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HPD pupils are developing concept models as part of their Developing Design Proposals Unit. As usual lighting remains a popular choice. Pupils are also developing proposals on themes as diverse as seating, kitchen utensils and sportswear equipment.
Good to see evidencs of great strides being made in quich modeling techniques using materials like plasticine, copper wire, plywood and foam. The glue gun gets a lot of use at the moment as does the bandsaw and fretsaw.
Fortunately, Cathy, our cleaner has been very understanding. The mess at times you would not believe!
Good work everybody. Have a great Christmas break, get some rest. You'll need all your energy for the new year!
Developed by Fritz B. Burns Research Division for Housing
Architects: Walter Wurdeman and Welton Becket
Landscape Architects: Eckbo, Royston & Williams
Here's my first attempt at unfolding the sphere and an homage to this work of Seb Przd's, "Cut and fold..." I think I'm finally beginning to get this. This, too, can be printed out and folded together with no distortion (i.e., it's developable). Images output exclusively with Hugin and laid out with Photoshop (to add the pretty stroke and drop shadow).
For some reason, the final 3D object struck me as resembling a Pringles potato chip snack packs, hence the name.
[FYI: the shot is the lobby of my office. I haven't posted this pano yet. It's a 360°x180° view].
©2008 David C. Pearson, M.D.
Metcheck said 67 % cloud cover for sunrise , it also said rain would stop 30 minutes before sunrise BANG ON ME WEATHER MAN
It's better with a paraboly thing than a circle arc. For those of you keeping score at home, the top of the curve is one quarter of the height of its triangle.
PDF of the crease pattern.
Hey, Goran, I made this with you and copper in mind. (In my mind, there was a lot of verdigris, but that's kind of status quo.)
Developed with Gimp 2.10. This is a negative scan of 4x5 sheet film. I scanned it using this process youtu.be/oOKmjXIz2Uw
Church of St Bartholomew, Coffinswell Devon
The village seems to have developed as a settlement beside the springs (one perhaps a sacred well) where the lands of 2 agricultural Manors of that time met. - Tavistock Manor to the north east owned from Saxon times by the Abbey of Tavistock who leased the land to a succession of tenant gentry. The other on the north and west known as the Lay Manor as it never belonged to the Church. In 1086 Lay Manor was held by Radulph Paganel and the Exeter doomsday survey of this year places both Manors in "Willa / Wille".
c1155 with the advent of the third manor of Daccombe to the south east, a site for a church was chosen where all 3 manorial boundaries came together and in 1191 the name of the area is givenas Wille et Daccumbe. (Later Church records of 1193 name it Willa et Daggecumba and a deed of 1225 mentions de Welle de Dacum).
c 1230 the Coffyn family acquired Lay Manor and by 1282 the Manor was called Welle Coffyn.
A visitation of 1301 reported that the chapel had a good missal with musical notes, an old gradale, a good troparium and ordinale, a legenda and psalter, an old monastic antiphonale, a manuale and hymnale. A fairly good chalice, gilt inside. Two complete sets of vestments and two alb, nine altar cloths. a thurible, wooden chrismatory and a wooden pyx for the eucharist without a lock. Also 2 surplices and a rochet, a lenten veil. a processional cross, two cruets & 2 bells for the dead..
By 1326 it was clearly differentiated from the Tavistock Manor by is name of Coffinswille, and consisted of the village of Coffinswell and the hamlet of Daccombe.
The Norman font www.flickr.com/gp/52219527@N00/7iNSyHF4ZM survives from the original building of c 1159 which was an oblong thatched structure of stone or cob with a small south chapel to the east, with narrow unglazed Norman windows .
It now consists of a continuous nave & chancel (the waggon roof extending from the east end to the west), a north aisle divided from the nave by 4 arches supported on columns with carved capitals, a small transept, north porch, and west tower
The earliest part now is the 70ft red sandstone two stage tower, now dark roughcast, dating to c1220, its walls 2.0 metres thick and not quite square with the nave It has 6 bells; (two being of pre-Reformation date (Henry Vll) inscribed in Old English lettering:" Protege Virgo Pia quos Sancta Maria" (Protect us, Virgin Pious, Holy Mary;) ; two date from 1626 and 1637, and have the inscription: "Soli Deo detur gloria" (Glory is given to God alone;) ; the latter was recast in 1894 when a fifth bell was added with the inscription: Sit Deo gloria" (To God be the glory) .; the sixth bell was added in 1904.
