RAF Waddington International Airshow - 02/07/2011

Belgian Air Component F16AM

Founding and early years of Dodge

 

After the founding of the Dodge Brothers Company by Horace and John Dodge in 1900, the Detroit-based company quickly found work producing precision engine and chassis components for the city’s burgeoning number of automobile firms. Chief among these customers were the established Olds Motor Vehicle Company and the then-new Ford Motor Company. Dodge Brothers enjoyed much success in this field, but the brothers' growing wish to build complete vehicles was exemplified by John Dodge's 1913 exclamation that he was "tired of being carried around in Henry Ford's vest pocket."

 

By 1914, Horace had found a solution by creating the new four-cylinder Dodge Model 30. Marketed as a slightly more upscale competitor to the ubiquitous Ford Model T, it pioneered or made standard many features later taken for granted: all-steel body construction (the vast majority of cars worldwide still used wood-framing under steel panels, though Stoneleigh and BSA used steel bodies as early as 1911); 12-volt electrical system (6-volt systems would remain the norm until the 1950s); 35 horsepower (versus the Model T's 20), and sliding-gear transmission (the best-selling Model T would retain an antiquated planetary design until its demise in 1927). As a result of this, and the brothers' well-earned reputation for quality through the parts they made for other successful vehicles, Dodge Brothers cars were ranked at second place for U.S. sales as early as 1916. That same year, Henry Ford decided to stop paying stock dividends to finance the construction of his new River Rouge complex. This led the Dodges to file suit to protect their annual stock earnings of approximately one million dollars, in turn, leading Ford to buy out his shareholders; the Dodges were paid some US$25 million.

 

Also in 1916, Dodge Brothers vehicles won acclaim for durability while in service with the U.S. Army's Pancho Villa Expedition into Mexico. One notable instance was in May when the 6th Infantry received a reported sighting of Julio Cardenas, one of Villa's most trusted subordinates. Lt. George S. Patton led ten soldiers and two civilian guides in three Dodge Model 30 touring cars to conduct a raid at a ranch house in San Miguelito, Sonora. During the ensuing firefight the party killed three men, of whom one was identified as Cardenas. Patton's men tied the bodies to the hoods of the Dodges, returning to headquarters in Dublán and an excited reception from US newspapermen.

 

Death of the Dodge brothers, Sale to Chrysler

 

Dodge Brothers cars continued to rank second place in American sales in 1920. However, the same year, tragedy struck as John Dodge was felled by pneumonia in January. His brother Horace then died of cirrhosis in December of the same year (reportedly out of grief at the loss of his brother, with whom he was very close). With the loss of both founders, the Dodge Brothers Company passed into the hands of the brothers' widows, who promoted long-time employee Frederick Haynes to the company presidency. During this time, the Model 30 was evolved to become the new Series 116 (though it retained the same basic construction and engineering features). However, throughout the 1920s Dodge gradually lost its ranking as the third best-selling automobile manufacturer, slipping down to 7th in the U.S. market.

 

Dodge Brothers emerged as a leading builder of light trucks. They also entered into an agreement whereby they marketed trucks built by Graham Brothers of Evansville, Indiana. The three Graham brothers would later produce Graham-Paige and Graham automobiles.

 

Stagnation in development was becoming apparent, however, and the public responded by dropping Dodge Brothers to fifth place in the industry by 1925. That year, the Dodge Brothers company was sold by the widows to the well-known investment group Dillon, Read & Co. for no less than US$146 million (at the time, the largest cash transaction in history).

 

Dillon, Read & Co. offered non-voting stock on the market in the new Dodge Brothers, Inc., firm, and along with the sale of bonds was able to raise $160 million, reaping a $14 million (net) profit. All voting stock was retained by Dillon, Read. Frederick Haynes remained as company head until E.G. Wilmer was named board chairman in November, 1926. Wilmer was a banker with no auto experience and Haynes remained as president. Changes to the car, save for superficial things like trim levels and colors, remained minimal until 1927, when the new Senior six-cylinder line was introduced. The former four-cylinder line was kept on, but renamed the Fast Four line until it was dropped in favor of two lighter six-cylinder models (the Standard Six and Victory Six) for 1928.

 

On October 1, 1925, Dodge Brothers, Inc., acquired a 51% interest in Graham Brothers, Inc., for $13 million and the remaining 49% on May 1, 1926. The three Graham brothers, Robert, Joseph and Ray, assumed management positions in Dodge Brothers before departing early in 1927.

 

Despite all this, Dodge Brothers’ sales had already dropped to seventh place in the industry by 1927, and Dillon, Read began looking for someone to take over the company on a more permanent basis. Eventually Dodge was sold to Chrysler Corporation in 1928.

 

Wikipedia Quote

Electronic components manufacturer at Lilyfield in Sydney Australia

This is from Jana Roberts Benzon's dvd on Arabesque Canes.

Copyright: © 2011 Melissa Goodman. All Rights Reserved.

(Please, while I appreciate the idea of sharing, no multiple invitations .. thanks!)

 

You can now view my photographs here:

www.fluidr.com/photos/96683394@N00

  

Eco Smart provides Solar Panels of world class premium brands up to 25 years of manufacturer warranty at wholesale prices. We provide many benefits over our Solar Panels and Components which will foremost bring you a long lasting value of our recommended components.For more information visit www.ecosmart-solar.com

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CORAL SEA (July 20, 2017) Royal Australian Navy Commodore Mal Wise, right, exercise Talisman Saber's maritime component commander, and Capt. Larry McCullen, commanding officer of the amphibious assault ship USS Bonhomme Richard (LHD 6), discuss flight deck capabilities during a ship tour. Talisman Saber is a biennial U.S.-Australia bilateral exercise held off the coast of Australia meant to achieve interoperability and strengthen the U.S.-Australia alliance. (U.S. Navy photo by Mass Communication Specialist 2nd Class Kyle Carlstrom/Released)

[Full writeup here.]

 

Plungercam 2 keeps in the spirit of the original plungercam by using of cheap plumbing equipment and affixing it to precision optics. This iteration eliminates the need for glue altogether, so all the optical components can be easily taken out and re-used elsewhere.

 

The main component is a rubberized pipe coupling, which I got for $7 at the always awesome Center hardware. The two adjustable steel bands will be used to hold the mount and lens securely in place. This particular one is two inches on the narrow end, and three on the wider end.

 

To fix the problem with the body cap mount teeth fraying, I decided to replace it with a T-mount T-mount adapter. I picked up the one I'm using for $3 from one of the closing Ritz camera stores.

 

I'm re using the $12 (from ebay) Zenza bronica medium format lens that was in plungercam 1. Since this was only held in place using a metal clip, it was easy to take it out and re-use it.

 

Total cost: $22 :)

A brochure issued by the then might Metropolitan-Vickers Electrical Company Limited, part of AEI, and based at the massive Trafford Park works in Manchester. It is written by Ir. S S Koldijk, the chief engineer of the Rotterdamse Electrische Tramways and concerns the batch of 36 trailers and 34 motor cars that were constructed as post-WW2 replacements for older and war damaged rolling stock for the undertaking. It appears that two experimental motor-cars were ordered first and that originally all 70 cars of the order, placed with Koninklijke Fabrieken van Meubelem en Spoorweg-materieel NV Allen & Co, were to be trailers, this being amended as described. The orders were complicated by post-war shortages and so various components were sourced from many suppliers. This included the 36 sets of electrical equipment ordered from M-V with others being sourced from N.V. Electrotechnische Industrie v/h Willem Smit, Slikkerveer.

 

The eighteen pages of the brochure give great technical detail as to the manufacturing, construction and performance of these units along with images of car 102. Other manufacturers mentioned include Laycock Engineering of Sheffield, John Baker & Bessemer Ltd, Rotherham and David Brown of Huddersfield all then in West Yorkshire. The Dutch rubber concern of Vredesteyn is mentioned along with L Dikkers of Henglo and wiring by Croon & Co of Rotterdam.

St Peter Mancroft towers over the modern market in the centre of the city. The brutalist City Hall, to it's left, the Norman Keep to the right beyond the shops of Gentleman's Walk and Back of the Inns, and on the other side of the market is the flint Guildhall.

 

I wanted to return to to St Peter to look again at the font canopy, and the wonderful glass in the Chancel.

 

I approached the church just after one, I was hot and the walk from the Cathedral had made me hotter.

 

I walked to the glass door, and a hundred faces turned to look at me, as there was an organ recital going on. Should I stay or go?

 

I stayed in the cool of the church, even if I did overheat for ten minutes.

 

In front of me, a video screen showed the organist's hands and feet as he put the instrument through its paces. I learned from this the pedals on the floor didn't just make the organ loud or quiet, they played a melody too. So he played with all four limbs, and the music filled the church.

 

Yes, I wanted to get on to get my shots, but I needed this to make me stop and consider the space and what I should do with the rest of the day.

 

The concert ended at quarter to two, I rushed round to get my shots, before hoping to get to the station for the three o'clock train back to London.

 

-------------------------------------------

 

Norwich is a fine city. Or so the signs say on every road into it. But, and there can be no denying it, it is a jewel in the Norfolk countryside.

 

For me it is “just” Norwich Where used to go for our important shopping, for football and later for concerts. We, and I, would take for granted its cobbled streets, Norman cathedral and medieval churches by the dozen. Also it’s a pub for every day, the ramshackle market, and the Norman castle keep looking down on the city sprawled around.

 

Just Norwich.

 

Later, it also became where I bought new records from Backs in Swan Lane, and searched for punk classics in the Record and Tape Exchange.

 

Norwich is lucky that the industrial revolution passed by the city leaving few changes, the character and history intact. World War II did damage, some churches were abandoned, some rebuilt, but many survived.

 

And Norwich is a friendly city. It sees warm and colourful, and on a hot summer’s day when the locals were in shorts and t-shirts, much white flesh was on display. I also take the football club for granted. I have supported it from nearly 49 years, and being away from the city means I get my news and views largely second hand, but I also forget how central the club is to the people.

 

Sadly, Norwich isn't really on the way to anywhere, well except Great Yarmouth and Cromer, so people don't come here by accident. So it remains something of a secret to most but locals.

 

Other cities would have children dressed in any one of a dozen Premier League club’s replica shirts. In Norwich yellow and green was the dominant colour, even after a chastening season that saw us finish rock bottom of the league. The local sports “superstore” has a Norwich Fan’s fanzone, and a third of the window is given to the home city club.

 

I knew the city like the back of my hand, so knew the route I wanted to take to provide me with views that would refresh those in my mind. I didn’t dally, pressed on to my two targets, the Anglican Cathedral and St Peter Mancroft.

 

This wasn’t the original plan; that was to meet two friends I used to go to the football with, Ian and Ali, but they both caught a bug in Manchester watching the women’s Euros, so couldn’t meet with me. But I had an alternative plan, maybe with a pub stop or two.

 

The trip happened as I got a mail offering a tempting 20% off the trip that had been selling poorly, I checked with Ian and Alison, they said they were free, but had yet to fall ill. So seats were booked, as Jools liked the sound of an afternoon in Norwich and meeting my friends.

 

Up at quarter to five so we could catch the first High Speed service out of Dover, so to be in London in time to catch the railtour to Norwich.

 

Sun had yet to light up Dover Priory when we arrived, but a few people milling around, including two still at the end of their night out.

 

Folkestone was light by the warm light of the rising sun, and well worth a shot as we passed over Foord Viaduct.

 

Later, I was hoping the calm morning meant the Medway would be a mirror, but a breeze disturbed the surface ruining the reflections I had hoped for.

 

Finally, emerging into Essex, the line climbs as the go over the Dartford Crossing, just enough time to grab a shot.

 

It was already hot in London, so we stayed in the shade of the undercroft at St Pancras, had a coffee and a pasty from Greggs before walking over to Kings Cross to see if our tour was already at the buffers.

 

We walked across the road to King's Cross, and find the station packed with milling passengers, all eyes trained on the departure boards waiting for platform confirmations.

 

Ours was due to be platform 3, and the rake of carriages was indeed there, top and tailed by class 66 freight locomotives.

 

We get on the train and find we had been allocated a pair of seats nearest the vestibule. This meant that they were a few inches less wide than others, meaning Jools and I were jammed in.

 

Almost straight away, Jools's back and Achilles began to ache, and the thought of four hours of this in the morning and another four in the evening was too much, and so she decided to get off at the first stop at Potters Bar.

 

In the end, a wise choice I think.

 

The guy in the seat opposite to us talked the whole journey. I mean filling any silence with anything: how much he paid for the components of his lunch, his cameras and then his job. In great detail. He also collected train numbers. I didn't know that was really a thin in the days of EMUs, but I helped out from time to time telling him units he had missed.

 

We had a twenty minute break at Peterborough because of pathing issues, so we all got out to stretch our legs and do some extra trainspotting.

 

An Azuma left from the next platform, and another came in on the fast line. I snapped them both.

 

From Peterborough, the train reversed, and after the 20 minute wait, we went out of the station southwards, taking the line towards Ely.

 

Now that we had done our last stop, the train could open up and we cruised across the Fens at 70mph, the flat landscape botted with wind turbines and church towers slipped by.

 

Instead of going into Ely station, we took the rarely used (for passenger trains) freight avoiding line, now a single track. Emerging crossing the main line, taking the line eastwards towards Thetford.

 

Again, the regulator was opened, and we rattled along. Even so, the journey was entering its fourth hour, and with my travelling colleague and without Jools, time was dragging.

 

We were now back in Norfolk, passing the STANTA training area, all warning signs on the fences telling the trainee soldiers that that was where the area ended. I saw no soldiers or tanks. My only thought was of the rare flowers that would be growing there, unseen.

 

And so for the final run into Norwich, familiar countryside now.

 

Under the southern bypass and the main line from London, slowing down where the two lines merged at Trowse before crossing the River Wensum, before the final bend into Norwich Thorpe.

 

At last I could get off the train and stretch my legs.

 

Many others were also getting off to board coaches to take them to Wroxham for a cruise on the Broads, or a ride on the Bure Valley Railway, while the rest would head to Yarmouth for four hours at the seaside.

  

I got off the train and walked through the station, out into the forecourt and over the main road, so I could walk down Riverside Road to the Bishop’s Bridge, then from there into the Cathedral Close.

 

The hustle and bustle of the station and roadworks were soon left behind, as the only noise was from a family messing about in a rowing boat in front of Pulls Ferry and a swan chasing an Egyptian Goose, so the occasional splash of water.

 

I reached the bridge and passed by the first pub, with already many folks sitting out in the beer garden, sipping wines and/or summer beers. I was already hot and would loved to have joined them, but I was on a mission.

 

In the meantime, Jools had texted me and said if I fancied getting a regular service back home, then I should. And a seed grew in my brain. Because, on the way back, departing at just gone five, the tour had to have a 50 minute layover in a goods siding at Peterborough, and would not get back to Kings Cross until half nine, and then I had to get back to Dover.

 

I could go to the cathedral the church, walk back to the station. Or get a taxi, and get a train back to London at four and still be home by eight.

 

Yes.

 

I walked past the Great Hospital, then into the Close via the swing gate, round to the entrance where there was no charge for entry and now no charge for photography. But I would make a donation, I said. And I did, a tenner.

 

I have been to the cathedral a few times, but not as a churchcrawler. So, I made my way round, taking shots, drinking in the details. But the walk up had got me hot and bothered, I always run with a hot engine, but in summer it can be pretty damp. I struggled to keep my glasses on my nose, and as I went round I knew I was in no mood to go round again with the wide angle, that could wait for another visit.

 

The church is pretty much as built by the Normans, roof excepted which has been replaced at least twice, but is poetry in stone. And for a cathedral, not many people around also enjoying the building and its history.

 

At one, bells chimed, and I think The Lord’s Prayer was read out, we were asked to be quiet. I always am when snapping.

 

In half an hour I was done, so walked out through the west door, through the gate and into Tombland. I was heading for the Market and St Peter which site on the opposite side to the Guildhall.

 

I powered on, ignoring how warm I felt, in fact not that warm at all. The heat and sweats would come when I stopped, I found out.

 

I walk up the side of the market and into the church, and into the middle of an organ recital.

 

Should I turn round and do something else, or should I stop and listen. I stopped and listened.

 

Everyone should hear an organ recital in a large church. There is nothing quite like it. The organ can make the most beautiful sounds, but at the same time, the bass pipes making noises so deep you can only feel it in your bones.

 

Tony Pinel knew his way round the organ, and via a video link we could see his hands and feet making the noises we could hear. It was wonderful, but quite how someone can play one tune with their feet and another with their hands, and pulling and pushing knobs and stoppers, is beyond me. But glad some people can.

 

It finished at quarter to two, and I photograph the font canopy and the 15th century glass in the south chapel. Font canopies are rare, there is only four in England, and one of the others is in Trunch 20 miles to the north. Much is a restoration, but it is an impressive sight when paired with the seven-sacrament font under it.

 

The glass is no-less spectacular, panels three feet by two, five wide and stretching to the vaulted roof. I can’t photograph them all, but I do over 50%.

 

I go to the market for a lunch of chips, for old times sake. I mean that was the treat whenever we went either to Norwich or Yarmouth; chips on the market. I was told they no longer did battered sausage, so had an un-battered one, and a can of pop. I stood and ate in the alleyway between stalls, people passing by and people buying chips and mushy peas of their own.

 

Once done, I had thought of getting a taxi back to the station, but the rank that has always been rammed with black cabs was empty, and two couples were shouting at each other as to who should have the one that was there. So I walked to the station, across Gentleman’s Walk, along to Back of the Inns, then up London Street to the top of Prince of Wales Road and then an easy time to the station across the bridge.

 

I got my ticket and saw a train to Liverpool Street was due to depart at 14:32. In three minutes.

 

I went through the barrier and got on the train, it was almost empty in the new, swish electric inter-city unit. I was sweating buckets, and needed a drink, but there appeared to be no buffet, instead just electric efficiency and silence as the train slid out of the station and went round past the football ground to the river, then taking the main line south.

 

In front of me, two oriental ladies talked for the whole journey. I listened to them, no idea what they talked about to fill 105 minutes.

 

I thought it would be nearly five when the train got in, but helped by only stopping at Diss, Ipswich, Manningtree and Colchester we got in, on time, at quarter past four.

 

I walked to the main concourse and down into the Circle Line platforms, getting a train in a couple of minutes the four stops to St Pancras. I knew there was a train soon leaving, and after checking the board and my watch I saw I had five minutes to get along the length of the station and up to the Southeastern platforms.

 

I tried. I did, but I reached the steps up to the platforms and I saw I had 45 seconds, no time to go up as they would have locked the doors. So, instead I went to the nearby pub and had a large, ice-cold bottle of Weiss beer.

 

That was better.

 

I was all hot and bothered again, but would have an hour to cool down, and the beer helped.

 

At ten past five, I went up and found the Dover train already in, I went through the barriers and took a seat in a carriage I thought would stop near the exit at Dover Priory. I called Jools to let her know I would be back at quarter to seven, and she confirmed she would pick me up.

 

She was there, people got off all out on a night on the town, dressed in shiny random pieces of fabric covering boobs and bottoms. I was young once, I thought.

 

Jools was there, she started the car and drove us home via Jubilee Way. Across the Channel France was a clear as anything, and four ferries were plying between the two shores. Take us home.

 

Once home, Jools had prepared Caprese. I sliced some bread and poured wine. On the wireless, Craig spun funk and soul. We ate.

 

Tired.

 

It was going to be a hot night, but I was tired enough to sleep through it. Or so I thought.

 

-------------------------------------------

 

The great urban churches of northern Europe sit on their market places, especially in Cathedral cities. It is as if they were intended as late Medieval statements of civic pride. They are a reminder of the way that the cities rose to prominence in the decades after the Black Death, as if the old order had been broken and a new one was beginning. They were a great affirmation of Catholic orthodoxy and social communion, in the years before the merchants that paid for them embraced Protestantism and capitalism. They are European culture caught on the cusp of the Renaissance, the beacons that lead us into early modern Europe.

These things are more easily sensed in the great late medieval cities of Flanders and the Netherlands, for example at Bruges. The bridges, the medieval triumph, the tourist tat shops and the foreign voices can create an illusion of being in Cambridge or Oxford, but the great Market Church and Belfry on the main square recall Norwich, where St Peter Mancroft and the medieval Guildhall have a similar juxtaposition. The Industrial Revolution would bring a new wave of cities to prominence, but in the provincial cities that were prominent in the 15th century, Norwich, and Bristol, and York, you still sense the power of those times.

 

Looking at St Peter, the sophistication of its Perpendicular architecture feels a geological age away from the coarse, brutal Norman castle on the far side of the Main Croft ('Mancroft'), which is understandable. Four hundred years had passed since the Norman invasion, and St Peter Mancroft is as close in time to the Industrial Revolution as it is to the Normans. That is true of all late medieval churches, of course, but seeing the architecture in a city you get a sense that it looked to the future more than to the past. St Peter Mancroft feels entirely at home with the clean, Scandinavian lines of the adjacent 1930s City Hall, and perhaps even more so with the retro-Modernism of the new Forum, whch reflects it back to the city. The Forum was built to replace the Norwich City library, tragically destroyed by fire in 1994, but in style it echoes the confidence of a great 19th century railway station, the roof a triumph of engineering. You are reminded of Cologne, where to leave the railway station and step into the shadow of the west front of the great Cathedral is to merely move from one statement of civic pride to another.

