museum. From Paris, they returned to Rouen. Four were exhibited: the Tree of Saint Anne, the Chariots, the Saints and the Last Judgement.
In 1957, the stained glass windows of Saint-Vincent were divided into two. The first group, considered indivisible, included the stained glass windows of the choir of the old church up to the transept. The others, which did not constitute a real ensemble, formed the second group. Eight stained glass windows from this group were reassembled, in the cathedral, in the chapel of the Virgin and in the old treasure room of the Saint-Romain tower.
Shortly afterwards, the decision was made to build a new church on the Place du Marché and there was no longer any talk of reassembling the stained glass windows of the old choir. What style would it be? Neo-Gothic? Resolutely modern? Opinions were conflicting. And then, old stained glass windows in modern ones? Official services were opposed to it. However, in 1962, the Friends of Rouen Monuments fought to have the insertion of the stained glass windows in the new church included in the specifications. The idea of creating a stained glass museum was rejected. The art historian Jean Lafond then made a new distribution of the stained glass windows: those that belonged to the original church before the reconstruction of the choir; those that came from other churches and had been reassembled in Saint-Vincent during the Revolution; finally, the series installed in the choir. This indivisible series would ultimately be reassembled in 1978 in the new church after new adventures. In 1972, the project finally chosen did not provide space for the insertion of the thirteen stained glass windows. The project was that of the architect Louis Arretche, Chief Architect of Civil Buildings and National Palaces and urban planner of the city of Rouen. The defenders of the stained glass windows, scandalized, put pressure on. The vice-president of the Friends of Rouen Monuments, Mrs. Néel-Soudais, at the head of a small group, the Friends of Rouen and Joan of Arc, persuaded the architect, through her powers of persuasion, to modify his plans. He agreed to sink the church two meters into the ground in order to give the north facade sufficient height for the stained glass windows. The thirteen stained glass windows were restored from 1975 to 1978 by the Gaudin workshop, and reassembled at Sainte-Jeanne d'Arc in the second half of 1978.
I suspect the EV station was placed near the windmill as a bit of humor or maybe a bit of the new versus the old. Both devices appear to be real. There is a well head beneath the windmill but I suspect the pump is electric. This may not be a numbered exhibit at Goffs Schoolhouse and Outdoor Museum. It is just another curiosity that attests to the eclectic character of the actual campground, landmark and museums. In many ways this is vintage Route 66. It really never was a tourist trap although it really was a significant part of local history. Researcher and historian, Dennis Casebier built a replica of a railroad depot on the grounds which house the archives of his research into the Old Mojave Road, the last leg of the Santa Fe Trail. He also, with the help of many local volunteers, restored the old schoolhouse to near original condition, complete with desks, slate blackboard and George Washington portrait.
Been slow 6 months of shooting trains for me. Not much good has hit home rails that make the photos worth it. Here and there something will be worth a photo. Plenty of other places to visit in my long life but as of right now here's what I got.
CP 471 meets a east grain extra at Dodge Center, one of a very few meets that happen here anymore let alone in daylight.
I realized that I never took a pic of this little one - That was an attempt to reproduce Magna Charge from Skylanders Swap Force game.
More playful scenes from the DSWT! I took so many pictures during my one hour with these lovely elephants and that little time was one of the most memorable times of my life! I'd like to cherish that with you all through my pictures :)
After picking up 8 loaded trash gondolas from the loader at Yarmouth Transfer Center, GP28 MC 2009 lead the string of 8 just north and clear of the northmost switch at the facility. Depicted here, the conductor throws the switch back to the main near the tail pin of the train, while the engineer kicks the geep into notch 3 to charge and complete required consist brake tests.
Pamela Rogers is escorted from a police car, Tuesday, April 11, 2006, McMinnville, Tenn., for her booking at the Warren County Jail following her arrest. Rogers, who who served six months in prison after being accused of having a sexual relationship with a 13-year-old student was arrested again Tuesday after authorities said she violated probation terms by running a Web site that indicated contact with the victim and his family. (AP Photo/The Southern Standard, Duane Sherrill)