Glass windows in the decorated style were inserted mid-14c when a small south transept was built . A three-light granite window in the south-west corner near the tower was added in the 15c
The north aisle erected late 15c with 14c style windows was also thatched and a broad trench around it caught the rain dropping off the thatch. The most westerly column dividing it from the nave has several coats of arms which refer to the Holbeame family and their connections (Scobahull, Leyton, and Gambon). This suggests that the aisle was erected by John Holbeame, a local gentleman who died in 1473.
The chancel altar was at St Mary church before 1855, one of the several copies made in wood of the high altar in Cologne cathedral. An older oak table altar with carved sides stood in the vestry but was removed in 1925 to the chapel of the retreat house at West Ogwell. The altar rails of oak are carved in the Gothic style. www.flickr.com/gp/52219527@N00/9t90prBH82
The vestry was built in 1820, blocking the west window of the north aisle. inside are preserved the old stocks, remarkable for the fact that the board with the holes for the feet is flat instead of upright, so that the prisoners would either have to stand in them, or sit in a very cramped position. The old parish chest with slits for coins and two iron clasps for double locking. is also kept here, and some pieces of lead with foot and hand marks on them. ( It is said at one time visitors to the roof used to amuse themselves by tracing the shape of their hands and feet on the lead covering, and when the rood was re-leaded these shapes were preserved). devonhistoricgraffiti.org.uk/coffinswell-st-bartholomew/
The vestry has recently been refurbished with the facilities of kitchenette and WC, allowing for concerts and communal events to take place here
A fine granite cross in the churchyard was found supporting a cattle shed in the village. www.flickr.com/gp/52219527@N00/7Upg0S0o53
The registers date: baptisms, 1560; marriages, 1560; burials, 1561.
Near the church is Court Barton, a manor house of partly 16c date; the southern part of which was used as a court house by Torre Abbey. There are many traditional cob and thatch cottages of which 29 are listed.
Picture with thanks - copyright historicengland.org.uk/listing/the-list/list-entry/1164557
1938 Talbot-Lago T150-C SS Teardrop Coupe by Figoni et Falaschi
$7,265,000 USD | Sold
From Sotheby's:
“The Talbot-Lago Teardrop Coupe represents what may be one of the finest examples of assembled form ever applied to the automobile.”
Strother MacMinn, Automotive Designer and Writer
Having assumed control of Automobiles Talbot S.A in 1933, and subsequently purchased the historic name from the receivers in 1936, ambitious Anglo-Italian engineer Anthony Lago set about revitalizing the beleaguered company with a range of new cars designed by former Fiat and Sunbeam-Talbot-Darracq engineer Walter Becchia. In the context of the period—one dominated by the fallout from the Great Depression—cost control would be critical and, although the company offered more than a dozen models over the next four years, many shared common parts such that only four different chassis designs were used during this time.
Amongst his myriad briefs, Becchia was tasked with developing a competition version of the company’s 3-liter six-cylinder T150 engine, as Lago had identified motorsport as an area critical to the company’s future success. A comprehensive redesign saw the newly enlarged 4-liter engine modified with hemispherical combustion chambers and three Zenith-Stomberg carburetors; its generous 104.5-millimeter stroke afforded copious torque at modest revs, rendering it ideally suited to competitive use.
However, Lago understood that future racing success would require far more than mere horsepower. To this end, he instructed Becchia, in conjunction with fellow Fiat alumnus Vincenzo Bertarione, to construct a commensurate chassis. The new T150-C frame—the “C” denoting “Corse”—was of a conventional ladder type, with box section side spars joined by tubular cross-members. The short-chassis Super Sports, or “SS,” variant boasted a wheelbase of 104 inches and featured independent front suspension via a combination of top links and a transversely mounted leaf spring, while at the rear an underslung live axle was employed. Further modifications specific to the model included a large-capacity oil pan, while the fitment of a Wilson pre-selector gearbox ensured quick and dependable gear changes.