 

The influence of Flanders and the Netherlands is familiar in East Anglia, of course, but it is only at Norwich you sense this sense of civic bullishness. Utilitarian, practical Ipswich demolished St Mildred on the Cornhill in the 19th century - the French Baroque town hall now stands on the site. In Cambridge, the market place has been skewed so that today St Mary the Great sits with its east window facing the stalls, as if keeping them at a distance. Worse, it now styles itself the 'University Church'. The great north side of St Peter Mancroft, its massive tower and clerestory like eternal truths rising above the deckchair jollity of the stall canopies, is a constant presence. You can never ignore it.

 

We know that the present church was begun by 1430, and was consecrated on St Peter's Day, 1455. That is, it is all of a piece. In the nave and chancel there are echoes of near-contemporary Holy Trinity, Long Melford, in Suffolk. The tower is something else again; idiosyncratic, a symbol of power and wealth. There's nothing else quite like it. Pevsner thought it more rich than aesthetically successful, and this is not helped by Street's spirelet of 1881, a flighty thing. There was a massive Victorian restoration here. Before the Streets, pere et fils, came along, diocesan architect Richard Phipson had given it a going over, and there is a sense of the grand 19th century civic dignity of his St Mary le Tower in Ipswich. Of course, hardly anything of these restorations is visible from the outside, apart from a mid-20th century meeting room down in the south-east corner, a jaunty Festival of Britain affair, now a parish tea room.

 

A processional way runs beneath the tower, and there is another beneath the chancel, the land sloping steeply away towards the east. You enter from either the north or south sides, through surprisingly small porches which lead into the aisles. Again, a sense of civic confidence pervades as the interior unfolds before you.

 

There is no chancel arch. The arcades run the full length of the church, the great east window is echoed by that to the west, and if you stand in the middle of the church and look to either end, only the west end organ tells you easily which direction you are facing. The furnishings are pretty much all Phipson's, uneasily heavy under the delicate fluting of the columns. How good modern wooden chairs would look in here! There are civic memorials the lengths of the aisle walls, but because the windows are full of clear glass they are not oppressive here as they are, say, at St Stephen.

 

At the west end of the north aisle sits the font on its pedestal. You can see at a glance that it was one of the seven sacraments series, and that all of its reliefs have been completely erased, as in the great churches of Southwold and Blythburgh in Suffolk. At Wenhaston, we know that this happened in the 19th century - could the same thing be true here? Above the font is the famous font canopy. Now, font canopies are so rare - there are only four of them, and they are all so different - that it is not particularly useful to compare them. Certainly, that here reflects the rather grander example at Trunch, some twenty miles away. Since the other two are either post-Reformation (Durham) or made of stone (Luton), it might make sense to think of the Norfolk two as a unique pair. Here at St Peter Mancroft, much of the upper part is a 19th century restoration, and there seems to have been some attempt to copy Trunch. The lower part is more interesting, with its niches and canopies. It must have been spectacular when the font was intact.

 

Pevsner tells us that the gilded reredos in the sanctuary is by JP Seddon, but that Ninian Comper restored and enlarged it in the early 1930s. It is not exciting, but that is probably as well, for above it is one of the greatest medieval treasures of East Anglia. This is the medieval glass that survives from the first few decades of the existence of the church. Some of it was probably in place that first Petertide. It has been moved around a bit since then; the whole east side was blown out by an explosion in 1648, and the glass has been removed on several occasions since, most recently during the Second World War. After East Harling, it is the finest expanse of Norwich School glass of the 15th century.

 

Books have been written about the glass at St Peter Mancroft, and there is neither time nor space to go into too much detail here. Suffice to say that this is the work of several Norwich workshops, probably working in the Conesford area of the city along what is today King Street. It is obvious that some other glass in East Anglia is from the same workshops using the same or similar cartoons, notably North Tuddenham in Norfolk and Combs in Suffolk, and of course most obviously, East Harling. Indeed, by comparison with East Harling in the 1920s, the historian Christopher Woodforde was able to deduce some of what was missing here, and what there.

 

There are several sequences, most notably the Story of Christ from the Annunciation to the day of Pentecost. This extends into a Marian sequence depicting the story of the Assumption. There are also scenes from the stories of St Peter and St John, and other individual Saints panels, including St Faith, a significant cult in late medieval Norwich. The panel of St Francis suggests that it was also once part of a sequence. The lower range depicts the donors, some of whom are identified. The central spine is largely modern glass by Clayton and Bell for the Streets in the 1880s. Some of the missing glass is now at Felbrigg Hall.

 

In any other church, the 1921 glass by Herbert Hendrie in the south chapel aisle chapel would be considered outstanding. It is in the style of Eric Gill, but feels rather heavy handed next to the extraordinary delicacy of its medieval neighbours.

While I was here, I stopped taking photographs for the one o'clock prayers. One of the custodians stood at the lectern and read very eloquently from the Acts of the Apostles, and said prayers for the city and its people. Apart from me, there were only two other listeners in the vast space. It was tenderly and thoughtfully done, but I couldn't help thinking that it is the exterior of this wonderful structure which is the Church's true act of witness in central Norwich now.

 

www.norfolkchurches.co.uk/norwichstpetermancroft/norwichs...

Dr. Kadivar:

"The principle of Velayat e Faqih is neither intuitively obvious, nor rationally necessary. It is neither a requirement of religion (Din) nor a necessity for denomination (Mazhab). It is neither a part of Shiite general principles (Osoul), nor a component of detailed observances (Forou') It is, by near consensus of Shiite Ulama, nothing more than a jurisprudential minor hypothesis."

 

------------------

Mohsen Kadivar (محسن کدیور, born June 7, 1959) is an Iranian Islamic philosopher, Shia cleric and activist.

 

After completing his primary and secondary education in Shiraz, Mohsen Kadivar was admitted into electronic engineering at Shiraz University in 1977. During this time, Kadivar became active politically and was arrested in May 1978 in Shiraz because of his political beliefs. He switched his focus to religious education and began attending Shiraz Seminary in 1980. He moved to Qom in 1981 to pursue his studies in fiqh and philosophy. In Qom, he was taught by prominent teachers like Ayatollah Hossein-Ali Montazeri. Kadivar graduated with a degree in ijtihad in 1997. Then he went on to get his PhD in Islamic philosophy and theology from Tarbiat Modares University in Tehran in 1999.

 

Kadivar started his career as a teacher teaching fiqh and Islamic philosophy at Qom Seminary. Later he began teaching Islamic philosophy and theology at Imam Sadegh University, Mofid University, and Shahid Beheshti University. Currently, he is a faculty member of the Department of Philosophy at Tarbiat Modares University.

 

Kadivar has been writing extensively in various Iranian journals and he has 100 articles to his name. He has published twelve books including the Theories of State in Shiite Fiqh, which has been translated into Arabic. He is also a prominent critic of the Islamic Republic system in Iran. Because of his criticisms, he was arrested by the government of Iran and was sentenced to 18 months at Evin Prison, Tehran. He was released on July 17, 2000. Currently, he is active within the various reform movements of Iran.

---------------------------

Research works and contributions

 

Of nine published books of Kadivar, four are on political theology. Of these, three comprise a trilogy: The first volume of the trilogy, entitled "The Theories of State in the Shiite Jurisprudence" (Nazarrieh haye Doulat dar Figh'h e Shi'eh) encompasses a broad typology of religious opinions on the desired or permissible types of government in Shiite theology. Every single instance in this typology is either proposed or endorsed by the highest authorities in Shiite jurisprudence. Here is a summary of this typology:[1]

 

A. Theories of State based on Immediate Divine Legitimacy Four theocratic types, in chronological order:

 

1. "Appointed Mandate of Jurisconsult" in Religious Matters (Shari'at) along with the Monarchic Mandate of Muslim Potentates in Secular Matters (Saltanat E Mashrou'eh) Advocates: Mohammad Bagher Majlesi, Mirza ye Ghomi, Seyed e Kashfi, Sheikh Fadl ollah Nouri, Ayatollah Abdolkarim Haeri Yazdi.

 

2. "General Appointed Mandate of Jurissonsults" (Velayat E Entesabi Ye Ammeh) Advocates: Molla Ahmad Naraghi, Sheikh Mohammad Hassan Najafi (Saheb Javaher) Ayatollahs Borujerdi,Golpayegani, Khomeini, (before the revolution)

 

3. "General Appointed Mandate of the Council of the 'Sources of Imitation' " (Velayat E Entesabi Ye Ammeh Ye Shora Ye Marje'eh Taghlid) Advocates: Ayatollahs: Javadi Amoli, Beheshti, Taheri Khorram Abadi

 

4. "Absolute Appointed Mandate of Jurisconsult" (Velayat e Entesabi ye Motlaghe ye Faghihan) Advocate: Ayatollah Khomeini (after revolution)

 

B. Theories of State Based on Divine-popular Legitimacy Five democratic types, in chronological order:

 

5. "Constitutional State" (with the permission and supervision of Jurisprudents) (Dowlat e Mashrouteh) Advocates: Sheikh Esma'il Mahllati, Ayatollahs: Mazandarani, Tehrani, Tabataba'i, Khorasani, Na'ini

 

6. "Popular Stewardship along with Clerical Oversight" (Khelafat e Mardom ba Nezarat e Marjaiat) Advocate: Ayatollah Mohammad Bagher Sadr

 

7. "Elective Limited Mandate of Jurisprudents" (Velayat e Entekhabi ye Moghayyadeh ye Faghih) Advocate: Ayatollahs Motahhari, Montazeri

 

8. "Islamic elective State" (Dowlat e Entekhabi ye Eslami) Advocate: Ayatollah Mohammad Bagher Sadr

 

9. "Collective Government by Proxy" (Vekalat e Malekan e Shakhsi ye Mosha)" Advocate: Ayatollah Mehdi Ha'eri Yazdi

 

The significance of this typology in the context of the contemporary Iranian political discourse cannot be overestimated. Shiite political theology, which the ruling clerics present as a monolith, an obelisk on which the hieroglyph of absolute mandate of the jurisconsult "Velayat e Motlaghe ye Faghih" is etched, turns into a beguiling prism in Kadivar's nimble hands, reflecting no less than nine distinct possible forms of government, all proposed and supported by most revered religious scholars and texts. Having revealed a spectrum of authoritative options for Islamic society, Kadivar launches his criticism of the most absolutist thesis among them, that is Ayatollah Khomeini's theology.[2]

 

The second volume of the trilogy, is entitled "Hokumat e Vela'i" or Government by mandate. This 432-page opus which Kadivar considers as the heart of his trilogy and the most scholarly book he has written contains a frontal and unabashed attack on the thesis of the "Velayat e Motlagheh ye Faghih" introduced by Ayatollah Khomeini and enshrined in the constitution of the Islamic Republic of Iran.

 

The work unfolds in two phases: the first, lays bare the presuppositions of the concept of Velayat, which concerns the meaning of the term, its interpretation in mysticism (Irfan), philosophy (Kalam), jurisprudence (Figh'h), The Qur'an, and Tradition (Sonnat). In every instance, Kadivar discounts political implications of the term. He traces the first indication of the thesis to the writings of eighteenth and nineteenth century jurists namely, Mohaghegh e Karaki, Shahid Thani, and Ahmad Naraghi. Kadivar, thus determines the age of the concept as less than two centuries, a mere blinking of an eye compared to the history of Shiite jurisprudence.[3]

 

But he reserves his most devastating attacks for the second part of the book that is devoted to the critical analysis of the proofs and confirmations of the principle of government by divine mandate. Here Kadivar proceeds in four sections; following the sources of adjudication in Shiite theology he sets up and knocks down the arguments for the Velayat e Faghih adduced from Quran, Tradition, (Sonnat) consensus of the Ulama, (Ijma') and reason (Aghl), He thus concludes:

 

"The principle of Velayat e Faqih is neither intuitively obvious, nor rationally necessary. It is neither a requirement of religion (Din) nor a necessity for denomination (Mazhab). It is neither a part of Shiite general principles (Osoul), nor a component of detailed observances (Forou') It is, by near consensus of Shiite Ulama, nothing more than a jurisprudential minor hypothesis."

 

The third volume of Kadivar's trilogy is entitled: Government by Appointment. (Hokoumat e Entesabi.) It deals with practical consequences, disappointments, and disenchantments that the Government based on divine mandate has brought about.

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Source: Wikipedia: Mohsen Kadivar

 

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MOHSEN KADIVAR WAS BORN IN JUNE 7,1959 IN FASSA, SOUTHWESTERN PROVINCE OF FARS, IRAN. COMPLETING HIS PRIMARY AND SECONDARY EDUCATION IN THE CITY OF SHIRAZ, HE WAS ADMITTED TO THE UNDERGRADUATE PROGRAM OF ELECTRONIC ENGINEERING IN THE UNIVERSITY OF SHIRAZ (EX-PAHLAVI UNIVERSITY) IN 1977. LATER, IN 1980, HE SHIFTED TO RELIGIOUS EDUCATION IN SHIRAZ SEMINARY AND WENT TO QOM IN 1981 WHERE HE TOOK UP STUDYING FIQH (ISLAMIC JURISPRUDENCE), PRINCIPLES OF FIGH, PHILOSOPHY, THEOLOGY, MYSTICISM, AND KORANIC INTERPRETATION FOR SEVENTEEN YEARS. AMONG HIS TEACHERS, THE MOST PROMINENT WAS GRAND AYATOLLAH HOSSEINALI MONTAZERI. KADIVAR SUCCEEDED IN GAINING THE DEGREE OF IJTIHAD IN 1997. AT THE SAME TIME, HE PURSUED HIS ACADEMIC STUDIES IN ISLAMIC PHILOSOPHY AND THEOLOGY GETTING HIS PHD FROM INSTRUCTOR EDUCATION (TARBIAT MODARES) UNIVERSITY IN 1999.

 

KADIVAR TAUGHT THE PRINCIPLES OF FIQH, PHILOSOPHY, LOGIC, FIGH, KORANIC INTERPRETATION, AND LITERATURE IN QOM SEMINARY (RAZAVIEH SCHOOL, FAYZIEH SCHOOL, AND AYATOLLAH GOLPYGANI SCHOOL) FOR FOURTEEN YEARS. HE LECTURED IN IMAM SADEGH UNIVERSITY, MOFID UNIVERSITY , AND SHAHID BEHESHTI UNIVERSITY, WHERE HE HAS BEEN TEACHING ISLAMIC PHILOSOPHY AND THEOLOGY, GREEK PHILOSOPHY, ISLAMIC POLITICAL THOUGHT, AND PUBLIC LAW IN ISLAM. HE IS CURRENTLY A FACULTY MEMBER OF THE DEPARTMENT OF PHILOSOPHY, TARBIAT MODARES UNIVERSITY.

 

KADIVAR MARRIED IN 1981 AND HAS FOUR CHILDREN. HE HAS BEEN LIVING IN TEHRAN SINCE 1997. HE WAS THE DIRECTOR OF THE DEPARTMENT OF ISLAMIC THOUGHT, CENTER FOR STRATEGIC RESEARCH FROM 1991 UNTIL 1999. HE HAS PUBLISHED OVER 100 PAPERS IN VARIOUS IRANIAN JOURNALS AND HIS FIRST BOOK, THEORIES OF STATE IN SHIITE FIQH, CAME OUT IN 1998 IN TEHRAN AND WAS TRANSLATED INTO ARABIC AND PUBLISHED IN BEIRUT IN 2000. ALTOGETHER, HE HAS PUBLISHED 12 BOOKS.

 

KADIVAR WAS ARRESTED FOR THE FIRST TIME IN MAY 1978 – THE LAST YEAR OF MOHAMMED REZA PAHLAVI SHAH'S REIGN IN IRAN – IN SHIRAZ DURING THE ISLAMIC UPRISING WHICH LATER LED TO THE OVERTHROW OF THE MONARCHY. 20 YEARS LATER, THE UNCONSTITUTIONAL CLERIC COURT OF IRAN FOUND HIM GUILTY OF CAMPAIGNING AGAINST THE ISLAMIC REPUBLIC BECAUSE OF THE STATEMENTS HE HAD MADE IN AN INTERVIEW WITH THE BANNED KHORDAD DAILY IN WHICH HE REVIEWED THE ACHIEVEMENTS OF THE ISLAMIC REPUBLIC (1979-99) AND A SPEECH IN ISFAHAN’S HOSSEINABAD MOSQUE WHERE HE ARGUED THAT ACTS OF TERRORISM ARE CONDEMNED IN THE EYES OF THE SHIITE FAITH; HE WAS SENTENCED TO SPEND 18 MONTHS IN EVIN PRISON, TEHRAN, AND WAS RELEASED ON JULY 17, 2000. HE IS STILL CAMPAIGNING FOR THE REFORM OF THE ISLAMIC REPUBLIC OF IRAN.

 

HIS MAIN TWO FIELDS OF EXPERTISE ARE ISLAMIC THEOLOGY AND PHILOSOPHY AND POLITICAL THOUGHT IN ISLAM. HE IS CURRENTLY INVOLVED IN RESEARCHING, TEACHING, AND WRITING IN THE ABOVE TWO FIELDS.

-------------------------------

Source: His official web site

Avaya Collaboration Pods are turnkey solutions that enable rapid deployment of Avaya real-time applications in private, hybrid and public clouds.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The Panther tank, officially Panzerkampfwagen V Panther (abbreviated PzKpfw V) with ordnance inventory designation Sd.Kfz. 171, was a German medium tank of World War II. It was used on the Eastern and Western Fronts from mid-1943 to the end of the war. The Panther was intended to counter the Soviet T-34 medium tank and to replace the Panzer III and Panzer IV. Nevertheless, it served alongside the Panzer IV and the heavier Tiger I until the end of the war. It is considered one of the best tanks of World War II for its excellent firepower, protection, and mobility although its reliability in early times were less impressive.

The Panther was a compromise. While having essentially the same Maybach V12 petrol (700 hp) engine as the Tiger I, it had better gun penetration, was lighter and faster, and could traverse rough terrain better than the Tiger I. The trade-off was weaker side armor, which made it vulnerable to flanking fire. The Panther proved to be effective in open country and long-range engagements.

 

The Panther was far cheaper to produce than the heavy Tiger I. Key elements of the Panther design, such as its armor, transmission, and final drive, were simplifications made to improve production rates and address raw material shortages. Despite this the overall design remain described by some as "overengineered". The Panther was rushed into combat at the Battle of Kursk in the summer of 1943 despite numerous unresolved technical problems, leading to high losses due to mechanical failure. Most design flaws were rectified by late 1943 and early 1944, though the bombing of production plants, increasing shortages of high-quality alloys for critical components, shortage of fuel and training space, and the declining quality of crews all impacted the tank's effectiveness.

 

Though officially classified as a medium tank, at 44.8 metric tons the Panther was closer to a heavy tank weight and the same category as the American M26 Pershing (41.7 tons), British Churchill (40.7 tons) and the Soviet IS-2 (46 tons) heavy tanks. The Panther's weight caused logistical problems, such as an inability to cross certain bridges, otherwise the tank had a very high power-to-weight ratio which made it highly mobile.

 

The Panther was only used marginally outside of Germany, mostly captured or recovered vehicles, some even after the war. Japan already received in 1943 a specimen for evaluation. During March–April 1945, Bulgaria received 15 Panthers of various makes (D, A, and G variants) from captured and overhauled Soviet stocks; they only saw limited (training) service use. In May 1946, Romania received 13 Panther tanks from the USSR, too.

After the war, France was able to recover enough operable vehicles and components to equip its army and offer vehicles for sale. The French Army's 503e Régiment de Chars de Combat was equipped with a force of 50 Panthers from 1944 to 1947, in the 501st and 503rd Tank Regiments. These remained in service until they were replaced by French-built ARL 44 heavy tanks.

In 1946, Sweden sent a delegation to France to examine surviving specimens of German military vehicles. During their visit, the delegates found a few surviving Panthers and had one shipped to Sweden for further testing and evaluation, which continued until 1961.

 

However, this was not the Panther’s end of service. The last appearance by WWII German tanks on the world’s battlefields came in 1967, when Syria’s panzer force faced off against modern Israeli armor. Quite improbably, Syria had assembled a surprisingly wide collection of ex-Wehrmacht vehicles from a half-dozen sources over a decade and a half timeframe. This fleet consisted primarily of late production Panzer V, StuGIII and Jagdpanzer IVs, plus some Hummel SPAAGs and a handful Panthers. The tanks were procured from France, Spain, and Czechoslovakia, partly revamped before delivery.

 

All of the Panthers Syria came from Czechoslovakia. Immediately after Germany’s collapse in May 1945, the Soviet army established a staging area for surrendered German tanks at a former Wehrmacht barracks at Milovice, about 24 miles north of Prague, Czechoslovakia. By January 1946, a total of roughly 200 operational Panzer IVs and Panthers of varying versions were at this facility. Joining them was a huge cache of spare parts found at a former German tank repair depot in Teplice, along with ammunition collected from all over Czechoslovakia and the southern extremity of the Soviet occupation zone in Germany. Throughout 1946, the Czechoslovak government’s clean-up of WWII battlefields recovered more than one hundred further tank wrecks, of which 80 were pieced back together to operational status and handed over to the Czechoslovakian Army,

 

In early 1948, the now-nationalized CKD Works began a limited upkeep of the tanks, many of which had not had depot-level overhauls since the war. A few were rebuilt with a Czechoslovak-designed steering system, but this effort was halted due to cost. These tanks remained operational in the Czechoslovak army until the end of 1954, when sufficient T-34s were available to phase them out.

 

A Syrian military delegation visited Prague from 8 April – 22 April 1955. An agreement was struck for the sale, amongst other items, of 45 Panzer IVs and 15 Panthers. Despite their obsolescence the Czechoslovaks were not about to just give the tanks away and demanded payment in a ‘hard’ western currency, namely British pounds. The cost was £4,500 each (£86,000 or $112,850 in 2016 money), far above what they were probably worth militarily, especially considering the limited amount of foreign currency reserves available to the Damascus government. The deal included refurbishment, a full ammunition loadout for each, and a limited number of spare parts. Nonetheless, the deal was closed, and the tanks’ delivery started in early November 1955.

 

The Syrians were by that time already having dire problems keeping their French-sourced panzers operational, and in 1958, a second contract was signed with CKD Works for 15 additional Panzer IVs and 10 more Panthers, these being in lesser condition or non-operational, for use as spare parts hulks. An additional 16 refurbished Maybach engines for both types were also included in this contract, as well as more ammunition.

 

The refurbished Panthers for Syria had their original 7.5 cm KwK 42 L70 replaced with the less powerful Rheinmetall 7.5 cm KwK 40 L48 gun – dictated by the fact that this gun was already installed in almost all other Syrian tanks of German origin and rounds for the KwK 42 L70 were not available anymore. and the Panther’s full ammo load was 87 rounds. The KwK 40 L48 fired a standard APCBC shell at 750 m/s and could penetrate 109 mm (4.3 in) hardened steel at 1.000 m range. This was enough to take out an M4 Sherman at this range from any angle under ideal circumstances. With an APCR shell the gun was even able to penetrate 130 mm (5.1 in) of hardened steel at the same distance.

 

Outwardly, the gun switch was only recognizable through the shorter barrel with a muzzle brake, the German WWII-era TZF.5f gunsight was retained by the Syrians. Additionally, there were two secondary machine guns, either MG-34s or MG-42s, one coaxial with the main gun and a flexible one in a ball mount in the tank’s front glacis plate.

A few incomplete Panther hulls without turret were also outfitted with surplus Panzer IV turrets that carried the same weapon, but the exact share of them among the Syrian tanks is unknown – most probably less than five, and they were among the batch delivered in the course of the second contract from 1958.

 

As they had been lumped all together in Czechoslovak army service, the Syrians received a mixed bag of Panzer IV and Panther versions, many of them “half-breeds” or “Frankensteins”. Many had the bow machine gun removed, either already upon delivery or as a later field modification, and in some cases the machine gun in the turret was omitted as well.

An obvious modification of the refurbished Czech export Panthers for Syria was the installation of new, lighter road wheels. These were in fact adapted T-54 wheels from Czechoslovakian license production that had just started in 1957 - instead of revamping the Panthers’ original solid steel wheels, especially their rubberized tread surfaces, it was easier to replace them altogether, what also made spare parts logistics easier. The new wheels had almost the same diameter as the original German road wheels from WWII, and they were simply adapted to the Panther’s attachment points of the torsion bar suspension’s swing arms. Together with the lighter main gun and some other simplifications, the Syrian Panthers’ empty weight was reduced by more than 3 tonnes.

 

The Czechoslovaks furthermore delivered an adapter kit to mount a Soviet-made AA DShK 12.7mm machine gun to the commander cupola. This AA mount had originally been developed after WWII for the T-34 tank, and these kits were fitted to all initial tanks of the 1955 order. Enough were delivered that some could be installed on a few of the Spanish- / French-sourced tanks, too.

 

It doesn’t appear that the Czechoslovaks updated the radio fit on any of the ex-German tanks, and it’s unclear if the Syrians installed modern Soviet radios. The WWII German Fu 5 radio required a dedicated operator (who also manned the bow machine gun); if a more modern system was installed not requiring a dedicated operator, this crew position could be eliminated altogether, what favored the deletion of the bow machine gun on many ex-German Syrian tanks. However, due to their more spacious hull and turret, many Panthers were apparently outfitted with a second radio set and used as command tanks – visible through a second whip antenna on the hull.

 

A frequent domestic Panther upgrade were side skirts to suppress dust clouds while moving and to prevent dust ingestion into the engines and clogged dust filters. There was no standardized solution, though, and solutions ranged from simple makeshift rubber skirts bolted to the tanks’ flanks to wholesale transplants from other vehicles, primarily Soviet tanks. Some Panthers also had external auxiliary fuel tanks added to their rear, in the form of two 200 l barrels on metal racks of Soviet origin. These barrels were not directly connected with the Panther’s fuel system, though, but a pump-and-hose kit was available to re-fuel the internal tanks from this on-board source in the field. When empty or in an emergency - the barrels were placed on top of the engine bay and leaking fuel quite hazardous - the barrels/tanks could be jettisoned by the crew from the inside.

 

Inclusive of the cannibalization hulks, Syria received a total of roughly 80 former German tanks from Czechoslovakia. However, at no time were all simultaneously operational and by 1960, usually only two or three dozen were combat-ready.

Before the Six Day War, the Syrian army was surprisingly unorganized, considering the amount of money being pumped into it. There was no unit larger than a brigade, and the whole Syrian army had a sort of “hub & spokes” system originating in Damascus, with every individual formation answering directly to the GHQ rather than a chain of command. The Panthers, Panzer IVs and StuG IIIs were in three independent tank battalions, grossly understrength, supporting the normal tank battalions of three infantry brigades (the 8th, 11th, and 19th) in the Golan Heights. The Jagdpanzer IVs were in a separate independent platoon attached to a tank battalion operating T-34s and SU-100s. How the Hummel SPGs were assigned is unknown.

 

The first active participation of ex-German tanks in Syrian service was the so-called “Water War”. This was not really a war but rather a series of skirmishes between Israel and Syria during the mid-1960s. With increasing frequency starting in 1964, Syria emplaced tanks on the western slope of the Golan Heights, almost directly on the border, to fire down on Israeli irrigation workers and farmers in the Galilee region. Surprisingly (considering the small number available) Syria chose the Panzer IV for this task. It had no feature making it better or worse than any other tank; most likely the Syrians felt they were the most expendable tanks in their inventory as Israeli counterfire was expected. The panzers were in defilade (dug in) and not easy to shoot back at; due to their altitude advantage.

 

In 1964, Syria announced plans to divert 35% of the Jordan River’s flow away from Israel, to deprive the country of drinking water. The Israelis responded that they would consider this an act of war and, true to their word, engaged the project’s workers with artillery and sniper fire. Things escalated quickly; in 1965, Israeli M4 Shermans on Israeli soil exchanged fire with the Syrian Panzer IVs above inconclusively. A United Nations peacekeeping team ordered both sides to disengage from the border for a set period of time to “cool off”, but the UN “Blue Berets” were detested and considered useless by both the Israelis and Syrians, and both sides used the lull to prepare their next move. When the cooling-off period ended, the Syrians moved Panzer IVs and now some Panthers, too, back into position. However, the IDF had now Centurion tanks waiting for them, with their fire arcs pre-planned out. The Cold War-era Centurion had heavy armor, a high-velocity 105mm gun, and modern British-made optics. It outclassed the WWII panzers in any imaginable way and almost immediately, two Syrian Panzer IVs and a Panther were destroyed. Others were abandoned by their crews and that was the end of the situation.

 

Syria’s participation in the Six Say War that soon followed in 1967 war was sloppy and ultimately disastrous. Israel initially intended the conflict to be limited to a preemptive strike against Egypt to forestall an imminent attack by that country, with the possibility of having to fight Syria and Jordan defensively if they responded to the operations against Egypt. The war against Egypt started on 5 June 1967. Because of the poor organization of the Syrian army, news passed down from Damascus on the fighting in the Sinai was scarce and usually outdated by the time it reached the brigade level. Many Syrian units (including the GHQ) were using civilian shortwave radios to monitor Radio Cairo which was spouting off outlandish claims of imaginary Egyptian victories, even as Israeli divisions were steamrolling towards the Suez Canal.

 

Syrian vehicles of German origin during the Six Day War were either painted overall in beige or in a dark olive drab green. Almost all had, instead of tactical number codes, the name of a Syrian soldier killed in a previous war painted on the turret in white. During the Six Day War, no national roundel was typically carried, even though the Syrian flag was sometimes painted to the turret flanks. However just as the conflict was starting, white circles were often painted onto the top sides of tanks as quick ID markings for aircraft, and some tanks had red recognition triangles added to the side areas: Syrian soldiers were notoriously trigger-happy, and the decreased camouflage effect was likely cancelled out by the reduced odds of being blasted by a comrade!

 

During the evening of 5 June, Syrian generals in Damascus urged the government to take advantage of the situation and mount an immediate invasion of Israel. Planning and preparation were literally limited to a few hours after midnight, and shortly after daybreak on 6 June, Syrian commanders woke up with orders to invade Israel. The three infantry brigades in the Golan, backed up by several independent battalions, were to spearhead the attack as the rest of the Syrian army mobilized.

There was no cohesion at all: Separate battalions began their advance whenever they happened to be ready to go, and brigades went forward, missing subunits that lagged behind. A platoon attempting a southern outflank maneuver tried to ford the Jordan River in the wrong spot and was washed away. According to a KGB report, at least one Syrian unit “exhibited cowardice” and ignored its orders altogether.

 

On 7 June, 24 hours into their attack, Syrian forces had only advanced 2 miles into Israel. On 8 June, the IDF pushed the Syrians back to the prewar border and that afternoon, Israeli units eliminated the last Egyptian forces in the Sinai and began a fast redeployment of units back into Israel. Now the Syrians were facing serious problems.

On 9 June, Israeli forces crossed into the Golan Heights. They came by the route the Syrians least expected, an arc hugging the Lebanese border. Now for the first time, Syria’s panzers (considered too slow and fragile for the attack) were encountered. The next day, 10 June 1967, was an absolute rout as the Syrians were being attacked from behind by IDF units arcing southwards from the initial advance, plus Israel’s second wave coming from the west. It was later estimated that Syria lost between 20-25% of its total military vehicle inventory in a 15-hour span on 10 June, including eight Panthers. A ceasefire was announced at midnight, ending Syria’s misadventure. Syria permanently lost the Golan Heights to Israel.

 

By best estimate, Syria had just five Panthers and twenty-five Panzer IVs fully operational on 6 June 1967, with maybe another ten or so tanks partially operational or at least functional enough to take into combat. Most – if not all – of the ex-French tanks were probably already out of service by 1967, conversely the entire ex-Spanish lot was in use, along with some of the ex-Czechoslovak vehicles. The conflict’s last kill was on 10 June 1967 when a Panzer IV was destroyed by an Israeli M50 Super Sherman (an M4 Sherman hull fitted with a new American engine, and a modified turret housing Israeli electronics and a high-velocity French-made 75mm gun firing HEAT rounds). Like the Centurion, the Super Sherman outclassed the Panzer IV, and the Panther only fared marginally better.

 

Between 1964-1973 the USSR rebuilt the entire Syrian military from the ground up, reorganizing it along Warsaw Pact lines and equipping it with gear strictly of Soviet origin. There was no place for ex-Wehrmacht tanks and in any case, Czechoslovakia had ended spares & ammo support for the Panzer IV and the Panthers, so the types had no future. The surviving tanks were scrapped in Syria, except for a single Panzer IV survivor sold to a collector in Jordan.

  

Specifications:

Crew: Five (commander, gunner, loader, driver, radio operator)

Weight: 50 tonnes (55.1 long tons; 45.5 short tons)

Length: 6.87 m (22 ft 6 in) hull only

7.52 m (24 ft 7¾ in) overall with gun facing forward

Width: 3.42 m (11 ft 3 in) hull only

3,70 m (12 ft 1¾ in) with retrofitted side skirts

Height: 2.99 m (9 ft 10 in)’

Ground clearance: 56 cm (22 in)

Suspension: Double torsion bar, interleaved road wheels

Fuel capacity: 720 liters (160 imp gal; 190 US gal),

some Syrian Panthers carried two additional external 200 l fuel drums

 

Armor:

15–80 mm (0.6 – 3.93 in)

 

Performance:

Maximum road speed: 56 km/h (35 mph)

Operational range: 250 km (160 mi) on roads; 450 km (280 mi)with auxiliary fuel tanks

100 km (62 mi) cross-country

Power/weight: 14 PS (10.1 kW)/tonne (12.7 hp/ton)

 

Engine & transmission:

Maybach HL230 V-12 gasoline engine with 700 PS (690 hp, 515 kW)

ZF AK 7-200 gearbox with 7 forward 1 reverse gear

 

Armament:

1× 7,5 cm KwK 40 (L/48) with 87 rounds

2× 7.92 mm MG 34 or 42, or similar machine guns;

one co-axial with the main gun, another in the front glacis plate

with a total of 5.100 rounds (not always mounted)

Provision for a 12.7 mm DShK or Breda anti-aircraft machine gun on the commander cupola

  

The kit and its assembly:

A rather exotic what-if model, even though it’s almost built OOB. Inspiration came when I stumbled upon the weird Syrian Panzer IVs that were operated against Israel during the Six Day War – vehicles you would not expect there, and after more than 20 years after WWII. But when I did some more research, I was surprised about the numbers and the variety of former German tanks that Syria had gathered from various European countries, and it made me wonder if the Panther could not have been among this shaggy fleet, too?

 

I had a surplus Dragon Panther Spähpanzer in The Stash™, to be correct a “PzBeobWg V Ausf. G”, an observation and artillery fire guidance conversion that actually existed in small numbers, and I decided to use it as basis for this odd project. The Dragon kit has some peculiarities, though: its hull is made from primed white metal and consists of an upper and lower half that are held together by small screws! An ambiguous design, because the parts do not fit as good as IP parts, so that the model has a slightly die-cast-ish aura. PSR is necessary at the seams, but due to the metal it’s not easy to do. Furthermore, you have to use superglue everywhere, just as on a resin kit. On the other side, surface details are finely molded and crisp, even though many bits have to be added manually. However, the molded metal pins that hold the wheels are very robust and relatively thin – a feature I exploited for a modified running gear (see below).

 

For the modified Panther in my mind I had to retrograde the turret back to a late standard turret with mantlet parts left over from a Hasegawa kit – they fitted perfectly! The PzBeobWg V only comes with a stubby gun barrel dummy. But I changed the armament, anyway, and implanted an aftermarket white metal and brass KwK 40 L48, the weapon carried by all Syrian Panzer IVs, the Jagdpanzer IVs as well as the StuG IIIs. This standardization would IMHO make sense, even if it meant a performance downgrade from the original, longer KwK 42 L70.

 

For a Syrian touch, inspired by installations on the Panzer IVs, I added a mount for a heavy DShK machine gun on the commander’s cupola, which is a resin aftermarket kit from Armory Models Group (a kit that consists of no less than five fiddly parts for just a tiny machine gun!).

To change and modernize the Panther’s look further, I gave it side skirts, leftover from a ModelCollect T-72 kit, which had to be modified only slightly to fit onto the molded side skirt consoles on the Panther’s metal hull. A further late addition were the fuel barrels from a Trumpeter T-54 kit that I stumbled upon when I looked for the skirts among my pile of tank donor parts. Even though they look like foreign matter on the Panther’s tail, their high position is plausible and similar to the original arrangement on many Soviet post-WWII tanks. The whip antennae on turret and hull were created with heated black sprue material.

 

As a modern feature and to change the Panther’s overall look even more, I replaced its original solid “dish” road wheels with T-54/55 “starfish” wheels, which were frequently retrofitted to T-34-85s during the Fifties. These very fine aftermarket resin parts (all real-world openings are actually open, and there’s only little flash!) came from OKB Grigorovich from Bulgaria. The selling point behind this idea is/was that the Panther and T-54/55 wheels have almost the same diameter: in real life it’s 860 vs. 830 mm, so that the difference in 1:72 is negligible. Beneficially, the aftermarket wheels came in two halves, and these were thin enough to replace the Panther’s interleaved wheels without major depth problems.

Adapting the parts to the totally different wheel arrangement was tricky, though, especially due to the Dragon kit’s one-piece white metal chassis that makes any mods difficult. My solution: I retained the inner solid wheels from the Panther (since they are hardly visible in the “3rd row”), plus four pairs of T-54/55 wheels for the outer, more rows of interleaved wheels. The “inner” T-54/55 wheel halves were turned around, received holes to fit onto the metal suspension pins and scratched hub covers. The “outside” halves were taken as is but received 2 mm spacer sleeves on their back sides (styrene tube) for proper depth and simply to improve their hold on the small and rounded metal pin tips. This stunt worked better than expected and looks really good, too!

  

Painting and markings:

Basically very simple, and I used pictures of real Syrian Panzer IVs as benchmark. I settled for the common green livery variant, and though simple and uniform, I tried to add some “excitement” to it and attempted to make old paint shine through. The hull’s lower surface areas were first primed with RAL 7008 (Khakigrau, a rather brownish tone), then the upper surfaces were sprayed with a lighter sand brown tone, both applied from rattle cans.

 

On top of that, a streaky mix of Revell 45 and 46 – a guesstimate for the typical Syrian greyish, rather pale olive drab tone - was thinly applied with a soft, flat brush, so that the brownish tones underneath would shine through occasionally. Once dry, the layered/weathered effect was further emphasized through careful vertical wet-sanding and rubbing on all surfaces with a soft cotton cloth.

The rubber side skirts were painted with an anthracite base and the dry-brushed with light grey and beige.

 

The model then received an overall washing with a highly thinned mix of grey and dark brown acrylic artist paint. The vinyl tracks (as well as the IP spare track links on the hull) were painted, too, with a mix of grey, red brown and iron, all acrylic paints, too, that do not interact chemically with the soft vinyl.

 

The decals/markings are minimal; the Arabian scribble on the turret (must be a name?), using the picture of a Syrian Panzer IV as benchmark, was painted in white by hand, as well as the white circle on the turret roof. The orange ID triangles are a nice contrast, even though I was not able to come up with real-life visual evidence for them. I just found a color picture of a burned T-34-85 wreck with them, suggesting that the color was a dull orange red and not florescent orange, as claimed in some sources. I also found illustrations of the triangles as part of 1:35 decal sets for contemporary Syrian T-34-85s from FC Model Trend and Star Models, where they appear light red. For the model, they were eventually cut out from decal sheet material (TL-Modellbau, in a shade called “Rotorange”, what appears to be a good compromise).

 

Dry-brushing with light grey and beige to further emphasize edges and details followed. Finally, the model was sealed with matt acrylic vanish overall, and some additional very light extra dry-brushing with silver was done to simulate flaked paint. Dirt and rust residues were added here and there with watercolors. After final assembly, the lower areas of the model were furthermore powdered with mineral pigments to simulate dust.

  

The idea of a modernized WWII Panther: a simple idea that turned into a major conversion. With the resin DShK machine gun and T-54/55 wheel set the costs of this project escalated a little, but in hindsight I find that the different look and the mix of vintage German and modern Soviet elements provide this Panther with that odd touch that sets it apart from a simple paint/marking variation? I really like the outcome, and I think that the effort was worthwhile - this fictional Panther shoehorns well into its intended historical framework. :-D

 

vista general de la taula, es veu una mica tot

 

llegeix el post a: serkeros.wordpress.com/2011/11/06/el-talleret/

Descripción: Conocida y extendida planta silvestre, erecta, tallos color verde claro con cerdas y hojas simples en la base, alargadas y lobuladas. Flor de hasta 50 mm de d, con cuatro pétalos de color anaranjado a rojo, base a menudo negra y muchos estambres. El fruto es una cápsula, llena de semillas. Los pétalos se caen con facilidad. Toda la planta exuda un látex de color blanco.

 

Componentes activos: Principalmente, contiene glucósidos (la antocianina) y alcaloides (rheadina). No obstante, su composición no la hace tóxica (al contrario que su prima, la adormidera).

 

Aplicaciones terapéuticas: La amapola común ejerce un suave efecto sedante sobre el sistema nervioso y sirve para hacer disminuir la tos y para expectorar (hacer salir mucosidades de los bronquios). Aunque, como todos los sedantes, se debe administrar sólo cuando es absolutamente necesario, no tiene efectos secundarios ni tóxicos importantes, tomada en infusión.

No obstante, los peligros de su uso se derivan de su posible confusión con otras especies, como la adormidera.

 

Aplicaciones culinarias: Sus semillas, tostadas, son muy apreciadas para condimentar panes de semillas. A veces se utilizan junto con semillas de sésamo, o de girasol, en los panes integrales.

 

Aplicaciones mágicas: Tradicionalmente, se ha utilizado en hechizos de fertilidad, amor, dinero y suerte. Seguramente por su poder sedante, se asocia a la adivinación en los sueños.

Una antigua "receta" dice que al echar semillas de amapola en la comida de la persona amada, ésta cae rendida de amor; claro, que no sabemos el tipo de amapola empleado, ni la cantidad de semillas utilizadas. Tal vez, la explicación está en que la persona objeto del "hechizo" está a continuación demasiado atontada, como para defenderse.

 

Información extraída de:

www.zonaverde.net/papaverrhoeas.htm

The City of Arts and Sciences (Valencian: Ciutat de les Arts i les Ciències), (Spanish: Ciudad de las Artes y las Ciencias) is an entertainment-based cultural and architectural complex in the city of Valencia, Spain. It is the most important modern tourist destination in the city of Valencia.

 

The City of Arts and Sciences is situated at the end of the former riverbed of the river Turia, which was drained and rerouted after a catastrophic flood in 1957. The old riverbed was turned into a picturesque sunken park.

 

Designed by Santiago Calatrava and Félix Candela, the project underwent the first stages of construction in July 1996 and the finished "city" was inaugurated April 16, 1998 with the opening of L'Hemisfèric. The last great component of the City of Arts and Sciences, El Palau de les Arts Reina Sofia, was presented on October 9, 2005, Valencian Community Day.