Four T150-C SS Roadsters were constructed for the 1936 season, although it was not until the following year that they achieved the results they deserved: a magnificent 1-2-3-5 in the Sports Car-only French Grand Prix and a commanding win in the RAC Tourist Trophy at Donington Park were notable highlights.
ENTER FIGONI ET FALASCHI
Lago had, by this time, been introduced to celebrated coachbuilder Giuseppe Figoni by Luigi Chinetti, a mutual friend and then Talbot-Lago’s Parisian agent. Italian by birth, Figoni had emigrated to Paris as a young boy, subsequently establishing his fabled coachworks in nearby Boulogne-sur-Seine. It was there that he built up a strong bond with Chinetti; the latter employed him to modify the bodywork of the long-chassis Alfa Romeo 8C 2300s with which he would emerge victorious at Le Mans in 1932 and 1934.
Figoni had been commissioned by Lago to construct the bodies of some, if not all, of the T150-C SS Roadsters; their aerodynamic cycle-type wings bore a strikingly similar appearance and construction to those fitted to Chinetti’s Alfa 8Cs. Mindful of the seemingly limitless styling opportunities offered by the distinctly en vogue Art Deco movement, Lago discussed with Figoni the possibility of fitting a number of his chassis with suitably extravagant coupe bodies constructed by the now re-named Figoni et Falaschi coachworks. Such was Figoni’s enthusiasm for the idea that both parties embarked upon an exclusive arrangement to work together in 1937, and no less than 16 such coupes were constructed over the next two years.
An initial batch of five cars, retrospectively termed “Jeancart” coupes in deference to the purchaser of the first such example, was constructed using a combination of T-150-C and T23 chassis. Featuring trademark Figoni touches such as steeply raked windscreens, sumptuously sculpted fenders, and oval window apertures, each was impossibly beautiful yet subtly different to the next. Upon its unveiling at the 1937 Paris Motor Show, the new coupe was dubbed “Goutte d’Eau”—literally “water drop”—although this term was quickly anglicized into the more appropriate “teardrop,” which endures to this day.
Whilst the Jeancart coupes all exhibited an elegant notch-backed side profile, the second-series cars were arguably even more pure in aesthetic terms, exhibiting as they did a simpler “fastback” tail section. Launched at the 1937 New York Auto Show, the second-series examples assumed the unofficial title of “New York” cars, and 11 were constructed in this style: 10 on 104-inch T150-C SS frames, and one on the longer 116-inch T23 chassis. Each was powered by a 140-horsepower version of the dependable T150-C engine.
THE SOLE COMPETITION TEARDROP
Believed to have been the penultimate “New York”-style car built, the magnificent example which RM Sotheby’s is honored to offer here, chassis 90117, has the distinction of being the only Goutte d’Eau coupe constructed expressly with competition in mind.
Originally commissioned by Philippe Régnier de Massa, a member of one of France’s oldest and most decorated noble families, it was ordered with several competition-inspired modifications, including additional driving lights, a 250-kph speedometer, a "semi-bucket" seat on the driver's side, reinforcement tubes and brackets in the engine bay, a long-range fuel tank, and an external fuel filler cap. Furthermore, according to Figoni’s son Claude, the car was two inches lower and four inches longer than any other Teardrop coupe in an attempt to minimize both frontal area and drag, and it featured both an opening rear window and a unique heart-shaped sunroof to aid ventilation.
Doubtless buoyed by the fine 3rd place achieved at Le Mans in 1938 by the Talbot-Lago Portout Coupe of Prenant and Morel, de Massa opted to enter his car in the 1939 edition; remarkably his first race of international standard. For reasons not entirely understood, the car was officially entered by British motor racing luminary and writer T.A.S.O. Mathieson—himself sharing a new T26 model in the race with Chinetti—with de Massa co-driven by Norbert-Jean Mahé, who had finished 9th in the 1934 event. The pair had been performing strongly in 9th place when they were eliminated from the race on the 88th lap, a retirement variously attributed to either a broken valve spring or disqualification following a contravention of the sporting regulations.