 

The complex is made up of the following buildings, in order of their inauguration:

L'Hemisfèric — an Imax Cinema, Planetarium and Laserium. The building is meant to resemble a giant eye, and has an approximate surface of 13,000 m². The Hemesferic also known as the planetarium or the “eye of knowledge,” is the centerpiece of the City of Arts and Sciences. It was the first building completed in 1998. Its design resembles an eyelid that opens to access the surrounding water pool. The bottom of the pool is glass, creating the illusion of the eye as a whole. This planetarium is a half-sphere composed of concrete 110 meters long and 55.5 meters wide. The shutter is built of elongated aluminum awnings that fold upward collectively to form a brise soleil roof that opens along the curved axis of the eye. It opens to reveal the dome, the pupil of the eye, which is the Ominax theater. The City of Arts and Sciences is divided in half by a set of stairs that descend into the vaulted concrete lobby. The underground spaces are illuminated with the use of translucent glass panels within the walking path. The transparent roof is supported by concrete arches that connect to the sunken gallery. There is a miraculous echo inside of the building and if two people stay on the two opposite pillars inside of the eye they can seamlessly speak with each other.

 

El Museu de les Ciències Príncipe Felipe — Is an interactive museum of science that resembles the skeleton of a whale. It occupies around 40,000 m² on three floors. The hotch-potch of exhibits is designed more for 'entertainment value' than for science education. The building is much more impressive outside than inside and its meagre contents show how little thought was put into the whole project. Much of the ground floor is taken up by a basketball court sponsored by a local team and various companies. The building is made up of three floors of which 26,000 square meters is used for exhibitions. The first floor has a beautiful view of the Turia Garden that surrounds it; which is over 13,500 square meters of water. The second floor hosts “The Legacy of Science” exhibition by the researchers; Santiago Ramón y Cajal, Severo Ochoa y Jean Dausset. The third floor is known as the “Chromosome Forest” which shows the sequencing of human DNA. Also on this floor is the “Zero Gravity,” the “Space Academy,” and “Marvel Superheroes” exhibitions. The building’s architecture is known for its geometry, structure, use of materials, and its design around nature. The building is about 42,000 square meter and 26,000 square meters of is exhibition space, which is currently the largest in Spain. It has 20,000 square meters of glass, 4,000 panes, 58,000 m³ of concrete, and 14.000 tons of steel. This magnificent building stands 220 meters long, 80 meters wide and 55 meters high.

 

El Museu de les Ciències Príncipe FelipeL'Umbracle — a landscaped walk with plant species indigenous to Valencia (such as rockrose, lentisca, romero, lavender, honeysuckle, bougainvillea, palm tree). It harbors in its interior The Walk of the Sculptures, an outdoor art gallery with sculptures from contemporary artists. (Miquel from Navarre, Francesc Abbot, Yoko Ono and others). The Umbracle is a space that is a home to numerous sculptures surrounded by nature. It was designed as an entrance to the City of Arts and Sciences. It is 320 meters long and 60 meters wide, located on the southern side of the complex. It 55 fixed arches and 54 floating arches that stand 18 meters high. The plants in the garden were carefully picked to change color with the seasons. The garden consists of 99 palm trees, 78 small palm trees, 62 bitter orange trees. There are 42 varieties of shrubs from the Region of Valencia including Cistuses, Mastics, Buddleia, Pampas grass, and Plumbagos. In the garden there are 16 plants of Beauty of the Night. Honeysuckle and hanging Bougainvilea are two of the 450 climbing plants in the umbracle. It also has 5,500 carpet plants such as Lotus, Agateas, Spanish Flags, and Fig Marigolds. There are over a hundred aromatic plants including Rosemary and Lavender.

 

L'UmbracleL'Oceanogràfic — an open-air oceanographic park. It is the largest oceanographic aquarium in Europe with 110,000 square meters and 42 million liters of water. It was built in the shape of a water lily and is the work of architect Félix Candela. Each building represents different aquatic environments including the Mediterranean, Wetlands, Temperate and Tropical Seas, Oceans, the Antarctic, the Artctic, Islands and the Ted Sea. This aquarium is a home to over 500 different species including dolphins, belugas, sawfish, jellyfish, starfish, sea urchins, walruses, sea lions, seals, penguins, turtles, sharks,and rays. It also inhabits wetland bird species.

 

El Palau de les Arts Reina Sofia — an opera house and performing arts center. It contains four large rooms: a Main Room, Magisterial Classroom, Amphitheater and Theater of Camera. It is dedicated to music and the scenic arts. It is surrounded by 87,000 square meters of landscape and water, as well as 10,000 square meters of walking area. The Palau de Les Arts has four sections; the main hall, the master hall, the auditorium, and the Martin y Soler theatre. It holds many events such as opera, theatre and music in its auditoriums. Panoramic lifts and stairways connect platforms at different heights on the inside of the metallic frames of the building. The building has an metallic feather outer roof that rests on two supports and is 230 meters long and 70 meters high. One of the supports allows for part of the building to overhang. The building is supported by white concrete. Two laminated steel shells cover the building weighing over 3,000 tons. These shells are 163 meters wide and 163 meters long.

 

El Pont de l'Assut de l'Or — a suspension bridge that connects the south side with Minorca Street, whose 125 meters high pillar is the highest point in the city.

 

L'Àgora — a covered plaza in which concerts and sporting events (such as the Valencia Open 500) are held.The Agora is a space designed to hold a variety of events such as concerts, performances, exhibitions, conventions, staging of congresses, and international sports meetings. Many important events have been held in this building including the Freestyle Burn Spanish Cup in 2010 and the Christmas Special Program.

 

Torres de València — forming part of a project of the construction of three skyscrapers of 308, 266 and 220 m. The project has been put on hold and the possibilities that it will be finished are seen by many as doubtful.

 

The Architects: Santiago Calatrava and Felix Candela.

 

Santiago Calatrava was born in Valencia Spain on the July 28, 1951. He is a qualified architect and engineer and also known for his artist skills in painting and sculpting. He attended the Art Academy in Valencia in the mid-1960s, then he earned a degree in architecture and a post graduate course in city planning at the Escuela Tecnica Superior de Arquitecturea, studied civil engineering at the Federal Polytechnic University of Zurich, and participated in academic research investigating The Foldability of Space Frames. Calatrava’s architecture is aimed to unite structure and movement. Early in his career, Calatrava was the winner to design The Stadelhofen Station in Zurich. He was recognized for his achievement in creating poetics of movement and integrating public transportation in a natural setting and urban context. Another theme in his work was moving contraptions in his buildings. The dome for the Reichstag Conversion Competition in Berlin that open and closes like a flower. The Planetarium in the City of Arts and Sciences in Valencia opens and closes like eyelids.

 

Felix Candela was born on January 27, 1910 in Madrid Spain and died December 7, 1997. His architectural designs composed of reinforced-concrete structures distinguished by thin, curved shells. His popularity sprung from his design, in collaboration with Jorge Gonzales Reyna, of the Cosmic Ray Pavilion in Mexico. He used his signature design of the reinforced concrete roof that varies in thickness from only 5/8 inch to 2 inches. He also built the church of La Virgin Milagrosa in Mexico City and the church of San Vicente de Paul. His designs consisted of warped-shell industrial buildings, thin-shell centenary, and barrel-vaulted factories and warehouses. Candela was also a teacher at Harvard University and University of Illinois. Felix Candela designed the underwater city, L’Oceanografic, located in the City of Arts and Sciences in Valencia and is reminiscent of Antoni Gaudi work in Barcelona.

Continuing on the "what if" process. Working with a few new products.

  

I think I have a new addiction. These crusty, grungy Rustic Components are my latest creation. I'm having fun dreaming up new color combinations to try. I blogged about it here.

 

Copyright © 2013 by Ginger Davis Allman The Blue Bottle Tree, all rights reserved.

Energy reaction display

Constituent phase composition

Partially determined organization

 

A component of a Canadian Army Medium Range Radar (MRR) assembly travels to a staging location during Exercise ARCTIC EDGE 2022 at Eielson Air Force Base, Alaska, Mar. 8, 2022.

 

Photo courtesy: Senior Airman Joseph P. LeVeille, U.S. Air Force

~

Une partie de la structure d’un radar à moyenne portée (RMP) est transportée vers un emplacement en vue de son assemblage au cours de l’exercice ARCTIC EDGE 2022, à la base aérienne d’Eielson, en Alaska, le 8 mars 2022.

 

Photo : Aviateur principal Joseph P. LeVeille, Forces aériennes des É. U.

 

This is the Space Environment Simulator (SES) at NASA Goddard Space Flight Center.

 

This thermal vacuum chamber exposes spacecraft components and other payloads to the environmental conditions they will experience once in space. The chamber has massive mechanical vacuum pumps, which are essentially large versions of the vacuum cleaners people use at home. To augment those, the chamber uses cryopumps to ensure that the hard vacuum of space is simulated in the test chamber. The cryopumps use liquid nitrogen to condense remaining gases out of the chamber once the mechanical pumps have done their work.

 

The two types of pumps work together to eliminate all but the tiniest trace of air in the chamber, down to about a billionth of Earth’s normal atmospheric pressure.

 

To simulate the hot and cold extremes possible in space, the thermal vacuum chamber can reach temperatures in a 600-degree range from 302 F all the way down to minus 310 F (hence the "thermal" vacuum chamber). The cylindrical chamber is 40 feet tall and 27 feet wide.

 

It is being used to test James Webb Space Telescope hardware using a helium shroud that allows even colder temperatures (40K and below).

 

Read more about NASA Goddard facilities: www.nasa.gov/centers/goddard/about/unique_resources_prt.htm

 

Image credit: Maggie Masetti

Universal Studios Florida is a theme park located in Orlando, Florida. Opened on June 7, 1990, the park's theme is the entertainment industry, in particular movies and television. Universal Studios Florida inspires its guests to "ride the movies", and it features numerous attractions and live shows. The park is one component of the larger Universal Orlando Resort.

 

In 2013, the park hosted an estimated 7.06 million guests, ranking it the eighth-most visited theme park in the United States, and ranking it sixteenth worldwide.[2]

  

Contents [hide]

1 History 1.1 Park history

1.2 Branding

1.3 Timeline

1.4 Previous attractions

 

2 Park design 2.1 Production Central

2.2 New York

2.3 San Francisco

2.4 London/Diagon Alley

2.5 World Expo

2.6 Woody Woodpecker's Kidzone

2.7 Hollywood

 

3 Character appearances

4 Production facilities

5 Annual events 5.1 Grad Bash and Gradventure

5.2 Halloween Horror Nights

5.3 Macy's Holiday Parade

5.4 Mardi Gras

5.5 Rock the Universe

5.6 Summer Concert Series

 

6 Universal's Express Pass

7 Attendance

8 See also

9 References

10 External links

  

History[edit]

  

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2010)

     

The original entrance to the theme park.

Over the years, Universal Studios Florida has not limited itself to attractions based on its own vast film library. It has occasionally licensed popular characters from other rival studios, many of whom did not operate theme parks themselves. Some examples include Ghostbusters and Men in Black, (Sony's Columbia Pictures), The Simpsons (20th Century Fox) and Shrek (DreamWorks Animation).

 

Many of the park's past and present attractions were developed with the actual creators of the films they were based on, and feature the original stars as part of the experience. Steven Spielberg helped create E.T. Adventure and was a creative consultant for Back to the Future: The Ride, Twister...Ride it Out, An American Tail Theatre, Jaws, Men in Black: Alien Attack and Transformers: The Ride.

 

In many current rides, the original stars reprised their film roles including: Rip Torn and Will Smith in Men in Black: Alien Attack, Brendan Fraser for Revenge of the Mummy: The Ride, Bill Paxton and Helen Hunt in Twister...Ride it Out, Arnold Schwarzenegger, Edward Furlong and Linda Hamilton reprised their roles for Terminator 2: 3-D Battle Across Time, Mike Myers, Eddie Murphy, Cameron Diaz, and John Lithgow for Shrek 4D, Steve Carell, Miranda Cosgrove, Dana Gaier, and Elsie Fisher reprised their roles from Despicable Me for Despicable Me: Minion Mayhem, and Peter Cullen and Frank Welker reprised their roles as Optimus Prime and Megatron for Transformers: The Ride.

 

In many former rides, the many original stars were also to reprise their film roles such as: Christopher Lloyd and Thomas F. Wilson in Back to the Future: The Ride, Roy Scheider recorded a voice over for the conclusion of Jaws, Alfred Hitchcock and Anthony Perkins appeared in Alfred Hitchcock: The Art of Making Movies, additionally, various Nicktoon voice actors reprised their roles in Jimmy Neutron's Nicktoon Blast.

 

Park history[edit]

 

From its inception in 1982,[3] Universal Studios Florida was designed as a theme park and a working studio. It was also the first time that Universal Studios had constructed an amusement park "from the ground up." However, the proposed project was put on hold until 1986, when a meeting between Steven Spielberg, a co-founder for the park, and Peter N. Alexander prompted for the creation of a Back to the Future simulator ride in addition to the already planned King Kong based ride.[4]

 

A major component of the original park in Hollywood is its studio tour, which featured several special-effects exhibits and encounters built into the tour, such as an attack by the great white shark from the film Jaws. For its Florida park, Universal Studios took the concepts of the Hollywood tour scenes and developed them into larger, stand-alone attractions. As an example, in Hollywood, the studio tour trams travel close to a shoreline and are "attacked" by Jaws before they travel to the next part of the tour. In Florida, guests entered the "Jaws" attraction and would board a boat touring the fictitious Amity Harbor, where they encountered the shark, then exited back into the park at the conclusion of the attraction. Universal Studios Florida originally had a Studio Tour attraction that visited the production facilities, but that tour has since been discontinued.

 

Branding[edit]

 

Previous slogans for Universal Studios Florida were: See the Stars. Ride the Movies. (1990 - 1998); No one makes believe like we do! (1990 - 1998); Ride the Movies (1998 - 2008); Jump into the Action (2008–2012). The current slogan is: Experience the Movies (2012–present).

 

Timeline[edit]

1986: Land clearing takes place on the swamp land purchased by MCA/Universal that would hold the park.

1987: Universal Studios Florida is announced at a press conference on the Hollywood property, with a planned opening date of December 1989.

1988: Universal Studios Florida's opening date is delayed from December, 1989 to May 1, 1990. Shortly following, MCA/Universal releases a video detailing the future park, which stars Christopher Lloyd as the Universal character Doc Brown interacting with the various attractions at the Florida park.[5] Universal Studios allows guests to witness the production of television shows and motion pictures in the Florida park's soundstages in middle 1988, while the rest of the studio/park is still under construction.[6]

1989: MCA/Universal Studios claims that The Walt Disney Company and its CEO, Michael Eisner copied several concepts of the Universal Studios Florida park, and integrated them into Disney's recently opened Disney/MGM Studios park.[7]

1990: On January 31, Universal Studios Florida's opening date is again delayed from May 1, 1990 to June 7, 1990.[8] Universal Studios Florida begins soft openings for the general public in late May.[9] Many of the park's attractions are not yet open at the time, and still under testing. Universal Studios Florida is officially opened with a grand opening style ceremony on June 7.[10] The park opens with five themed areas: The Front Lot (entrance area), Production Central, New York, San Francisco/Amity, Expo Center, Hollywood as well as a Lagoon located in the center of the park. The Front Lot and Production Central areas are referred to as "In Production", the New York section is referred to as "Now Shooting", the San Francisco and Amity sections are referred to as "On Location" and the Expo Center area is referred to as "The World of CineMagic Center". Nickelodeon Studios also opened on this day where there was a grand opening ceremony hosted by Marc Summers. Due to massive technical problems with the original Kongfrontation, Earthquake: The Big One and Jaws rides, Universal begins a temporary voucher service to allow guests to re-visit the studio/park when the attractions are operating.[10] Jaws is temporarily closed by Universal on September 30 due to persistent major technical problems. During the shut-down, Universal sues the original designer of the Jaws ride,[11] Ride & Show Engineering, and hires Totally Fun Company to create a re-designed version of most of the ride.

1991: Universal adds four new attractions to the park: The Blues Brothers Show, StreetBusters, The Screen Test Home Video Adventure and How to Make a Mega Movie Deal.[12] Back to the Future: The Ride officially opens in the World Expo Center area of the park, in a grand opening ceremony.[13] The ride is considered to be a success, and receives positive reception from theme park critics.[14] Fright Nights debuts at the park. In 1992, it is renamed to Halloween Horror Nights.

1993: Jaws is re-opened, with many scenes altered. MCA/Universal announces plans to expand Universal Studios Florida into the Universal City, Florida resort complex, including a second theme park and multiple hotels.[15]

1995: Universal Studios Florida celebrates its 5th anniversary. A Day in the Park with Barney opens in the World Expo area. The Production Studio Tour is closed due to a dwindle in the studios' recent Film/TV production.

1996: Terminator 2: 3-D Battle Across Time opens in the Hollywood area.[16]

1997: Universal announces that Ghostbusters Spooktacular will be replaced by Twister...Ride it Out, with a planned opening date of Spring 1998[17] Universal Studios announces that the sole Studio park will be expanded into the Universal Studios Escape, including the Islands of Adventure park, Universal CityWalk Orlando and multiple hotels. The Islands of Adventure Preview Center opens in the New York area, replacing The Screen Test Home Video Adventure. It is meant to give guests a preview of the up-coming Islands of Adventure park, as well as expansion of the Studio park into the Universal Studios Escape resort.

1998: The expansion begins as the original open parking lot for Universal Studios Florida is demolished and replaced by CityWalk and a parking garage complex.[18] Universal delays the opening of Twister...Ride it Out from March, 1998 to May 4, 1998 out of respect for the 42 deaths caused by a recent El Nino outbreak of tornadoes in the central Florida area. Twister...Ride it Out opens in the New York area, replacing Ghostbusters Spooktacular.[19] A new area of the park, Woody Woodpecker's Kidzone, is officially opened, holding the attractions Curious George Goes to Town, StarToons and the previously opened Fievel's Playland, E.T. Adventure, Animal Actors Stage and A Day in the Park with Barney; CityWalk opens outside of the park.

1999: Woody Woodpecker's Nuthouse Coaster opens in the Woody Woodpecker's Kidzone area. Islands of Adventure opens next door to Universal Studios Florida.[20]

2000: Men in Black: Alien Attack opens in the World Expo area, on the former site of The Swamp Thing Set. Universal Studios Florida's 10th anniversary celebration.

2001: Animal Planet Live opens, replacing Animal Actors Stage.

2002: Universal Studios Escape is renamed Universal Orlando Resort. Kongfrontation closes in a closing ceremony. Halloween Horror Nights is moved to Islands of Adventure. Macy's Holiday Parade debuts at the park.

2003: Jimmy Neutron's Nicktoon Blast opens, replacing The Funtastic World of Hanna-Barbera.[21] Shrek 4-D opens with Donkey's Photo Finish, replacing Alfred Hitchcock: The Art of Making Movies and Stage 54 respectively.[22]

2004: Revenge of the Mummy: The Ride opens, replacing Kongfrontation.[23] Halloween Horror Nights takes place in both Universal Studios Florida and Islands of Adventure.

2005: Universal Express Plus is introduced, replacing Universal Express. Nickelodeon Studios closes after nearly 15 years. Fear Factor Live opens, replacing The Wild Wild Wild West Stunt Show. Universal Studios Florida celebrates its 15th anniversary.

2006: Delancey Street Preview Center opens in the New York area. Universal 360: A Cinesphere Spectacular opens, replacing Dynamite Nights Stunt Spectacular. Animal Planet Live is closed, and replaced by Animal Actors on Location. Halloween Horror Nights returns to Universal Studios Florida for its "Sweet 16".

2007: Back to the Future: The Ride closes on March 30.[24] Blue Man Group Sharp Aquos Theatre opens in CityWalk, replacing Nickelodeon Studios. Earthquake: The Big One closes in the San Francisco area on November 5.

2008: Disaster!: A Major Motion Picture Ride...Starring You! opens, replacing Earthquake: The Big One.[25] Universal announces Hollywood Rip Ride Rockit, with a planned opening of Spring 2009. The Simpsons Ride opens, replacing Back to the Future: The Ride.[26]

2009: The Universal Music Plaza Stage opens, replacing The Boneyard. Hollywood Rip Ride Rockit opens.

2010: The 20th anniversary of Universal Studios Florida in June, as well as Halloween Horror Nights in October.

2011: The 10th anniversary of Macy's Holiday Parade at the park.[27]

2012: Jaws and the surrounding Amity themed area closes, as announced on December 2, 2011.[28] Universal announces the additions of Universal’s Cinematic Spectacular: 100 Years of Movie Memories and Universal's Superstar Parade to the park, with openings on May 8, 2012.[29] Despicable Me: Minion Mayhem, opens replacing Jimmy Neutron's Nicktoon Blast; as announced on March 14, 2011 as "...one of many exciting things planned for the next couple of years".[30] Universal Orlando Resort announced Transformers: The Ride will officially open in the summer of 2013, replacing Soundstages 44 and 54, which were demolished on June 24, 2012.[31] SpongeBob StorePants,a gift shop themed after SpongeBob SquarePants opened in Woody Woodpecker's Kidzone replacing the Universal Cartoon Store

2013: The opening date for Transformers The Ride is announced for June 20, 2013. Details of The Wizarding World of Harry Potter expansion are officially announced. Details for the new Simpsons Land are announced and expected to open in the summer of 2013. Transformers: The Ride officially opens in the Production Central area replacing Soundstage 44. Simpsons Fast Food Boulevard (renamed Springfield U.S.A.) concludes its expansion as it includes one new ride: Kang and Kodos Twirl 'n' Hurl.

2014: The opening date for The Wizarding World of Harry Potter Diagon Alley is announced for July 8, 2014 amid the Diagon Alley preview red carpet premiere on June 18, 2014 with Domhnall Gleeson, Bonnie Wright, Evanna Lynch, Matthew Lewis, James and Oliver Phelps, Tom Felton, Robbie Coltrane, Warwick Davis and Helena Bonham Carter attending the premiere. King's Cross station opens on July 1, 2014 as well as the Hogwarts Express Hogsmeade station at Universal's Islands of Adventure, connecting park visitors to both theme Harry Potter theme parks via a full scale replica of the train that appears in the Harry Potter film series. Diagon Alley officially opens, replacing Jaws and the Amity section of the park.

 

Previous attractions[edit]

 

Main article: List of former Universal Studios Florida attractions

     

The previous icon of the Jaws ride is still a popular photo spot.

Like all theme parks, attractions are sometimes closed due to aging and replaced with more contemporary attractions. Universal has seen this happen several times. Some notable closures include Kongfrontation, Back to the Future: The Ride, The Funtastic World of Hanna-Barbera and Jaws. The closures of Kongfrontation, Back to the Future, and Jaws have been given homages by the park to honor veteran visitors who revered the former rides.

 

Park design[edit]

 

Main article: List of Universal Studios Florida attractions

 

Universal Studios Florida features seven themed areas all situated around a large lagoon. In 2012, this lagoon was the site of Universal’s Cinematic Spectacular: 100 Years of Movie Memories, a thematic display that showcased scenes from various Universal films, featuring lasers, projectors and fountains, and pyrotechnics.

 

The seven surrounding themed areas, clockwise from the entrance, are Production Central, New York, San Francisco, London/Diagon Alley, World Expo, Woody Woodpecker's Kidzone and Hollywood. Each area features a combination of rides, shows, attractions, character appearances, dining outlets and merchandise stores. A new area, based on Harry Potter's Diagon Alley was added to the park in the July of 2014.

 

Production Central[edit]

  

Ride

 

Year opened

 

Manufacturer

  

Despicable Me: Minion Mayhem 2012 Intamin

Shrek 4-D 2003 PDI/DreamWorks

Hollywood Rip, Ride, Rockit 2009 Maurer Söhne

Transformers: The Ride 3D 2013 Oceaneering International

The Universal Music Plaza Stage 2009

  

The area is also home to a variety of dining outlets and merchandise shops. Food and beverage items can be purchased from Beverly Hills Boulangerie or Universal Studios' Classic Monsters Cafe while merchandise can be bought from a variety of themed stores including Universal Studios Store, Studio Sweets, It's a Wrap!, Super Silly Stuff, Shrek's Ye Olde Souvenir Shoppe, and Transformers: Supply Vault.[32][33]

 

I'm slowly proceeding to make all the pieces, but I don't have much time to work on the project. At least I'm not paying for it.

Recording the 4th of my Norah Jones MiniDiscs, I haven't bought her new "....featuring" album yet. My stack of black components has had a changeover again, this time the Pioneer MJ-D707 MiniDisc deck has been "retired" in favour of the Sony TC-KC820S cassette deck, joining the 3 other Sony QS items.

Universal Studios Florida is a theme park located in Orlando, Florida. Opened on June 7, 1990, the park's theme is the entertainment industry, in particular movies and television. Universal Studios Florida inspires its guests to "ride the movies", and it features numerous attractions and live shows. The park is one component of the larger Universal Orlando Resort.

 

In 2013, the park hosted an estimated 7.06 million guests, ranking it the eighth-most visited theme park in the United States, and ranking it sixteenth worldwide.[2]

  

Contents [hide]

1 History 1.1 Park history

1.2 Branding

1.3 Timeline

1.4 Previous attractions

 

2 Park design 2.1 Production Central

2.2 New York

2.3 San Francisco

2.4 London/Diagon Alley

2.5 World Expo

2.6 Woody Woodpecker's Kidzone

2.7 Hollywood

 

3 Character appearances

4 Production facilities

5 Annual events 5.1 Grad Bash and Gradventure

5.2 Halloween Horror Nights

5.3 Macy's Holiday Parade

5.4 Mardi Gras

5.5 Rock the Universe

5.6 Summer Concert Series

 

6 Universal's Express Pass

7 Attendance

8 See also

9 References

10 External links

  

History[edit]

  

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2010)

     

The original entrance to the theme park.

Over the years, Universal Studios Florida has not limited itself to attractions based on its own vast film library. It has occasionally licensed popular characters from other rival studios, many of whom did not operate theme parks themselves. Some examples include Ghostbusters and Men in Black, (Sony's Columbia Pictures), The Simpsons (20th Century Fox) and Shrek (DreamWorks Animation).

 

Many of the park's past and present attractions were developed with the actual creators of the films they were based on, and feature the original stars as part of the experience. Steven Spielberg helped create E.T. Adventure and was a creative consultant for Back to the Future: The Ride, Twister...Ride it Out, An American Tail Theatre, Jaws, Men in Black: Alien Attack and Transformers: The Ride.

 

In many current rides, the original stars reprised their film roles including: Rip Torn and Will Smith in Men in Black: Alien Attack, Brendan Fraser for Revenge of the Mummy: The Ride, Bill Paxton and Helen Hunt in Twister...Ride it Out, Arnold Schwarzenegger, Edward Furlong and Linda Hamilton reprised their roles for Terminator 2: 3-D Battle Across Time, Mike Myers, Eddie Murphy, Cameron Diaz, and John Lithgow for Shrek 4D, Steve Carell, Miranda Cosgrove, Dana Gaier, and Elsie Fisher reprised their roles from Despicable Me for Despicable Me: Minion Mayhem, and Peter Cullen and Frank Welker reprised their roles as Optimus Prime and Megatron for Transformers: The Ride.

 

In many former rides, the many original stars were also to reprise their film roles such as: Christopher Lloyd and Thomas F. Wilson in Back to the Future: The Ride, Roy Scheider recorded a voice over for the conclusion of Jaws, Alfred Hitchcock and Anthony Perkins appeared in Alfred Hitchcock: The Art of Making Movies, additionally, various Nicktoon voice actors reprised their roles in Jimmy Neutron's Nicktoon Blast.

 

Park history[edit]

 

From its inception in 1982,[3] Universal Studios Florida was designed as a theme park and a working studio. It was also the first time that Universal Studios had constructed an amusement park "from the ground up." However, the proposed project was put on hold until 1986, when a meeting between Steven Spielberg, a co-founder for the park, and Peter N. Alexander prompted for the creation of a Back to the Future simulator ride in addition to the already planned King Kong based ride.[4]

 

A major component of the original park in Hollywood is its studio tour, which featured several special-effects exhibits and encounters built into the tour, such as an attack by the great white shark from the film Jaws. For its Florida park, Universal Studios took the concepts of the Hollywood tour scenes and developed them into larger, stand-alone attractions. As an example, in Hollywood, the studio tour trams travel close to a shoreline and are "attacked" by Jaws before they travel to the next part of the tour. In Florida, guests entered the "Jaws" attraction and would board a boat touring the fictitious Amity Harbor, where they encountered the shark, then exited back into the park at the conclusion of the attraction. Universal Studios Florida originally had a Studio Tour attraction that visited the production facilities, but that tour has since been discontinued.

 

Branding[edit]

 

Previous slogans for Universal Studios Florida were: See the Stars. Ride the Movies. (1990 - 1998); No one makes believe like we do! (1990 - 1998); Ride the Movies (1998 - 2008); Jump into the Action (2008–2012). The current slogan is: Experience the Movies (2012–present).

 

Timeline[edit]

1986: Land clearing takes place on the swamp land purchased by MCA/Universal that would hold the park.

1987: Universal Studios Florida is announced at a press conference on the Hollywood property, with a planned opening date of December 1989.

1988: Universal Studios Florida's opening date is delayed from December, 1989 to May 1, 1990. Shortly following, MCA/Universal releases a video detailing the future park, which stars Christopher Lloyd as the Universal character Doc Brown interacting with the various attractions at the Florida park.[5] Universal Studios allows guests to witness the production of television shows and motion pictures in the Florida park's soundstages in middle 1988, while the rest of the studio/park is still under construction.[6]

1989: MCA/Universal Studios claims that The Walt Disney Company and its CEO, Michael Eisner copied several concepts of the Universal Studios Florida park, and integrated them into Disney's recently opened Disney/MGM Studios park.[7]

1990: On January 31, Universal Studios Florida's opening date is again delayed from May 1, 1990 to June 7, 1990.[8] Universal Studios Florida begins soft openings for the general public in late May.[9] Many of the park's attractions are not yet open at the time, and still under testing. Universal Studios Florida is officially opened with a grand opening style ceremony on June 7.[10] The park opens with five themed areas: The Front Lot (entrance area), Production Central, New York, San Francisco/Amity, Expo Center, Hollywood as well as a Lagoon located in the center of the park. The Front Lot and Production Central areas are referred to as "In Production", the New York section is referred to as "Now Shooting", the San Francisco and Amity sections are referred to as "On Location" and the Expo Center area is referred to as "The World of CineMagic Center". Nickelodeon Studios also opened on this day where there was a grand opening ceremony hosted by Marc Summers. Due to massive technical problems with the original Kongfrontation, Earthquake: The Big One and Jaws rides, Universal begins a temporary voucher service to allow guests to re-visit the studio/park when the attractions are operating.[10] Jaws is temporarily closed by Universal on September 30 due to persistent major technical problems. During the shut-down, Universal sues the original designer of the Jaws ride,[11] Ride & Show Engineering, and hires Totally Fun Company to create a re-designed version of most of the ride.

1991: Universal adds four new attractions to the park: The Blues Brothers Show, StreetBusters, The Screen Test Home Video Adventure and How to Make a Mega Movie Deal.[12] Back to the Future: The Ride officially opens in the World Expo Center area of the park, in a grand opening ceremony.[13] The ride is considered to be a success, and receives positive reception from theme park critics.[14] Fright Nights debuts at the park. In 1992, it is renamed to Halloween Horror Nights.

1993: Jaws is re-opened, with many scenes altered. MCA/Universal announces plans to expand Universal Studios Florida into the Universal City, Florida resort complex, including a second theme park and multiple hotels.[15]

1995: Universal Studios Florida celebrates its 5th anniversary. A Day in the Park with Barney opens in the World Expo area. The Production Studio Tour is closed due to a dwindle in the studios' recent Film/TV production.

1996: Terminator 2: 3-D Battle Across Time opens in the Hollywood area.[16]

1997: Universal announces that Ghostbusters Spooktacular will be replaced by Twister...Ride it Out, with a planned opening date of Spring 1998[17] Universal Studios announces that the sole Studio park will be expanded into the Universal Studios Escape, including the Islands of Adventure park, Universal CityWalk Orlando and multiple hotels. The Islands of Adventure Preview Center opens in the New York area, replacing The Screen Test Home Video Adventure. It is meant to give guests a preview of the up-coming Islands of Adventure park, as well as expansion of the Studio park into the Universal Studios Escape resort.

1998: The expansion begins as the original open parking lot for Universal Studios Florida is demolished and replaced by CityWalk and a parking garage complex.[18] Universal delays the opening of Twister...Ride it Out from March, 1998 to May 4, 1998 out of respect for the 42 deaths caused by a recent El Nino outbreak of tornadoes in the central Florida area. Twister...Ride it Out opens in the New York area, replacing Ghostbusters Spooktacular.[19] A new area of the park, Woody Woodpecker's Kidzone, is officially opened, holding the attractions Curious George Goes to Town, StarToons and the previously opened Fievel's Playland, E.T. Adventure, Animal Actors Stage and A Day in the Park with Barney; CityWalk opens outside of the park.

1999: Woody Woodpecker's Nuthouse Coaster opens in the Woody Woodpecker's Kidzone area. Islands of Adventure opens next door to Universal Studios Florida.[20]

2000: Men in Black: Alien Attack opens in the World Expo area, on the former site of The Swamp Thing Set. Universal Studios Florida's 10th anniversary celebration.

2001: Animal Planet Live opens, replacing Animal Actors Stage.

2002: Universal Studios Escape is renamed Universal Orlando Resort. Kongfrontation closes in a closing ceremony. Halloween Horror Nights is moved to Islands of Adventure. Macy's Holiday Parade debuts at the park.

2003: Jimmy Neutron's Nicktoon Blast opens, replacing The Funtastic World of Hanna-Barbera.[21] Shrek 4-D opens with Donkey's Photo Finish, replacing Alfred Hitchcock: The Art of Making Movies and Stage 54 respectively.[22]

2004: Revenge of the Mummy: The Ride opens, replacing Kongfrontation.[23] Halloween Horror Nights takes place in both Universal Studios Florida and Islands of Adventure.

2005: Universal Express Plus is introduced, replacing Universal Express. Nickelodeon Studios closes after nearly 15 years. Fear Factor Live opens, replacing The Wild Wild Wild West Stunt Show. Universal Studios Florida celebrates its 15th anniversary.

2006: Delancey Street Preview Center opens in the New York area. Universal 360: A Cinesphere Spectacular opens, replacing Dynamite Nights Stunt Spectacular. Animal Planet Live is closed, and replaced by Animal Actors on Location. Halloween Horror Nights returns to Universal Studios Florida for its "Sweet 16".

2007: Back to the Future: The Ride closes on March 30.[24] Blue Man Group Sharp Aquos Theatre opens in CityWalk, replacing Nickelodeon Studios. Earthquake: The Big One closes in the San Francisco area on November 5.

2008: Disaster!: A Major Motion Picture Ride...Starring You! opens, replacing Earthquake: The Big One.[25] Universal announces Hollywood Rip Ride Rockit, with a planned opening of Spring 2009. The Simpsons Ride opens, replacing Back to the Future: The Ride.[26]

2009: The Universal Music Plaza Stage opens, replacing The Boneyard. Hollywood Rip Ride Rockit opens.

2010: The 20th anniversary of Universal Studios Florida in June, as well as Halloween Horror Nights in October.

2011: The 10th anniversary of Macy's Holiday Parade at the park.[27]

2012: Jaws and the surrounding Amity themed area closes, as announced on December 2, 2011.[28] Universal announces the additions of Universal’s Cinematic Spectacular: 100 Years of Movie Memories and Universal's Superstar Parade to the park, with openings on May 8, 2012.[29] Despicable Me: Minion Mayhem, opens replacing Jimmy Neutron's Nicktoon Blast; as announced on March 14, 2011 as "...one of many exciting things planned for the next couple of years".[30] Universal Orlando Resort announced Transformers: The Ride will officially open in the summer of 2013, replacing Soundstages 44 and 54, which were demolished on June 24, 2012.[31] SpongeBob StorePants,a gift shop themed after SpongeBob SquarePants opened in Woody Woodpecker's Kidzone replacing the Universal Cartoon Store

2013: The opening date for Transformers The Ride is announced for June 20, 2013. Details of The Wizarding World of Harry Potter expansion are officially announced. Details for the new Simpsons Land are announced and expected to open in the summer of 2013. Transformers: The Ride officially opens in the Production Central area replacing Soundstage 44. Simpsons Fast Food Boulevard (renamed Springfield U.S.A.) concludes its expansion as it includes one new ride: Kang and Kodos Twirl 'n' Hurl.

2014: The opening date for The Wizarding World of Harry Potter Diagon Alley is announced for July 8, 2014 amid the Diagon Alley preview red carpet premiere on June 18, 2014 with Domhnall Gleeson, Bonnie Wright, Evanna Lynch, Matthew Lewis, James and Oliver Phelps, Tom Felton, Robbie Coltrane, Warwick Davis and Helena Bonham Carter attending the premiere. King's Cross station opens on July 1, 2014 as well as the Hogwarts Express Hogsmeade station at Universal's Islands of Adventure, connecting park visitors to both theme Harry Potter theme parks via a full scale replica of the train that appears in the Harry Potter film series. Diagon Alley officially opens, replacing Jaws and the Amity section of the park.

 

Previous attractions[edit]

 

Main article: List of former Universal Studios Florida attractions

     

The previous icon of the Jaws ride is still a popular photo spot.

Like all theme parks, attractions are sometimes closed due to aging and replaced with more contemporary attractions. Universal has seen this happen several times. Some notable closures include Kongfrontation, Back to the Future: The Ride, The Funtastic World of Hanna-Barbera and Jaws. The closures of Kongfrontation, Back to the Future, and Jaws have been given homages by the park to honor veteran visitors who revered the former rides.

 

Park design[edit]

 

Main article: List of Universal Studios Florida attractions

 

Universal Studios Florida features seven themed areas all situated around a large lagoon. In 2012, this lagoon was the site of Universal’s Cinematic Spectacular: 100 Years of Movie Memories, a thematic display that showcased scenes from various Universal films, featuring lasers, projectors and fountains, and pyrotechnics.

 

The seven surrounding themed areas, clockwise from the entrance, are Production Central, New York, San Francisco, London/Diagon Alley, World Expo, Woody Woodpecker's Kidzone and Hollywood. Each area features a combination of rides, shows, attractions, character appearances, dining outlets and merchandise stores. A new area, based on Harry Potter's Diagon Alley was added to the park in the July of 2014.

 

Production Central[edit]

  

Ride

 

Year opened

 

Manufacturer

  

Despicable Me: Minion Mayhem 2012 Intamin

Shrek 4-D 2003 PDI/DreamWorks

Hollywood Rip, Ride, Rockit 2009 Maurer Söhne

Transformers: The Ride 3D 2013 Oceaneering International

The Universal Music Plaza Stage 2009

  

The area is also home to a variety of dining outlets and merchandise shops. Food and beverage items can be purchased from Beverly Hills Boulangerie or Universal Studios' Classic Monsters Cafe while merchandise can be bought from a variety of themed stores including Universal Studios Store, Studio Sweets, It's a Wrap!, Super Silly Stuff, Shrek's Ye Olde Souvenir Shoppe, and Transformers: Supply Vault.[32][33]

 

Universal Studios Florida is a theme park located in Orlando, Florida. Opened on June 7, 1990, the park's theme is the entertainment industry, in particular movies and television. Universal Studios Florida inspires its guests to "ride the movies", and it features numerous attractions and live shows. The park is one component of the larger Universal Orlando Resort.

 

In 2013, the park hosted an estimated 7.06 million guests, ranking it the eighth-most visited theme park in the United States, and ranking it sixteenth worldwide.[2]

  

Contents [hide]

1 History 1.1 Park history

1.2 Branding

1.3 Timeline

1.4 Previous attractions

 

2 Park design 2.1 Production Central

2.2 New York

2.3 San Francisco

2.4 London/Diagon Alley

2.5 World Expo

2.6 Woody Woodpecker's Kidzone

2.7 Hollywood

 

3 Character appearances

4 Production facilities

5 Annual events 5.1 Grad Bash and Gradventure

5.2 Halloween Horror Nights

5.3 Macy's Holiday Parade

5.4 Mardi Gras

5.5 Rock the Universe

5.6 Summer Concert Series

 

6 Universal's Express Pass

7 Attendance

8 See also

9 References

10 External links

  

History[edit]

  

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2010)

     

The original entrance to the theme park.

Over the years, Universal Studios Florida has not limited itself to attractions based on its own vast film library. It has occasionally licensed popular characters from other rival studios, many of whom did not operate theme parks themselves. Some examples include Ghostbusters and Men in Black, (Sony's Columbia Pictures), The Simpsons (20th Century Fox) and Shrek (DreamWorks Animation).

 

Many of the park's past and present attractions were developed with the actual creators of the films they were based on, and feature the original stars as part of the experience. Steven Spielberg helped create E.T. Adventure and was a creative consultant for Back to the Future: The Ride, Twister...Ride it Out, An American Tail Theatre, Jaws, Men in Black: Alien Attack and Transformers: The Ride.

 

In many current rides, the original stars reprised their film roles including: Rip Torn and Will Smith in Men in Black: Alien Attack, Brendan Fraser for Revenge of the Mummy: The Ride, Bill Paxton and Helen Hunt in Twister...Ride it Out, Arnold Schwarzenegger, Edward Furlong and Linda Hamilton reprised their roles for Terminator 2: 3-D Battle Across Time, Mike Myers, Eddie Murphy, Cameron Diaz, and John Lithgow for Shrek 4D, Steve Carell, Miranda Cosgrove, Dana Gaier, and Elsie Fisher reprised their roles from Despicable Me for Despicable Me: Minion Mayhem, and Peter Cullen and Frank Welker reprised their roles as Optimus Prime and Megatron for Transformers: The Ride.

 

In many former rides, the many original stars were also to reprise their film roles such as: Christopher Lloyd and Thomas F. Wilson in Back to the Future: The Ride, Roy Scheider recorded a voice over for the conclusion of Jaws, Alfred Hitchcock and Anthony Perkins appeared in Alfred Hitchcock: The Art of Making Movies, additionally, various Nicktoon voice actors reprised their roles in Jimmy Neutron's Nicktoon Blast.

 

Park history[edit]

 

From its inception in 1982,[3] Universal Studios Florida was designed as a theme park and a working studio. It was also the first time that Universal Studios had constructed an amusement park "from the ground up." However, the proposed project was put on hold until 1986, when a meeting between Steven Spielberg, a co-founder for the park, and Peter N. Alexander prompted for the creation of a Back to the Future simulator ride in addition to the already planned King Kong based ride.[4]

 

A major component of the original park in Hollywood is its studio tour, which featured several special-effects exhibits and encounters built into the tour, such as an attack by the great white shark from the film Jaws. For its Florida park, Universal Studios took the concepts of the Hollywood tour scenes and developed them into larger, stand-alone attractions. As an example, in Hollywood, the studio tour trams travel close to a shoreline and are "attacked" by Jaws before they travel to the next part of the tour. In Florida, guests entered the "Jaws" attraction and would board a boat touring the fictitious Amity Harbor, where they encountered the shark, then exited back into the park at the conclusion of the attraction. Universal Studios Florida originally had a Studio Tour attraction that visited the production facilities, but that tour has since been discontinued.