An appearance in an unnamed post-Le Mans Concours aside, no other outings are recorded for the car during de Massa’s ownership. With war having broken out barely 10 weeks after Le Mans, the car was reputedly confiscated by the Germans in or around 1942, and was eventually acquired in neglected, engineless state by a Herr A. Becker of Rangsdorf, near Berlin, shortly after hostilities ceased.
Following the fall of the Berlin Wall in late 1989, 90117 was sold to Peter Schmitz, a resident of western Germany, who commenced a long-overdue restoration of the car. However, Herr Schmitz kept the car only until 1995, when it was sold in an unfinished state to Automuseum Deventer of Joure, in the Netherlands.
Although the car was separated from its engine at some point in the past, research on file indicates that a correct-type Talbot-Lago engine was located in the United Kingdom and subsequently fitted. A separate racing hood, a testament to its time at the Circuit de la Sarthe complete with cut-out holes for oil and coolant filler access, accompanies the sale of the car today.
In 1996, ownership of the car then passed to Georg Lingenbrink of San Diego, California. It was in the latter’s custody that a comprehensive six-year restoration commenced; the car being finished in the appropriately elegant color scheme of deep aubergine with contrasting tan pigskin leather upholstery, and tan cloth interior trim.
In 2006, chassis 90117 entered the esteemed Oscar Davis Collection, in whose custody it has remained ever since. Mr. Davis entrusted the car to respected restorers Classic and Sport Auto Refinishing concern of Edinburg, Virginia who assessed it exhaustively, and performed a further $100,000 of restoration work—of both a mechanical and cosmetic nature—in 2006 and 2007. In 2007 the car, remarkably, made its first public appearance in 68 years at the Pebble Beach Concours d’Elegance. It subsequently took a series of richly deserved wins at European counterpart, Villa d’Este, in 2010, including the juried Trofeo BMW Group - Best of Show and the publicly selected Trofeo BMW Groupe Italia. The Louis Vuitton Concours Classic Award, intended to recognize the “best of the best” among the world’s concours-winning automobiles, followed in 2011.
Impossibly stylish, exquisitely detailed, yet built on competition foundations offering spirited performance and standard-setting levels of refinement and ride quality, the Talbot-Lago “Goutte d’Eau” coupes remain amongst the most highly prized of all coachbuilt pre-war cars. Of the 11 “New York"-style examples constructed, 90117 remains among the most compelling; a car which intertwines Art Deco elegance with a brief but fascinating competition history, not to mention a period of prolonged (if unwitting) preservation behind the Iron Curtain and recent concours success.
Immaculately presented in the most fetching of color combinations, it remains equally—and perhaps uniquely—qualified for the world’s finest vintage tours, rallies, and concours as well as, somewhat incongruously, vintage racing events such as the Le Mans Classic and Monterey Historics. Guaranteed to steal the limelight at any event in which it is entered, this represents one of the most significant coachbuilt cars ever to be offered for public sale, and an opportunity which should be given serious consideration by any appropriately discerning collector.
---
Kristina and I headed over to RM Sotheby's at the Monterey Conference Center to view some glorious cars at their auction preview.
- - -
Had a blast with our auto-enthusiast friend and neighbor, Fred, at Monterey Car Week 2022.
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05/05/2023. London, United Kingdom. Anne-Marie Trevelyan, Minister of State for Foreign Affairs greets Suriname Honorary Consul Amwidhker Jethu-Ramkrishan at the Small Island and Developing Nations Coronation Event at Lancaster House. Picture by Lauren Hurley / DHSC
Designer: Huang Zongrui (黄宗瑞)
1980, September
Develop the spirit for the bitter struggle of doing pioneering work
Fayang jianku fendoude chuangye jingshen (发扬艰苦奋斗的创业精神)
Call nr.: E13/303 (Landsberger collection)
More? See: chineseposters.net
Canonet QL17, Ilford HP5 Plus, self developed at カメラのアマノ. These are the store scans, which are low resolution. I do not know what I am gonna get out of this roll when I scan it at hope, as I am used to working with chromogenic XP2 Super.
The Avantime was designed and developed in-house by Renault affiliate Matra and was conceived by Philippe Guédon, head of the automotive division at Matra, who "believed that the children of Espace owners remained loyal to the car even after they had grown up and left home. As a result, the renowned MPV was gaining a generation of new drivers."[3]
Styled by Patrick Le Quément, the Avantime was intended to combine the space of an MPV with four-place pillarless qualities of a coupé.[4] Regarding the styling, Thierry Metroz, design project manager, said, "We wanted someone walking around the car to be continually astonished."[5]
The one-box design eliminated B-pillars and featured an aluminum structure, aluminum panels for the greenhouse and a full sunroof of strengthened heat-reflecting glass.[6] The interior featured four seats each with built-in seatbelts and Bridge of Weir leather.[6] To facilitate access to the rear seats, two long doors featured a double parallel-opening hinge system (marketed as "double-kinematic") that maximized access with minimal outswing of the doors.[3] Front side windows lowered automatically when either of the front seats folded forward to further facilitate entry to the rear two seats.[6] Windows featured power-deployable sunshades[2], and the H-points of the rear two seats were higher than the forward two seats, giving the Avantime "theater seating."[5] The luggage compartment featured a retaining system using retractable straps,[6] and all Avantimes featured a two-tone look created by the exposed aluminium of the greenhouse. The windows and panoramic sunroof could open automatically via a single, headliner mounted control,[2] to give the Avantime an 'open air' mode.
The design borrowed the automotive space frame of the first generation Renault Espace (load bearing galvanized structure with non-load bearing composite panels) utilizing Renault's 24 valve, 207 hp (152 kW) 3.0L V6 engine was coupled to a 6-speed transmission.
The Rise
Regency Square Mall was originally developed in the mid-to-late 1960s. The project was initiated by Regency Centers, a now-powerful retail real estate trust based in Jacksonville that was at the time just getting started.
The mall was constructed at a cost of $12 million upon a giant clump of sand dunes, and opened its doors to the public in 1967. It featured three anchor stores – JC Penney, Furchgott’s, and May-Cohens – as well as an adjacent movie theater.
Regency quickly became a hit, owing a lot of its success to its location. At the time the Arlington area was among Jacksonville’s fastest-growing neighborhoods, and Regency Square Mall was by far the closest retail hub for its residents as well as shoppers coming into town from the beaches. It also helped that the mall was built in an era where shopping malls were quickly becoming a ubiquitous part of life in America.
The surrounding area experienced a development boom, with shopping centers, car dealers, office parks, and restaurants popping up all along neighboring stretches of Atlantic Blvd. Some of this was a result of continued growth in Arlington, but much was the direct result of traffic brought in by Regency’s success.
By the late ’70s, Regency was one of the country’s most active malls, and completely dominated the Jacksonville shopping landscape. The only “nearby” mall that could claim to compete with Regency’s offerings at the time, Orange Park Mall, was over 24 miles away.
Naturally, the mall’s ownership wanted to capitalize on this success, so around this time plans were developed to double the size of the mall at a cost of around $30 million.
Bizarrely, developers opted to tack on the additional space to the opposite side of May-Cohens, creating two wings divided by an anchor store. Ivey’s and Sears became the anchors of the newly-opened west wing.
Shortly thereafter, the east wing would get upgrades in the form of an AMC theater and a large food court.
All the while, business continued to boom at Regency Square, perhaps more so than ever.
The Fall
There’s an old proverb based on a Bible passage that states, “Pride comes before a fall.”
In the mid ’80s, Furchgott’s announced their merger with Stein Mart. While most of the chain’s stores were converted to the Stein Mart branding, Regency’s operators proudly believed the brand to be too low-class for their mall and opted to pursue a replacement anchor.
At the turn of the decade, Regency faced stiff new competition in the form of The Avenues. This new two-story mall, constructed along the intersection of Philips Highway and Southside Blvd., offered a slightly more upscale shopping experience and threatened to lure customers from the then-thriving Baymeadows area away from Regency.
Around this same time, cracks began to show in the foundation at Regency. The mall changed ownership, being sold off to Chicago-based General Growth Properties.
A couple of anchor stores began a decade-long game of musical chair. Dillard’s moved to yet another new wing, vacating the former Ivey’s, which would then become a Montgomery Ward. May-Cohens would become a Gayfer’s, then later a Belk.