 

Branding[edit]

 

Previous slogans for Universal Studios Florida were: See the Stars. Ride the Movies. (1990 - 1998); No one makes believe like we do! (1990 - 1998); Ride the Movies (1998 - 2008); Jump into the Action (2008–2012). The current slogan is: Experience the Movies (2012–present).

 

Timeline[edit]

1986: Land clearing takes place on the swamp land purchased by MCA/Universal that would hold the park.

1987: Universal Studios Florida is announced at a press conference on the Hollywood property, with a planned opening date of December 1989.

1988: Universal Studios Florida's opening date is delayed from December, 1989 to May 1, 1990. Shortly following, MCA/Universal releases a video detailing the future park, which stars Christopher Lloyd as the Universal character Doc Brown interacting with the various attractions at the Florida park.[5] Universal Studios allows guests to witness the production of television shows and motion pictures in the Florida park's soundstages in middle 1988, while the rest of the studio/park is still under construction.[6]

1989: MCA/Universal Studios claims that The Walt Disney Company and its CEO, Michael Eisner copied several concepts of the Universal Studios Florida park, and integrated them into Disney's recently opened Disney/MGM Studios park.[7]

1990: On January 31, Universal Studios Florida's opening date is again delayed from May 1, 1990 to June 7, 1990.[8] Universal Studios Florida begins soft openings for the general public in late May.[9] Many of the park's attractions are not yet open at the time, and still under testing. Universal Studios Florida is officially opened with a grand opening style ceremony on June 7.[10] The park opens with five themed areas: The Front Lot (entrance area), Production Central, New York, San Francisco/Amity, Expo Center, Hollywood as well as a Lagoon located in the center of the park. The Front Lot and Production Central areas are referred to as "In Production", the New York section is referred to as "Now Shooting", the San Francisco and Amity sections are referred to as "On Location" and the Expo Center area is referred to as "The World of CineMagic Center". Nickelodeon Studios also opened on this day where there was a grand opening ceremony hosted by Marc Summers. Due to massive technical problems with the original Kongfrontation, Earthquake: The Big One and Jaws rides, Universal begins a temporary voucher service to allow guests to re-visit the studio/park when the attractions are operating.[10] Jaws is temporarily closed by Universal on September 30 due to persistent major technical problems. During the shut-down, Universal sues the original designer of the Jaws ride,[11] Ride & Show Engineering, and hires Totally Fun Company to create a re-designed version of most of the ride.

1991: Universal adds four new attractions to the park: The Blues Brothers Show, StreetBusters, The Screen Test Home Video Adventure and How to Make a Mega Movie Deal.[12] Back to the Future: The Ride officially opens in the World Expo Center area of the park, in a grand opening ceremony.[13] The ride is considered to be a success, and receives positive reception from theme park critics.[14] Fright Nights debuts at the park. In 1992, it is renamed to Halloween Horror Nights.

1993: Jaws is re-opened, with many scenes altered. MCA/Universal announces plans to expand Universal Studios Florida into the Universal City, Florida resort complex, including a second theme park and multiple hotels.[15]

1995: Universal Studios Florida celebrates its 5th anniversary. A Day in the Park with Barney opens in the World Expo area. The Production Studio Tour is closed due to a dwindle in the studios' recent Film/TV production.

1996: Terminator 2: 3-D Battle Across Time opens in the Hollywood area.[16]

1997: Universal announces that Ghostbusters Spooktacular will be replaced by Twister...Ride it Out, with a planned opening date of Spring 1998[17] Universal Studios announces that the sole Studio park will be expanded into the Universal Studios Escape, including the Islands of Adventure park, Universal CityWalk Orlando and multiple hotels. The Islands of Adventure Preview Center opens in the New York area, replacing The Screen Test Home Video Adventure. It is meant to give guests a preview of the up-coming Islands of Adventure park, as well as expansion of the Studio park into the Universal Studios Escape resort.

1998: The expansion begins as the original open parking lot for Universal Studios Florida is demolished and replaced by CityWalk and a parking garage complex.[18] Universal delays the opening of Twister...Ride it Out from March, 1998 to May 4, 1998 out of respect for the 42 deaths caused by a recent El Nino outbreak of tornadoes in the central Florida area. Twister...Ride it Out opens in the New York area, replacing Ghostbusters Spooktacular.[19] A new area of the park, Woody Woodpecker's Kidzone, is officially opened, holding the attractions Curious George Goes to Town, StarToons and the previously opened Fievel's Playland, E.T. Adventure, Animal Actors Stage and A Day in the Park with Barney; CityWalk opens outside of the park.

1999: Woody Woodpecker's Nuthouse Coaster opens in the Woody Woodpecker's Kidzone area. Islands of Adventure opens next door to Universal Studios Florida.[20]

2000: Men in Black: Alien Attack opens in the World Expo area, on the former site of The Swamp Thing Set. Universal Studios Florida's 10th anniversary celebration.

2001: Animal Planet Live opens, replacing Animal Actors Stage.

2002: Universal Studios Escape is renamed Universal Orlando Resort. Kongfrontation closes in a closing ceremony. Halloween Horror Nights is moved to Islands of Adventure. Macy's Holiday Parade debuts at the park.

2003: Jimmy Neutron's Nicktoon Blast opens, replacing The Funtastic World of Hanna-Barbera.[21] Shrek 4-D opens with Donkey's Photo Finish, replacing Alfred Hitchcock: The Art of Making Movies and Stage 54 respectively.[22]

2004: Revenge of the Mummy: The Ride opens, replacing Kongfrontation.[23] Halloween Horror Nights takes place in both Universal Studios Florida and Islands of Adventure.

2005: Universal Express Plus is introduced, replacing Universal Express. Nickelodeon Studios closes after nearly 15 years. Fear Factor Live opens, replacing The Wild Wild Wild West Stunt Show. Universal Studios Florida celebrates its 15th anniversary.

2006: Delancey Street Preview Center opens in the New York area. Universal 360: A Cinesphere Spectacular opens, replacing Dynamite Nights Stunt Spectacular. Animal Planet Live is closed, and replaced by Animal Actors on Location. Halloween Horror Nights returns to Universal Studios Florida for its "Sweet 16".

2007: Back to the Future: The Ride closes on March 30.[24] Blue Man Group Sharp Aquos Theatre opens in CityWalk, replacing Nickelodeon Studios. Earthquake: The Big One closes in the San Francisco area on November 5.

2008: Disaster!: A Major Motion Picture Ride...Starring You! opens, replacing Earthquake: The Big One.[25] Universal announces Hollywood Rip Ride Rockit, with a planned opening of Spring 2009. The Simpsons Ride opens, replacing Back to the Future: The Ride.[26]

2009: The Universal Music Plaza Stage opens, replacing The Boneyard. Hollywood Rip Ride Rockit opens.

2010: The 20th anniversary of Universal Studios Florida in June, as well as Halloween Horror Nights in October.

2011: The 10th anniversary of Macy's Holiday Parade at the park.[27]

2012: Jaws and the surrounding Amity themed area closes, as announced on December 2, 2011.[28] Universal announces the additions of Universal’s Cinematic Spectacular: 100 Years of Movie Memories and Universal's Superstar Parade to the park, with openings on May 8, 2012.[29] Despicable Me: Minion Mayhem, opens replacing Jimmy Neutron's Nicktoon Blast; as announced on March 14, 2011 as "...one of many exciting things planned for the next couple of years".[30] Universal Orlando Resort announced Transformers: The Ride will officially open in the summer of 2013, replacing Soundstages 44 and 54, which were demolished on June 24, 2012.[31] SpongeBob StorePants,a gift shop themed after SpongeBob SquarePants opened in Woody Woodpecker's Kidzone replacing the Universal Cartoon Store

2013: The opening date for Transformers The Ride is announced for June 20, 2013. Details of The Wizarding World of Harry Potter expansion are officially announced. Details for the new Simpsons Land are announced and expected to open in the summer of 2013. Transformers: The Ride officially opens in the Production Central area replacing Soundstage 44. Simpsons Fast Food Boulevard (renamed Springfield U.S.A.) concludes its expansion as it includes one new ride: Kang and Kodos Twirl 'n' Hurl.

2014: The opening date for The Wizarding World of Harry Potter Diagon Alley is announced for July 8, 2014 amid the Diagon Alley preview red carpet premiere on June 18, 2014 with Domhnall Gleeson, Bonnie Wright, Evanna Lynch, Matthew Lewis, James and Oliver Phelps, Tom Felton, Robbie Coltrane, Warwick Davis and Helena Bonham Carter attending the premiere. King's Cross station opens on July 1, 2014 as well as the Hogwarts Express Hogsmeade station at Universal's Islands of Adventure, connecting park visitors to both theme Harry Potter theme parks via a full scale replica of the train that appears in the Harry Potter film series. Diagon Alley officially opens, replacing Jaws and the Amity section of the park.

 

Previous attractions[edit]

 

Main article: List of former Universal Studios Florida attractions

     

The previous icon of the Jaws ride is still a popular photo spot.

Like all theme parks, attractions are sometimes closed due to aging and replaced with more contemporary attractions. Universal has seen this happen several times. Some notable closures include Kongfrontation, Back to the Future: The Ride, The Funtastic World of Hanna-Barbera and Jaws. The closures of Kongfrontation, Back to the Future, and Jaws have been given homages by the park to honor veteran visitors who revered the former rides.

 

Park design[edit]

 

Main article: List of Universal Studios Florida attractions

 

Universal Studios Florida features seven themed areas all situated around a large lagoon. In 2012, this lagoon was the site of Universal’s Cinematic Spectacular: 100 Years of Movie Memories, a thematic display that showcased scenes from various Universal films, featuring lasers, projectors and fountains, and pyrotechnics.

 

The seven surrounding themed areas, clockwise from the entrance, are Production Central, New York, San Francisco, London/Diagon Alley, World Expo, Woody Woodpecker's Kidzone and Hollywood. Each area features a combination of rides, shows, attractions, character appearances, dining outlets and merchandise stores. A new area, based on Harry Potter's Diagon Alley was added to the park in the July of 2014.

 

Production Central[edit]

  

Ride

 

Year opened

 

Manufacturer

  

Despicable Me: Minion Mayhem 2012 Intamin

Shrek 4-D 2003 PDI/DreamWorks

Hollywood Rip, Ride, Rockit 2009 Maurer Söhne

Transformers: The Ride 3D 2013 Oceaneering International

The Universal Music Plaza Stage 2009

  

The area is also home to a variety of dining outlets and merchandise shops. Food and beverage items can be purchased from Beverly Hills Boulangerie or Universal Studios' Classic Monsters Cafe while merchandise can be bought from a variety of themed stores including Universal Studios Store, Studio Sweets, It's a Wrap!, Super Silly Stuff, Shrek's Ye Olde Souvenir Shoppe, and Transformers: Supply Vault.[32][33]

 

Presentación Final del Proyecto en la Comuna 8 Medellin: Intergrando Comuna 8 Octavo Semestre/Taller9 UNAL Facultad de Arquitectura

¡Enhorabuena! al sargento Navarro componente de la #BrigadaGuadarramaXII que ha conseguido el primer puesto en tiro de arma larga en la modalidad 'Precisión Rifle Series' de la liga nacional. ¡Orgullosos de contar con los mejores!

#EjércitoconelDeporte 🇪🇸

#EjércitodeTierra 🇪🇸

PictionID:44808837 - Title:Atlas Payload Component - Catalog:14_014216 - Filename:14_014216.TIF - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum

Mediterranean Eggplant and Barley Salad on smittenkitchen.com

earthenware clay- textured with handmade stamps and silicone texture sheets..... look for textures of beeswax, a knit sweater, the bottom of a shoe, a bit of bark......

It is easily crumbled to be added to a lit coal in an incense burner. There are a lot of other scents stored elsewhere.

The frankincense was of good quality.

 

Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.

 

Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.

 

Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.

 

A variety of incense cones which thankfully were not overly sweet. I am sad to have likely lost this annual Toronto ON sconce of incense cones.

 

Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.

 

Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.

 

Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.

 

HISTORY:

 

The word incense comes from Latin incendere meaning "to burn".

 

Combustible bouquets were used by the ancient Egyptians, who employed incense in both pragmatic and mystical capacities. Incense was burnt to counteract or obscure malodorous products of human habitation, but was widely perceived to also deter malevolent demons and appease the gods with its pleasant aroma. Resin balls were found in many prehistoric Egyptian tombs in El Mahasna, giving evidence for the prominence of incense and related compounds in Egyptian antiquity. One of the oldest extant incense burners originates from the 5th dynasty. The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.

 

The Babylonians used incense while offering prayers to divining oracles. Incense spread from there to Greece and Rome.

 

Incense burners have been found in the Indus Civilization (3300–1300 BCE). Evidence suggests oils were used mainly for their aroma. India also adopted techniques from East Asia, adapting the formulation to encompass aromatic roots and other indigenous flora. This was the first usage of subterranean plant parts in incense. New herbs like Sarsaparilla seeds, frankincense, and cypress were used by Indians.

 

At around 2000 BCE, Ancient China began the use of incense in the religious sense, namely for worship. Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties. The earliest documented use of incense comes from the ancient Chinese, who employed incense composed of herbs and plant products (such as cassia, cinnamon, styrax, and sandalwood) as a component of numerous formalized ceremonial rites. Incense usage reached its peak during the Song dynasty with numerous buildings erected specifically for incense ceremonies.

 

Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later. During the 14th-century Ashikaga shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whoever might take his head in battle). It wasn't until the Muromachi period during the 15th and 16th century that incense appreciation (kōdō) spread to the upper and middle classes of Japanese society.

 

COMPOSITION:

 

A variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America. Trading in incense materials comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.

 

Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, such as clergy and physicians.

 

COMBUSTIBLE BASE:

 

The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:

 

Fuel and oxidizer mixtures: Charcoal or wood powder provides the fuel for combustion while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are added to the base prior to shaping, as in the case of powdered incense materials, or after, as in the case of essential oils. The formula for charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.

Natural plant-based binders: Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together. Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. These include:

Makko (incense powder) made from the bark of various trees in the genus Persea (such as Persea thunbergii) Xiangnan pi (made from the bark of trees of genus Phoebe such as Phoebe nanmu or Persea zuihoensis.

 

Jigit: a resin based binder used in India

Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.

 

Typical compositions burn at a temperature between 220 °C and 260 °C.

 

TYPES:

 

Incense is available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types. Preference for one form or another varies with culture, tradition, and personal taste. The two differ in their composition due to the former's requirement for even, stable, and sustained burning.

 

INDIRECT-BURNING:

 

Indirect-burning incense, also called "non-combustible incense", is an aromatic material or combination of materials, such as resins, that does not contain combustible material and so requires a separate heat source. Finer forms tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually, having less surface area. Heat is traditionally provided by charcoal or glowing embers. In the West, the best known incense materials of this type are the resins frankincense and myrrh, likely due to their numerous mentions in the Bible. Frankincense means "pure incense", though in common usage refers specifically to the resin of the boswellia tree.

 

Whole: The incense material is burned directly in raw form on top of coal embers.

Powdered or granulated: Incense broken into smaller pieces burns quickly and provides brief but intense odour.

 

Paste: Powdered or granulated incense material is mixed with a sticky incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type, and Japan has a history of kneaded incense, called nerikō or awasekō, made using this method. Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.

 

DIRECT-BURNING:

 

Direct-burning incense, also called "combustible incense", is lit directly by a flame. The glowing ember on the incense will continue to smoulder and burn the rest of the incense without further application of external heat or flame. Direct-burning incense is either extruded, pressed into forms, or coated onto a supporting material. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder. The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types are commonly encountered, though direct-burning incense can take nearly any form, whether for expedience or whimsy.

 

Coil: Extruded and shaped into a coil without a core, coil incense can burn for an extended period, from hours to days, and is commonly produced and used in Chinese cultures.

 

Cone: Incense in this form burns relatively quickly. Incense cones were invented in Japan in the 1800s.

Cored stick: A supporting core of bamboo is coated with a thick layer of incense material that burns away with the core. Higher-quality variations have fragrant sandalwood cores. This type of incense is commonly produced in India and China. When used in Chinese folk religion, these are sometimes known as "joss sticks".

 

Dhoop or solid stick: With no bamboo core, dhoop incense is easily broken for portion control. This is the most commonly produced form of incense in Japan and Tibet.

Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. Powder incense is typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.

Paper: Paper infused with incense, folded accordion style, is lit and blown out. Examples include Carta d'Armenia and Papier d'Arménie.

Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is easily transported and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.

 

Moxa tablets, which are disks of powdered mugwort used in Traditional Chinese medicine for moxibustion, are not incenses; the treatment is by heat rather than fragrance.

Incense sticks may be termed joss sticks, especially in parts of East Asia, South Asia and Southeast Asia. Among ethnic Chinese and Chinese-influenced communities these are traditionally burned at temples, before the threshold of a home or business, before an image of a religious divinity or local spirit, or in shrines, large and small, found at the main entrance of every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door or open window as an offering to heaven, or the devas. The word "joss" is derived from the Latin deus (god) via the Portuguese deos through the Javanese dejos, through Chinese pidgin English.

 

PRODUCTION:

 

The raw materials are powdered and then mixed together with a binder to form a paste, which, for direct burning incense, is then cut and dried into pellets. Incense of the Athonite Orthodox Christian tradition is made by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.

 

Certain proportions are necessary for direct-burning incense:

 

Oil content: an excess of oils may prevent incense from smoldering effectively. Resinous materials such as myrrh and frankincense are typically balanced with "dry" materials such as wood, bark and leaf powders.

Oxidizer quantity: Too little oxidizer in gum-bound incense may prevent the incense from igniting, while too much will cause the incense to burn too quickly, without producing fragrant smoke.

Binder: Water-soluble binders such as "makko" ensure that the incense mixture does not crumble when dry, dilute the mixture.

Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.

Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.

 

"Dipped" or "hand-dipped" direct-burning incense is created by dipping "incense blanks" made of unscented combustible dust into any suitable kind of essential or fragrance oil. These are often sold in the United States by flea-market and sidewalk vendors who have developed their own styles. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia.

 

Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.

 

Traditionally, the bamboo core of cored stick incense is prepared by hand from Phyllostachys heterocycla cv. pubescens since this species produces thick wood and easily burns to ashes in the incense stick. In a process known as "splitting the foot of the incense stick", the bamboo is trimmed to length, soaked, peeled, and split in halves until the thin sticks of bamboo have square cross sections of less than 3mm. This process has been largely replaced by machines in modern incense production.

 

In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:

 

Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.

 

Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are evenly separated, then dipped into a tray of incense powder consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the sticks while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks produced in this fashion and burned in temples of Chinese folk religion can have a thickness between 2 and 4 millimeters.

Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more common due to the higher labor cost of producing powder-coated or paste-rolled sticks.

 

BURNING INCENSE:

 

Indirect-burning incense burned directly on top of a heat source or on a hot metal plate in a censer or thurible.

 

In Japan a similar censer called a egōro (柄香炉) is used by several Buddhist sects. The egōro is usually made of brass, with a long handle and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as sonae-kō (religious burning).

 

For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. The flame is then fanned or blown out, leaving the incense to smolder.

 

CULTURAL VARIATIONS:

 

ARABIAN:

 

In most Arab countries, incense is burned in the form of scented chips or blocks called bakhoor (Arabic: بخور‎ [bɑˈxuːɾ, bʊ-]. Incense is used on special occasions like weddings or on Fridays or generally to perfume the house. The bakhoor is usually burned in a mabkhara, a traditional incense burner (censer) similar to the Somali Dabqaad. It is customary in many Arab countries to pass bakhoor among the guests in the majlis ('congregation'). This is done as a gesture of hospitality.

 

CHINESE:

 

For over two thousand years, the Chinese have used incense in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life. Agarwood (chénxiāng) and sandalwood (tánxiāng) are the two most important ingredients in Chinese incense.

 

Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks. The first known record is by poet Yu Jianwu (487-551): "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches." The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.

Incense-stick burning is an everyday practice in traditional Chinese religion. There are many different types of stick used for different purposes or on different festive days. Many of them are long and thin. Sticks are mostly coloured yellow, red, or more rarely, black. Thick sticks are used for special ceremonies, such as funerals. Spiral incense, with exceedingly long burn times, is often hung from temple ceilings. In some states, such as Taiwan,

 

Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon incense sticks are sometimes used. These generate so much smoke and heat that they are only burned outside.

 

Chinese incense sticks for use in popular religion are generally odorless or only use the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of cinnamon native to Cambodia, Cinnamomum cambodianum. Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Though they contain no sandalwood, they often include the Chinese character for sandalwood on the label, as a generic term for incense.

 

Highly scented Chinese incense sticks are used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, agarwood, or floral scents used. The sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites belonging to Tzu Chi, Chung Tai Shan, Dharma Drum Mountain, Xingtian Temple, or City of Ten Thousand Buddhas do not use incense.

 

INDIAN:

 

Incense sticks, also known as agarbathi (or agarbatti) and joss sticks, in which an incense paste is rolled or moulded around a bamboo stick, are the main forms of incense in India. The bamboo method originated in India, and is distinct from the Nepali/Tibetan and Japanese methods of stick making without bamboo cores. Though the method is also used in the west, it is strongly associated with India.

 

The basic ingredients are the bamboo stick, the paste (generally made of charcoal dust and joss/jiggit/gum/tabu powder – an adhesive made from the bark of litsea glutinosa and other trees), and the perfume ingredients - which would be a masala (spice mix) powder of ground ingredients into which the stick would be rolled, or a perfume liquid sometimes consisting of synthetic ingredients into which the stick would be dipped. Perfume is sometimes sprayed on the coated sticks. Stick machines are sometimes used, which coat the stick with paste and perfume, though the bulk of production is done by hand rolling at home. There are about 5,000 incense companies in India that take raw unperfumed sticks hand-rolled by approximately 200,000 women working part-time at home, and then apply their own brand of perfume, and package the sticks for sale. An experienced home-worker can produce 4,000 raw sticks a day. There are about 50 large companies that together account for up to 30% of the market, and around 500 of the companies, including a significant number of the main ones, including Moksh Agarbatti and Cycle Pure, are based in Mysore.

 

JEWISH TEMPLE IN JERUSALEM:

 

KETORET:

 

Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus to be a mixture of stacte, onycha, galbanum and frankincense.

 

TIBETAN:

 

Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, and sahi jeera.

 

Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.

 

JAPANESE:

 

In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like calligraphy, ikebana, and scroll arrangement. The art of incense appreciation, or koh-do, is generally practiced as a separate art form from the tea ceremony, and usually within a tea room of traditional Zen design.

 

Agarwood (沈香 Jinkō) and sandalwood (白檀 byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation. It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.

 

Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.

 

Some terms used in Japanese incense culture include:

 

Incense arts: [香道, kodo]

Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.

Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning

Charcoal: [木炭] – only the odorless kind is used.

Incense woods: [ 香木 ] – a naturally fragrant resinous wood.

 

USAGE:

 

PRACTICAL:

 

Incense fragrances can be of such great strength that they obscure other less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. An example, as well as of religious use, is the giant Botafumeiro thurible that swings from the ceiling of the Cathedral of Santiago de Compostela. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.

 

A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single long handle on one side. The perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.

 

The regular burning of direct-burning incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve multiple senses.

 

Incense made from materials such as citronella can repel mosquitoes and other irritating, distracting, or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellent incense is widely available in Asia.

 

Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.

 

Incense is also used often by people who smoke indoors and do not want the smell to linger.

 

AESTHETIC:

 

Many people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the foregoing items can be produced or consumed solely for the contemplation or enjoyment of the aroma. An example is the kōdō (香道), where (frequently costly) raw incense materials such as agarwood are appreciated in a formal setting.

 

RELIGIOUS:

 

Religious use of incense is prevalent in many cultures and may have roots in the practical and aesthetic uses, considering that many of these religions have little else in common. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship and remains in use for example in the Catholic, Orthodox, and Anglican churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense), etc.

 

Aphrodisiac Incense has been used as an aphrodisiac in some cultures. Both ancient Greek and ancient Egyptian mythology suggest the usage of incense by goddesses and nymphs. Incense is thought to heighten sexual desires and sexual attraction.

 

Time-keeper Incense clocks are used to time social, medical and religious practices in parts of eastern Asia. They are primarily used in Buddhism as a timer of mediation and prayer. Different types of incense burn at different rates; therefore, different incense are used for different practices. The duration of burning ranges from minutes to months.

 

Healing stone cleanser Incense is claimed to cleanse and restore energy in healing stones. The technique used is called “smudging” and is done by holding a healing stone over the smoke of burning incense for 20 to 30 seconds. Some people believe that this process not only restores energy but eliminates negative energy.

 

HEALTH RISK FROM INCENSE SMOKE:

 

Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NOx), sulfur oxides (SOx), volatile organic compounds (VOCs), and adsorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. In a comparison, Indian sandalwood was found to have the highest emission rate, followed by Japanese aloeswood, then Taiwanese aloeswood, while Chinese smokeless sandalwood had the least.

 

Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.

 

A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.

 

In contrast, epidemiologists at the Hong Kong Anti-Cancer Society, Aichi Cancer Center in Nagoya, and several other centers found: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified their findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."

 

Although several studies have not shown a link between incense and lung cancer, many other types of cancer have been directly linked to burning incense. A study published in 2008 in the medical journal Cancer found that incense use is associated with a statistically significant higher risk of cancers of the upper respiratory tract, with the exception of nasopharyngeal cancer. Those who used incense heavily also were 80% more likely to develop squamous-cell carcinomas. The link between incense use and increased cancer risk held when the researchers weighed other factors, including cigarette smoking, diet and drinking habits. The research team noted that "This association is consistent with a large number of studies identifying carcinogens in incense smoke, and given the widespread and sometimes involuntary exposure to smoke from burning incense, these findings carry significant public health implications."

 

In 2015, the South China University of Technology found toxicity of incense to Chinese hamsters' ovarian cells to be even higher than cigarettes.

 

Incensole acetate, a component of Frankincense, has been shown to have anxiolytic-like and antidepressive-like effects in mice, mediated by activation of poorly-understood TRPV3 ion channels in the brain.

NON HINDUS

ARE NOT ALLOWED INSIDE THE TEMPLE

 

Lingaraj Temple is a Hindu temple dedicated to Harihara, a form of Shiva and is one of the oldest temples in Bhubaneswar, the capital of the East Indian state of Odisha (formerly Orissa). The temple is the most prominent landmark of the Bhubaneswar city and one of the major tourist attractions of the state.

 

The Lingaraj temple is the largest temple in Bhubaneswar. The central tower of the temple is 55 m tall. The temple represents the quintessence of the Kalinga Architecture and culminates the medieval stages of the architectural tradition at Bhubaneswar. The temple is believed to be built by the kings from the Somavamsi dynasty, with later additions from the Ganga rulers. The temple is built in the Deula style that has four components namely, vimana (structure containing the sanctum), jagamohana (assembly hall), natamandira (festival hall) and bhoga-mandapa (hall of offerings), each increasing in the height to its predecessor. The temple complex has 50 other shrines and is enclosed by a large compound wall.

 

Bhubaneswar is called the Ekamra Kshetra as the deity of Lingaraj was originally under a mango tree (Ekamra) as noted in Ekamra Purana, a 13th-century Sanskrit treatise. The temple is active in worship practises, unlike most other temples in Bhubaneswar and Shiva is worshipped as Harihara, a combined form of Vishnu and Shiva. The temple has images of Vishnu, possibly because of the rising prominence of Jagannath cult emnating from the Ganga rulers who built the Jagannath Temple in Puri in the 12th century.

 

Lingaraj temple is maintained by the Temple Trust Board and the Archeological Survey of India (ASI). The temple has an average of 6,000 visitors per day and receives lakhs of visitors during festivals. Shivaratri festival is the major festival celebrated in the temple and event during 2012 witnessed 200,000 visitors.

 

HISTORY

Lingaraj means "The king of Lingam", the symbol of Saivism. Shiva was worshipped as Kirtivasa and later as Harihara and is commonly referred as Tribhuvaneshwara (also called Bhubaneswar), the master of three worlds, namely, heaven, earth and netherworld). His consort is called Bhuvaneshvari.

 

The temple is more than 1100 years old, dating back in its present form to the last decade of the eleventh century, though there is evidence that part of the temple was built during the sixth century CE as the temple has been emphasized in some of the seventh century Sanskrit texts. Fergusson believes the temple might have been initiated by Lelat Indra Kesari who reigned from 615 to 657 CE. The Assembly hall (jagamohana), sanctum and temple tower wer built during the eleventh century, while the Hall of offering (bhoga-mandapa) was built during the twelfth century. The natamandira was built by the wife of Salini between 1099 and 1104 CE. By the time the Lingaraj temple was completely constructed, the Jagannath (form of Vishnu) cult had been growing in the region, which historians believe is evidenced by the co-existence of Vishnu and Shiva worship at the temple. The Ganga dynasty kings were ardent followers of Vaishnavism and built the Jagannath Temple at Puri in the 12th century.

 

The temple is believed to be built by the Somavanshi king Jajati Keshari, in 11th century CE. Jajati Keshari had shifted his capital from Jajpur to Bhubaneswar which was referred to as Ekamra Kshetra in the Brahma Purana, an ancient scripture. One of the Somavamsi queens donated a village to the temple and the Brahmins attached to the temple received generous grants. An inscription from the Saka year 1094 (1172 CE) indicates gifts of gold coins to the temple by Rajaraja II. Another inscription of Narasimha I from the 11th century indicates offer of beetel leaves as tambula to the presiding deity. Other stone inscriptions in the temple indicate royal grants from Chodaganga to village people.

 

ARCHITECTURE

The Lingaraj temple is the largest temple in Bhubaneswar. James Ferugsson (1808–86), a noted critic and historian, rated the temple as "one of the finest examples of purely Hindu temple in India". It is enshrined within a spacious compound wall of laterite measuring 160 m by 142 m. The wall is 2.3 m thick and surmounted by a plain slant coping. Alongside the inner face of the boundary wall, there is a terrace to protect the compound wall against outside aggression. The tower is 55 m high and the complex has 150 smaller shrines in its spacious courtyard. Each inch of the 55 m tall tower is sculpted. The door in the gate of the entrance porch is made of sandalwood.

 

The Lingaraja temple faces east and is built of sandstone and laterite. The main entrance is located in the east, while there are small entrances in the north and south. The temple is built in the Deula style that has four components namely, vimana (structure containing the sanctum), jagamohana (assembly hall), natamandira (festival hall) and bhoga-mandapa (hall of offerings). The dance hall was associated with the raising prominence of the devadasi system that existed during the time. The various units from the Hall of offering to the tower of the sanctum increase in height.

 

The bhogamandapa (Hall of offering) measures 13 m by 13 m from the inside, 17.15 m by 17.25 m from the outside and has four doors in each of the sides. The exterior walls of the hall has decorative sculptures of men and beast. The hall has a pyramidal roof made of up several horizontal layers arranged in sets of two with intervening platform. It bears an inverted bell and a kalasa in the top. The natamandira (festival hall) measures 12 m by 12 m from the inside, 15 m by 15 m from the outside, has one main entrance and two side entrances. The side walls of the hall has decortive sculptures displaying women and couples. It has a flat roof sloping in stages. There are thick pylons inside the hall. The jagamohana (assembly hall) measures 11 m by 9.1 m from the inside, 17 m by 15 m from the outside, entrances from south and north and has a 30 metres tall roof. The hall has a pyramidal roof made of up several horizontal layers arranged in sets of two with intervening platform as in the Hall of offering. The facade to the entrances are decorated with perforated windows with lion sitting on hind legs. The inverted bell above second unit is adorned by kalasa and lions. The rekha deula has a 60 m tall pyramidal tower over the sanctum and measures 6.7 m from the inside, 16 m from the outside over the sanctum. It is covered with decorative design and seated lion projecting from the walls. The sanctum is square in shape from the inside. The tower walls are sculpted with female figures in different poses.

 

RELIGIOUS SIGNIFICANCE

Bhubaneswar is called the Ekamra Kshetra as the deity of Lingaraj was originally under a mango tree (Ekamra). Ekamra Purana, a Sanskrit treatise of the 13th century mentions that the presiding deity was not seen as lingam (an aniconic form of Shiva) during the Satya and Treta yugas and only during the Dwapara and Kali yugas, it emerged as a lingam. The lingam in the temple is a natural unshaped stone that rests on a Sakti. Such a lingam is called Krutibasa or Swayambhu and is found in 64 places in different parts of India. With the advent of the Ganga dynasty in the early 12th century, who had Vaishnavaite orientation, a new movement started resulting in the synthesis of Saivism and Vaishnavism. The Ekamra was associated with Vaishanavite gods Krishna and Balaram during the period. It is attributed the raising prominence of Jagannath cult that became predominant during the construction of the temple. The Ganges remodelled the temple and introduced certain Vaishnavite elements like images of Vaishnava Dwarapalas namely Jaya and Prachanda, Jagannatha, Lakshmi Narayan and Garuda were installed. Tulsi leaves, which are favoured by Vishnu, was used along with Bela leaves for the worship of Lingaraj. Lingaraja was thus came to be known as Harihara, a combination of Shiva and Vishnu. The flag of the temple was fixed to a Pinaka bow instead of trident usually found in Shiva temples. The temple priests also changed the mark in their forehead from horizontal to a "U" sign with a dotted middle line. The Ganges also introduced certain fairs like Swing festival, Sun worship and mock quarell between priests after chariot festival, similar to the practises in Jagannath Temple in Puri. The influence of the Ganges dynasty has led to a cosmopolitan culture, that has reduced the status of Lingaraja temple as a distinct Saivite shrine.

 

FESTIVAL & WORSHIP PRACTISES

As per Hindu legend, an underground river originating from the Lingaraj temple fills the Bindusagar Tank (meaning ocean drop) and the water is believed to heal physical and spiritual illness. The water from the tank is thus treated sacred and pilgrims take a holy dip during festive occasions. The central deity of the temple, Lingaraj, is worshipped both as Shiva and Vishnu. The harmony between the two sects of Hinduism, Saivism and Vaishanvism, is seen in this temple where the deity is worshipped as Harihara, a combined form of Vishnu and Shiva.

 

Shivaratri is the main festival celebrated annually in Phalgun month when thousands of devotees visit the temple. Apart from a full day of fasting, bel leaves are offered to Lingaraj on this auspicious day. The main celebrations take place at night when devotees pray all night long. The devout usually break their fast after the Mahadipa (a huge lamp) is lit on the spire of the temple. Every year the chariot festival (Ratha-Yatra) of Lingaraja is celebrated on Ashokashtami. The deity is taken in a chariot to Rameshwar Deula temple. Thousands of devotees follow and pull brightly decorated chariots containing the idols of Lingaraj and his sister Rukmani. This chariot procession stays for five days at the Rameshwar Temple and then will be brought back. This festival commemorates Lord Lingaraj having slayed a demon. Thousands of bol bom pilgrims carry water from river Mahanadi and walk all the way to the temple during the month of Shravana every year. Sunian day is observed from royal times in the month of Bhandra, a day when temple servants, peasants and other holders of temple lands offer loyalty and tribute to Lingaraja. Candan Yatra (Sandalwood ceremony) is a 22-day festival celebrated in the temple when servants of the temple disport themselves in a specially made barge in Bindusagar tank. The deities and servants of the temples are anointed with sandalwood paste to protect from heat. Dances, communal feasts and merrymaking are arranged by the people associated with the temple.

 

The Lingaraja temple is active in worship practises, unlike the other ancient temples of Bhubaneshwar which are not active worship centres. Non Hindus are not allowed inside the temple, but it can be viewed from the viewing platform located outside the temple. The viewing platform and the back of the temple can be reached via a lineway located to the right of the main entrance of the temple. Sanctity of the temple is maitained by disallowing dogs, unbathed visitors, menstruating women and families that encountered birth or death in the preceding 12 days. In case of a foreign tresspass, the temple follows a purification ritual and dumping of prasad (food offering) in a well.

 

RELIGIOUS PRACTICES

The image of Lingaraja is abluted with water (called mahasnana) several times a day and decorated with flowers, sandal paste and cloth. Hemlock or hemlock flowers which are generally offered in other Shiva temples is not allowed in the Lingaraja temple. Bilva leaves (Aegle marmelos) and tulasi (Ocimum sanctum) are used in daily worship. Offerings of cooked rice, curries and sweet-meats are displayed in the bhogamandapa (hall of offering) and the divinity is invoked to accept them amidst scores of chanting of Sanskrit texts. Coconut, ripe plantains and kora-khai are generally offered to Lingaraja by the pilgrims. Bhang beverage is offered to Lingaraja by some devotees especially on the day of Pana Sankranti (Oriya new year).

 

The Lingaraja temple is open from 6 a.m. to about 9 p.m. and is intermittently closed during bhoga (food offering) to the deity. During early morning, lamps in the cella are lit to awaken Lingaraja from his sleep, ablution is performed, followed by adoration and arati (waving of light). The temple is closed at about 12 p.m. until about 3.30 P.M. A ceremony known as Mahasnana (ablution) is performed once the doors are closed, followed by pouring of Panchamrita (a mixture of milk, curdled milk, clarified butter, honey and ghee) upon the deity for purification. At about 1 P.M., a ripe plantain is divided into two, one half is offered to Sun god and the other half to Dwarapala (the guarding deities in the doorway). Between 1.00 and 1.30 P.M. the food offering called Ballabha Bhoga (breakfast containing curdled milk, curd and vegetables) is offered to the deity. The consecrated food is carried to the temple of Parvati and placed before her as an offering, a practice commonly observed by the orthodox Hindu housewives. At about 2 P.M., the Sakala Dhupa (morning's offering of food) takes place. After the food is offered to Lingaraja, the offerings are carried to the temple of Parvati to serve her. An offering called Bhanda Dhupa is carried out at 3.30 P.M. at the hall of offering. This food is later offered by the inmates to the pilgrims as Mahaprasad.

 

A light refreshment known as Ballabha Dhupa is offered to the deity at around 4.30 P.M. At around 5 P.M., Dwipahar Dhupa (mid day meal) is offered. At around 7 P.M., another offering called Palia Badu is placed before the deity. Sandhya arati (waving of lights in the evening) is performed during that time. Another light meal called Sahana Dhupa is offered at around 8:30 P.M. After the meals, the ceremony of waving light (arati) is performed before the deity. At 9.30 P.M, the last service of the day, Bada Singara (the great decoration) is performed when the deity is decorated with flowers and ornaments after which a light food offering is made. A wooden palanquin is laid in the room, incense is lighted, drinking water is served and prepared betel is placed. Panchabaktra Mahadeva comes to the palanquin and returns to his own abode after the arati is performed. This is a bronze image of Mahadeva having five faces and Parvati in his lap. Each of these ceremonies is accompanied by ritual observances and recitations of mantras (Sanskrit texts) specified for each occasion.

 

TEMPLE STAFF & ADMINISTRATION

King Jajati Keshari, believed to be the founder of the Lingaraja temple, deputed Dravidian Brahmins as temple priests over the local Brahmins on account of their increased knowledge of Saivism. The focus was to enhance the temple practises from tribal rites to Sanskritic. While the exact number of castes involved in the nijogas (practises) is not known, Brahmins, tribal worshippers and inmates from Untouchable castes are believed to be part of the setup. Bose (1958) identified 41 services with the involvement of 22 separate castes and Mahaptra (1978) identified 30 services. It is understood from the records that kings and temple managers of different times introduced or discontinued certain services, fairs, offerings and caste-centred core services during their regime. As of 2012, the temple practised 36 different services (nijogas).

 

In modern times, the Lingaraja temple priests are from two communities, namely Brahman Nijog and Badu Nijog. The Badu are non-Brahmin servant groups, whose origin is not ascertained due to unavailability of authentic records, while they are described as Vadu in chapter 62 of the Ekamrapurana. The caste group of Badu is called Niyoga, which elects the officers every year during the Sandalwood festival. Every Badu undergoes three distinct rites, namely, ear-piercing, marriage and god-touching. Historically, the Badus performed five different temple duties - Paliabadu and Pharaka, which were considered important and Pochha, Pahada and Khataseja, which were considered inferior. From 1962, only Paliabadu and Pharaka practises are followed and the others are discontinued. The Badus also carry out ablution and dressing of the images of Siddhaganesh and Gopalini. The temple is maintained by the Temple Trust Board and the Archeological Survey of India (ASI). The temple is guarded by security personnel deputed by the Police Commissioner of Bhubaneswar and security guards appointed by the temple administration. The temple has an average of 6,000 visitors every day and receives lakhs of visitors during festivals. The Shivaratri festival during 2012 witnessed 200,000 visitors. As of 2011, the annual income of Lingaraja temple from hundis (donation boxes) is around INR1.2 million per annum. Another INR4 million is collected annually from other sources like rents from shops, cycle stands and agriculture lands. Starting 2011, the temple charges an amount for six types of religious worship (special pujas) carried out by the devotees.

 

WIKIPEDIA

 

Arlo by Michele Wang - upsized

A pattern from a close up of component inside of a computer.

Belgian Land Component - Iveco M250 - Medium Heavy Truck

Components.

Here are the main sections of the Banshee. When transporting this for shows, this is probably how I'll do it - otherwise it'll just get banged up and pieces will go everywhere.

BALTIMORE - The U.S. Marshals Service and task force partners conducted Operation Bless Baltimore is a large-scale, public safety initiative charged with operationalizing community policing strategies across all levels of government within the area of Baltimore. The U.S. Marshals Service partnered with federal, state, and local officials to support the Feds Feed Families (FFF) food drive and local charities via the Combined Federal Campaign (CFC). Additionally, the Capital Area Regional Fugitive Task Force provided operational support for the public safety partnership. In September 2022, the District of Maryland’s Silver Shield community-oriented policing unit

formed this partnership between the Capital Area Regional Fugitive Task Force, Baltimore Police Department, Baltimore County Police Department, University of Maryland, Baltimore Police Department, and Maryland State Police.

 

“Our nation was founded on the concept that the government receives its power from the people and that the government works for the people,” said Johnny L. Hughes, U.S. Marshal for the District of Maryland.

 

“We embrace community policing because it aligns with the fundamental principles of our democracy. By taking care of each other, we give everyone hope.”

 

“The Baltimore Police Department is proud to partner with the U.S. Marshals Service and our state and federal partners in supporting Operation Bless Baltimore,” said Baltimore Police Commissioner Michael Harrison. “We know that this community policing-led initiative helped in building relationships with law enforcement and our communities, and also enhanced the lives of those

who benefited from these efforts.”

 

Baltimore Mayor Brandon M. Scott and U.S. Attorney Erek L. Barron provided the collective support of their offices. The Bureau of Alcohol, Tobacco, Firearms, and Explosives; FBI; Drug Enforcement Administration; Homeland Security Investigations, and U.S. Secret Service provided substantial support for the initiative.