Most significant, however, was the rapidly-growing issue of crime. By the early ’90s, yearly crime reports at the mall reached quadruple digits. Over the following decade, the mall rapidly developed a reputation among locals as “the sketchy mall”.
The mall’s management made attempts to fix their reputation, but for the most part the damage had been done. The addition of a JSO substation in 1998 did little to curb the crime epidemic, and the addition of an aggressively-enforced mall dress code the next year only served to alienate its remaining customers.
It seemed clear that despite the mall’s shortcomings, its management felt as though it was still an elite retail hub. In other words, they let pride take the place of rationality.
Another round of renovations in the late ’90s brought an upgraded food court and theater. When Montgomery Ward left in 2001, management pursued big-name anchors rather than simply looking to fill the vacated spot. As a result, Ward’s spot stayed empty for five years.
In 2005, the opening of the St. Johns Town Center made Regency’s survival even less likely. The Town Center now catered to the upscale crowd, with The Avenues’ savvy management team rolling out renovations around the same time to keep up appearances.
Meanwhile, Regency’s crime rate grew worse and vacancies began piling up within its corridors.
By the late 2000s, it was clear that the mall was dying. Crimes at Regency outpaced those at The Avenues and St. Johns Town Center combined.
The mall’s west wing became a ghost town. Dillard’s converted their location to a clearance center. A shooting in 2008 involving an off-duty JSO officer only served to further solidify the mall’s reputation as a bad place. Many locals refused to shop at the mall by themselves, or after dark.
By 2014, the mall’s occupancy rate slipped well under 50%. Belk, which occupied the anchor space that separated the east and west wings, announced that they planned to bolt to a standalone store further down Atlantic Blvd. General Growth Properties, finally accepting that they wouldn’t be the ones to save the mall, put it up for sale in 2013, and got rid of it just a year later.
When new ownership took over, they opted to close down the west wing and move any remaining tenants over to the east wing in hopes of saving at least one part of the mall.
What does the future hold. For these, hopefully some juicy grapes that will be picked and eaten. The growth of plants is not unlike the growth of our students and children and grandchildren. Incremental. For those us who are now principals at the elementary level (as I was, though not now) these days see the start of school and the arrival of the kindergarten students, many of whom will will watch move through the classes for many years until they head to middle or high school. For the classroom teacher, in a small district like ours, some of the students they enroll as school starts this year will be children they have watched grow for as many as three years. For those of us who are parents and still provide help, assistance, guidelines to our adult children, the time has flown as we have watched them grow and develop. It is not only about simply watching the growth though, there is a lot about nurturing and caring. As I look forward to my work with teachers and students and my own staff over the next number of months, I hope to see wonderful changes occur.
Graflex Speed Graphic 4x5
Kodak Ektar 127mm f4.7
Foma Retropan 320 Self_developed FX-15_Dev
EPSON GT-X980
This 1934 historical marker is on the top of Swift Run Gap on Spotswood Trail (Route 33) in Shenandoah National Park, 7 miles southeast of Elkton, Virginia in Rockingham County. The poem on this tablet was written by poet Gertrude B. Claytor (1888-1973) of Roanoke, Virginia.
The goal of the September 5, 1716 expedition was to determine if there was a passage through the Blue Ridge Mountains to develop western lands, find the most direct route to the Great Lakes, and challenge the French influence for Indian hostilities directed at American colonies.
The following information was reported by the Schiller Institute, Washington, D. C.
"From his earliest days in Virginia, Spotswood had formed a company of rangers to explore the colony and inventory its resources, and he often accompanied them to chart the waterways and select promising sites for new towns. By the end of 1710, the rangers had found iron deposits near the falls of the James River, and Spotswood proposed that the Crown sponsor the development of an iron industry. When he was refused, he used his own funds, and contacts with republican networks in Europe, to bring in German miners and settle them in western Virginia. His first iron works were known as Germanna.
Then, in June of 1716, Spotswood informed the Virginia Council that his rangers had found a pass over the Blue Ridge, where even supply trains could cross. The governor therefore recruited a "company of gentlemen," to prove that the Blue Ridge could be easily crossed. Many of these recruits had sons and grandsons who played important roles in the development of the American Republic. Among them was George Mason, whose son worked with George Washington to draft the Fairfax Resolves, and who designed much of the constitution of the new state of Virginia. Then there was James Taylor, the ancestor of two Presidents—James Madison and Zachary Taylor. Robert Brooke's grandson became governor of Virginia in 1798, and Thomas Todd's family helped secure Kentucky for the Americans during the Revolution, and produced a future First Lady for Abraham Lincoln.