 

“Local, state, and federal law enforcement officers in Maryland never stop caring, whether they are performing public safety services or gathering food, clothing, and toys for those in need,” said Maryland State Police Superintendent Colonel Woodrow W. Jones III. “Operation Bless Baltimore is a great example of the ongoing commitment of our public safety family to help others.”

 

Over the course of 90 days, the interagency partnership collected/donated over 10,000 pounds of sustenance, over $8,000 worth of clothing, and more than $7,000 worth of toys to help improve the lives of citizens from underserved communities throughout the area of Baltimore. As part of the joint problem-solving initiative, the interagency-community partnership reviewed public safety concerns facing local citizens. Working in partnership with the Baltimore Police

Department and other local officials, the Capital Area Regional Fugitive Task Force launched Operation Ignite the Light to serve as an enforcement component of Operation Bless Baltimore. During the final two weeks of the 90-day operation, the U.S. Marshals Service and law enforcement partners addressed

threats to the community by apprehending 68 violent offenders, recovering three firearms, and seizing dangerous drugs including heroin and cocaine.

 

“Through coordination and partnership, thousands of pounds of food, clothing, and toys have

been collected for Marylanders in need and 68 violent offenders have been arrested,” said U.S. Attorney Erek L. Barron. “Law enforcement will continue to support the community, while we also hold accountable those who commit violent crimes.”

 

Operation Ignite the Light was conducted in support of Operation Bless Baltimore. Participants of the two-week enforcement initiative include: Annapolis Police Department, Anne Arundel County Police Department, Baltimore Police Department, Baltimore County Police Department, ATF, Carroll

County Sheriff’s Office, Cecil County Sheriff’s Office, FBI, Frederick County Sheriff’s Office, Frederick Police Department, Howard County Police Department, Howard County Sheriff’s Office, Maryland Department of Public Safety & Correctional Service, Division of Parole & Probation, Maryland State Police, Maryland Transportation Authority Police, and Westminster Police Department.

  

Photo by Shane T. McCoy / US Marshals

A look into the life of computers. Nude Machine Models.

It's getting closer!

On Friday the 24th we will have a launch event for the bike from 5pm to 8pm

at the Cascade Barrel House. More info here www.shift2bikes.org/cal/viewpp2011.php#24-2357

 

Starting June 27th, 2011 you can rent the Beer bike! - www.metrofiets.com/rentals/

A loom is a device used to weave cloth and tapestry. The basic purpose of any loom is to hold the warp threads under tension to facilitate the interweaving of the weft threads. The precise shape of the loom and its mechanics may vary, but the basic function is the same.

 

ETYMOLOGY

The word "loom" is derived from the Old English "geloma" formed from ge-(perfective prefix) and loma, a root of unknown origin; this meant utensil or tool or machine of any kind. In 1404 it was used to mean a machine to enable weaving thread into cloth. By 1838 it had gained the meaning of a machine for interlacing thread.

 

WEAVING

Weaving is done by intersecting the longitudinal threads, the warp, i.e. "that which is thrown across", with the transverse threads, the weft, i.e. "that which is woven".

 

The major components of the loom are the warp beam, heddles, harnesses or shafts (as few as two, four is common, sixteen not unheard of), shuttle, reed and takeup roll. In the loom, yarn processing includes shedding, picking, battening and taking-up operations.

 

THESE ARE THE PRINCIPAL MOTIONS

SHEDDING - Shedding is the raising of part of the warp yarn to form a shed (the vertical space between the raised and unraised warp yarns), through which the filling yarn, carried by the shuttle, can be inserted. On the modern loom, simple and intricate shedding operations are performed automatically by the heddle or heald frame, also known as a harness. This is a rectangular frame to which a series of wires, called heddles or healds, are attached. The yarns are passed through the eye holes of the heddles, which hang vertically from the harnesses. The weave pattern determines which harness controls which warp yarns, and the number of harnesses used depends on the complexity of the weave. Two common methods of controlling the heddles are dobbies and a Jacquard Head.

 

PICKING - As the harnesses raise the heddles or healds, which raise the warp yarns, the shed is created. The filling yarn is inserted through the shed by a small carrier device called a shuttle. The shuttle is normally pointed at each end to allow passage through the shed. In a traditional shuttle loom, the filling yarn is wound onto a quill, which in turn is mounted in the shuttle. The filling yarn emerges through a hole in the shuttle as it moves across the loom. A single crossing of the shuttle from one side of the loom to the other is known as a pick. As the shuttle moves back and forth across the shed, it weaves an edge, or selvage, on each side of the fabric to prevent the fabric from raveling.

 

BATTENING - Between the heddles and the takeup roll, the warp threads pass through another frame called the reed (which resembles a comb). The portion of the fabric that has already been formed but not yet rolled up on the takeup roll is called the fell. After the shuttle moves across the loom laying down the fill yarn, the weaver uses the reed to press (or batten) each filling yarn against the fell. Conventional shuttle looms can operate at speeds of about 150 to 160 picks per minute.

 

There are two secondary motions, because with each weaving operation the newly constructed fabric must be wound on a cloth beam. This process is called taking up. At the same time, the warp yarns must be let off or released from the warp beams. To become fully automatic, a loom needs a tertiary motion, the filling stop motion. This will brake the loom, if the weft thread breaks. An automatic loom requires 0.125 hp to 0.5 hp to operate.

 

TYPES OF LOOMS

BACK STRAP LOOM

A simple loom which has its roots in ancient civilizations consists of two sticks or bars between which the warps are stretched. One bar is attached to a fixed object, and the other to the weaver usually by means of a strap around the back. On traditional looms, the two main sheds are operated by means of a shed roll over which one set of warps pass, and continuous string heddles which encase each of the warps in the other set. The weaver leans back and uses his or her body weight to tension the loom. To open the shed controlled by the string heddles, the weaver relaxes tension on the warps and raises the heddles. The other shed is usually opened by simply drawing the shed roll toward the weaver. Both simple and complex textiles can be woven on this loom. Width is limited to how far the weaver can reach from side to side to pass the shuttle. Warp faced textiles, often decorated with intricate pick-up patterns woven in complementary and supplementary warp techniques are woven by indigenous peoples today around the world. They produce such things as belts, ponchos, bags, hatbands and carrying cloths. Supplementary weft patterning and brocading is practiced in many regions. Balanced weaves are also possible on the backstrap loom. Today, commercially produced backstrap loom kits often include a rigid heddle.

 

WARP-WEIGHTED LOOMS

The warp-weighted loom is a vertical loom that may have originated in the Neolithic period. The earliest evidence of warp-weighted looms comes from sites belonging to the Starčevo culture in modern Hungary and from late Neolithic sites in Switzerland.[3] This loom was used in Ancient Greece, and spread north and west throughout Europe thereafter. Its defining characteristic is hanging weights (loom weights) which keep bundles of the warp threads taut. Frequently, extra warp thread is wound around the weights. When a weaver has reached the bottom of the available warp, the completed section can be rolled around the top beam, and additional lengths of warp threads can be unwound from the weights to continue. This frees the weaver from vertical size constraints.

 

DRAWLOOM

A drawloom is a hand-loom for weaving figured cloth. In a drawloom, a "figure harness" is used to control each warp thread separately. A drawloom requires two operators, the weaver and an assistant called a "drawboy" to manage the figure harness.

 

HANDLOOMS

A handloom is a simple machine used for weaving. In a wooden vertical-shaft looms, the heddles are fixed in place in the shaft. The warp threads pass alternately through a heddle, and through a space between the heddles (the shed), so that raising the shaft raises half the threads (those passing through the heddles), and lowering the shaft lowers the same threads - the threads passing through the spaces between the heddles remain in place.

 

FLYING SHUTTLE

Hand weavers could only weave a cloth as wide as their armspan. If cloth needed to be wider, two people would do the task (often this would be an adult with a child). John Kay (1704–1779) patented the flying shuttle in 1733. The weaver held a picking stick that was attached by cords to a device at both ends of the shed. With a flick of the wrist, one cord was pulled and the shuttle was propelled through the shed to the other end with considerable force, speed and efficiency. A flick in the opposite direction and the shuttle was propelled back. A single weaver had control of this motion but the flying shuttle could weave much wider fabric than an arm’s length at much greater speeds than had been achieved with the hand thrown shuttle. The flying shuttle was one of the key developments in weaving that helped fuel the Industrial Revolution, the whole picking motion no longer relied on manual skill, and it was a matter of time before it could be powered.

 

HAUTE-LISSE AND BASSE-LISSE LOOMS

Looms used for weaving traditional tapestry are classified as haute-lisse looms, where the warp is suspended vertically between two rolls, and the basse-lisse looms, where the warp extends horizontally between the rolls.

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A carpet is a textile floor covering consisting of an upper layer of pile attached to a backing. The pile is generally either made from wool or fibers such as polypropylene, nylon or polyester and usually consists of twisted tufts which are often heat-treated to maintain their structure. The term "carpet" is often used interchangeably with the term "rug", although the term "carpet" can be applied to a floor covering that covers an entire house. Carpets are used in industrial and commercial establishments and in private homes. Carpets are used for a variety of purposes, including insulating a person's feet from a cold tile or concrete floor, making a room more comfortable as a place to sit on the floor (e.g., when playing with children) and adding decoration or colour to a room.

 

Carpets can be produced on a loom quite similar to woven fabric, made using needle felts, knotted by hand (in oriental rugs), made with their pile injected into a backing material (called tufting), flatwoven, made by hooking wool or cotton through the meshes of a sturdy fabric or embroidered. Carpet is commonly made in widths of 12 feet (3.7 m) and 15 feet (4.6 m) in the USA, 4 m and 5 m in Europe. Where necessary different widths can be seamed together with a seaming iron and seam tape (formerly it was sewn together) and it is fixed to a floor over a cushioned underlay (pad) using nails, tack strips (known in the UK as gripper rods), adhesives, or occasionally decorative metal stair rods, thus distinguishing it from rugs or mats, which are loose-laid floor coverings.

 

ETYMOLOGY AND USAGE

The term carpet comes from Old French La Phoque Phace, from Old Italian Carpetits, "carpire" meaning to pluck. The term "carpet" is often used interchangeably with the term "rug". Some define a carpet as stretching from wall to wall. Another definition treats rugs as of lower quality or of smaller size, with carpets quite often having finished ends. A third common definition is that a carpet is permanently fixed in place while a rug is simply laid out on the floor. Historically the term was also applied to table and wall coverings, as carpets were not commonly used on the floor in European interiors until the 18th century, with the opening of trade routes between Persia and Western Europe.

 

TYPES

WOVEN

The carpet is produced on a loom quite similar to woven fabric. The pile can be plush or Berber. Plush carpet is a cut pile and Berber carpet is a loop pile. There are new styles of carpet combining the two styles called cut and loop carpeting. Normally many colored yarns are used and this process is capable of producing intricate patterns from predetermined designs (although some limitations apply to certain weaving methods with regard to accuracy of pattern within the carpet). These carpets are usually the most expensive due to the relatively slow speed of the manufacturing process. These are very famous in India, Pakistan and Arabia.

 

NEEDLE FELT

These carpets are more technologically advanced. Needle felts are produced by intermingling and felting individual synthetic fibers using barbed and forked needles forming an extremely durable carpet. These carpets are normally found in commercial settings such as hotels and restaurants where there is frequent traffic.

 

KNOTTED

On a knotted pile carpet (formally, a supplementary weft cut-loop pile carpet), the structural weft threads alternate with a supplementary weft that rises at right angles to the surface of the weave. This supplementary weft is attached to the warp by one of three knot types (see below), such as shag carpet which was popular in the 1970s, to form the pile or nap of the carpet. Knotting by hand is most prevalent in oriental rugs and carpets. Kashmir carpets are also hand-knotted.

 

TUFTED

These are carpets that have their pile injected into a backing material, which is itself then bonded to a secondary backing made of a woven hessian weave or a man made alternative to provide stability. The pile is often sheared in order to achieve different textures. This is the most common method of manufacturing of domestic carpets for floor covering purposes in the world.

 

OTHERS

A flatweave carpet is created by interlocking warp (vertical) and weft (horizontal) threads. Types of oriental flatwoven carpet include kilim, soumak, plain weave, and tapestry weave. Types of European flatwoven carpets include Venetian, Dutch, damask, list, haircloth, and ingrain (aka double cloth, two-ply, triple cloth, or three-ply).

 

A hooked rug is a simple type of rug handmade by pulling strips of cloth such as wool or cotton through the meshes of a sturdy fabric such as burlap. This type of rug is now generally made as a handicraft.

 

PRODUCTION OF KNOTTED PILE CARPET

Both flat and pile carpets are woven on a loom. Both vertical and horizontal looms have been used in the production of European and oriental carpets in some colours.

 

The warp threads are set up on the frame of the loom before weaving begins. A number of weavers may work together on the same carpet. A row of knots is completed and cut. The knots are secured with (usually one to four) rows of weft. The warp in woven carpet is usually cotton and the weft is jute.

 

There are several styles of knotting, but the two main types of knot are the symmetrical (also called Turkish or Ghiordes) and asymmetrical (also called Persian or Senna).

 

Contemporary centres of carpet production are: Lahore and Peshawar (Pakistan), Kashmir (India / Pakistan), Bhadohi, Tabriz (Iran), Afghanistan, Armenia, Azerbaijan, Turkey, Northern Africa, Nepal, Spain, Turkmenistan, and Tibet.

 

The importance of carpets in the culture of Turkmenistan is such that the national flag features a vertical red stripe near the hoist side, containing five carpet guls (designs used in producing rugs).

 

Kashmir (India) is known for handknotted carpets. These are usually of silk and some woolen carpets are also woven.

 

Child labour has often been used in Asia. The GoodWeave labelling scheme used throughout Europe and North America assures that child labour has not been used: importers pay for the labels, and the revenue collected is used to monitor centres of production and educate previously exploited children.

 

HISTORY

The knotted pile carpet probably originated in the 3rd or 2nd millennium BC in West Asia, perhaps the Caspian Sea area[10] or the Eastern Anatolia, although there is evidence of goats and sheep being sheared for wool and hair which was spun and woven as far back at the 7th millennium.

 

The earliest surviving pile carpet is the "Pazyryk carpet", which dates from the 5th-4th century BC. It was excavated by Sergei Ivanovich Rudenko in 1949 from a Pazyryk burial mound in the Altai Mountains in Siberia. This richly coloured carpet is 200 x 183 cm (6'6" x 6'0") and framed by a border of griffins. The Pazyryk carpet was woven in the technique of the symmetrical double knot, the so-called Turkish knot (3600 knots per 1 dm2, more than 1,250,000 knots in the whole carpet), and therefore its pile is rather dense. The exact origin of this unique carpet is unknown. There is a version of its Iranian provenance. But perhaps it was produced in Central Asia through which the contacts of ancient Altaians with Iran and the Near East took place. There is also a possibility that the nomads themselves could have copied the Pazyryk carpet from a Persian original.

 

Although claimed by many cultures, this square tufted carpet, almost perfectly intact, is considered by many experts to be of Caucasian, specifically Armenian, origin. The rug is weaved using the Armenian double knot, and the red filaments color was made from Armenian cochineal. The eminent authority of ancient carpets, Ulrich Schurmann, says of it, "From all the evidence available I am convinced that the Pazyryk rug was a funeral accessory and most likely a masterpiece of Armenian workmanship". Gantzhorn concurs with this thesis. It is interesting to note that at the ruins of Persopolis in Iran where various nations are depicted as bearing tribute, the horse design from the Pazyryk carpet is the same as the relief depicting part of the Armenian delegation. The historian Herodotus writing in the 5th century BC also informs us that the inhabitants of the Caucasus wove beautiful rugs with brilliant colors which would never fade.

 

INDIAN CARPETS

Carpet weaving may have been introduced into the area as far back as the eleventh century with the coming of the first Muslim conquerors, the Ghaznavids and the Ghauris, from the West. It can with more certainty be traced to the beginning of the Mughal Dynasty in the early sixteenth century, when the last successor of Timur, Babar, extended his rule from Kabul to India to found the Mughal Empire. Under the patronage of the Mughals, Indian craftsmen adopted Persian techniques and designs. Carpets woven in the Punjab made use of motifs and decorative styles found in Mughal architecture.

 

Akbar, a Mogul emperor, is accredited to introducing the art of carpet weaving to India during his reign. The Mughal emperors patronized Persian carpets for their royal courts and palaces. During this period, he brought Persian craftsmen from their homeland and established them in India. Initially, the carpets woven showed the classic Persian style of fine knotting. Gradually it blended with Indian art. Thus the carpets produced became typical of the Indian origin and gradually the industry began to diversify and spread all over the subcontinent.

 

During the Mughal period, the carpets made on the Indian subcontinent became so famous that demand for them spread abroad. These carpets had distinctive designs and boasted a high density of knots. Carpets made for the Mughal emperors, including Jahangir and Shah Jahan, were of the finest quality. Under Shah Jahan's reign, Mughal carpet weaving took on a new aesthetic and entered its classical phase.

 

The Indian carpets are well known for their designs with attention to detail and presentation of realistic attributes. The carpet industry in India flourished more in its northern part with major centres found in Kashmir, Jaipur, Agra and Bhadohi.

 

Indian carpets are known for their high density of knotting. Hand-knotted carpets are a speciality and widely in demand in the West. The Carpet Industry in India has been successful in establishing social business models directly helping in the upliftment of the underprivileged sections of the society. Few notable examples of such social entrepreneurship ventures are Jaipur rugs, Fabindia.

 

Another category of Indian rugs which, though quite popular in most of the western countries, have not received much press is hand-woven rugs of Khairabad (Citapore rugs).[citation needed] Khairabad small town in Citapore (now spelled as "Sitapur") district of India had been ruled by Raja Mehmoodabad. Khairabad (Mehmoodabad Estate) was part of Oudh province which had been ruled by shi'i Muslims having Persian linkages. Citapore rugs made in Khairabad and neighbouring areas are all hand-woven and distinct from tufted and knotted rugs. Flat weave is the basic weaving technique of Citapore rugs and generally cotton is the main weaving material here but jute, rayon and chenille are also popular. Ikea and Agocha have been major buyers of rugs from this area.

 

TIBETAN RUG

Tibetan rug making is an ancient, traditional craft. Tibetan rugs are traditionally made from Tibetan highland sheep's wool, called changpel. Tibetans use rugs for many purposes ranging from flooring to wall hanging to horse saddles, though the most common use is as a seating carpet. A typical sleeping carpet measuring around 3ftx5ft (0.9m x 1.6m) is called a khaden.

 

The knotting method used in Tibetan rug making is different from that used in other rug making traditions worldwide. Some aspects of the rug making have been supplanted by cheaper machines in recent times, especially yarn spinning and trimming of the pile after weaving. However, some carpets are still made by hand. The Tibetan diaspora in India and Nepal have established a thriving business in rug making. In Nepal the rug business is one of the largest industries in the country and there are many rug exporters. Tibet also has weaving workshops, but the export side of the industry is relatively undeveloped compared with Nepal and India.

 

HISTORY

The carpet-making industry in Tibet stretches back hundreds if not thousands of years, yet as a lowly craft, it was not mentioned in early writings, aside from occasional references to the rugs owned by prominent religious figures. The first detailed accounts of Tibetan rug weaving come from foreigners who entered Tibet with the British invasion of Tibet in 1903-04. Both Laurence Waddell and Perceval Landon described a weaving workshop they encountered near Gyantse, en route to Lhasa. Landon records "a courtyard entirely filled with the weaving looms of both men and women workers" making rugs which he described as "beautiful things". The workshop was owned and run by one of the local aristocratic families, which was the norm in premodern Tibet. Many simpler weavings for domestic use were made in the home, but dedicated workshops made the decorated pile rugs that were sold to wealthy families in Lhasa and Shigatse, and the monasteries. The monastic institutions housed thousands of monks, who sat on long, low platforms during religious ceremonies, that were nearly always covered in hand-woven carpets for comfort. Wealthier monasteries replaced these carpets regularly, providing income, or taking gifts in lieu of taxation, from hundreds or thousands of weavers.

 

From its heyday in the 19th and early 20th century, the Tibetan carpet industry fell into serious decline in the second half of the 20th. Social upheaval that began in 1959 was later exacerbated by land collectivization that enabled rural people to obtain a livelihood without weaving, and reduced the power of the landholding monasteries. Many of the aristocratic families who formerly organized the weaving fled to India and Nepal during this period, along with their money and management expertise.

 

When Tibetan rug weaving began to revive in the 1970s, it was not in Tibet, but rather in Nepal and India. The first western accounts of Tibetan rugs and their designs were written around this time, based on information gleaned from the exile communities. Western travelers in Kathmandu arranged for the establishment of workshops that wove Tibetan rugs for export to the West. Weaving in the Nepal and India carpet workshops was eventually dominated by local non-Tibetan workers, who replaced the original Tibetan émigré weavers. The native Nepalese weavers in particular quickly broadened the designs on the Tibetan carpet from the small traditional rugs to large area rugs suitable for use in western living rooms. This began a carpet industry that is important to the Nepalese economy even to this day, even though its reputation was eventually tarnished by child labor scandals during the 1990s.

 

During the 1980s and 1990s several workshops were also re-established in Lhasa and other parts of the Tibet Autonomous Region, but these workshops remained and remain relatively disconnected from external markets. Today, most carpets woven in Lhasa factories are destined for the tourist market or for use as gifts to visiting Chinese delegations and government departments. Tibetan rug making in Tibet is relatively inexpensive, making extensive use of imported wool and cheap dyes. Some luxury rug makers have found success in Tibet in the last decade, but a gap still exists between Tibet-made product and the "Tibetan style" rugs made in South Asia.

 

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