Governor Spotswood led his expedition out of the capital at Williamsburg on Aug. 20, and rode to his ironworks at Germanna, where the group was to join two companies of rangers. There, Spotswood had both the pack horses and riding horses shoed with iron for the journey over the mountains. Up until this time, Virginians had ridden their mounts unshod, because there was little domestic iron and the Tidewater Area had gentle, sandy terrain. The governor wanted to make the point that iron was not only necessary for crossing the mountains, but that it was essential for settlers who would tame the wilderness beyond.
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The exploring party crossed the Blue Ridge easily and discovered a major river on the other side. On Sept. 6 they crossed it, and Alexander Spotswood named it the Euphrates, invoking the memory of Alexander the Great, who had crossed the Euphrates to bring the Greek civilization of Plato's Academy to the eastern shore of the Mediterranean. Spotswood knew he was making history, and he came prepared for a major celebration. At that night's feast along the river, glasses were raised in toast after toast, accompanied by musket-fire salutes. The party drank "Virginia red wine and white wine, Irish usquebaugh, brandy shrub, two sorts of rum, champagne, canary, cherry, punch, cider, etc.," as recorded by one of the jolly participants.
After the return to Williamsburg, Spotswood lost no time in expanding Virginia's iron industry, and he was soon bringing in 80 more German immigrants, at his own expense, to set up the Tubal Furnace 13 miles from Germanna. And he presented to his fellow explorers, now dubbed the "Knights of the Golden Horseshoe," miniature golden horseshoes to commemorate the celebrated occasion. On these mementos was inscribed the Latin phrase, "Sic juvat transcendere montes," which translates as "Thus we crossed the mountains." And thus we did cross, and the forges and iron foundries and steel mills of Pittsburgh and Wheeling and Marietta testify that Spotswood had planned well."
This last of 4 images shows the original view (more or less). I love the light in this one. Ben Stack is now obliterated by the clouds and Handa Island on the far right is looking amazing.
Fairchild developed the PT-19 in 1938 to satisfy a military requirement for a rugged monoplane primary trainer, and it went into quantity production in 1940. In addition to those manufactured by Fairchild, the Aeronca, Howard and St. Louis Aircraft Corps. produced Cornells. Fleet Aircraft Ltd. produced them in Canada.
From the basic PT-19, Fairchild produced two more aircraft: the Continental radial engine powered PT-23 and the PT-26 with an enclosed cockpit. Altogether the U.S. Army Air Forces accepted 7,742 Cornells, of which 4,889 were PT-19s. Additional Cornells went to Canada, Norway, Brazil, Ecuador and Chile.
Mr. Howard Phillips of Seattle, Wash., donated the PT-19A on display at the museum in November 1984.
TECHNICAL NOTES:
Engine: Ranger L-440 of 175 hp
Maximum speed: 124 mph
Cruising speed: 106 mph
Range: 480 miles
Ceiling: 16,000 ft.
Span: 35 ft. 11 3/16 in.
Length: 27 ft. 8 3/8 in.
Height: 7 ft. 9 in.
Weight: 2,450 lbs. loaded
www.nationalmuseum.af.mil/factsheets/factsheet.asp?id=351
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A Flight Training Mishap
This exhibit demonstrates what could happen to a cadet pilot when taxiing with the wind from behind and applying his brakes too hard. The wind would life the tail, and the nose would hit the ground. Such an accident resulted in at least a stern lecture from the instructor and possibly the student's dismissal from the school. On average during the WW II, 40 percent of the cadet pilots did not graduate from flying school.
Last year at Soundcamp, I was doing a cyanotype workshop as well as making odd pinhole shots of some of the visitors and developing them outside in dev tubes, talk about working blind. These are some of the shots I made between doing those activities, it was a gorgeous day on the peninsula at Rotherhithe near Stave Hill. The ecology park is very beautiful and you wouldn't think you were a stones throw from the city of London.