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Bonhams Grand Palais Paris
1991 Ford GT40 coupé réplique par GT Developments
Châssis n° 100E321274
Moteur n° 321274
'Une GT40 authentique est hors de prix, mais il existe une alternative tout aussi charismatique, la GTD40. Les deux sont impossible à différencier à moins de cinq pas, encore moins à cinquante, tant la réplique GTD est fidèle, même aux yeux des plus avertis. Ce n'est pas une voiture en kit, mais un pur sang dans tous les sens du terme.' Autosport, 1989.
Dix ans après sa victoire au Mans, la GT40 était déjà considérée comme l'une des plus grandes classiques de tous les temps, générant une demande accrue pour les vraies voitures authentiques et donnant naissance à toute une industrie de répliques. Avec à peine 107 GT40 construites par Ford Advanced Vehicle à l'usine de Slough entre 1966 et 1972, il n'est pas surprenant qu'une industrie d'arrière-cour par de petits constructeurs indépendants ait prospérée pour satisfaire une demande croissante pour des répliques de la charismatique Ford victorieuse au Mans.
D'abord installé à Manchester puis à Poole dans le Dorset, GT Developments se révéla rapidement comme l'un des constructeurs majeurs de fidèles répliques de la GT40. GTD avait commencé au début des années 1980 en construisant des sous-ensembles pour les répliques de GT40 de KVA, la société de Kenneth Vincent Attwell, avant de fabriquer des voitures complètes. Ken Attwell avait été directeur de production à l'usine Ford de Swansea et avait pris des empreintes du moule de la voiture originale qu'il avait eu ensuite l'autorisation d'utiliser pour construire des répliques. Sous l'impulsion de Ray Christopher, un des directeurs de la société, GT Developments s'était plus tard lancé dans la construction de sa propre version. C'est ce lien avec la voiture originale, via KVA, qui rend la GTD supérieure à ses rivales, en plus du fait que Ray a passé un accord avec Bob Lutz, alors à la tête de Ford Europe, pour la fourniture de pièces originales.
Construite par les experts reconnus de GT Developments, cette fidèle réplique de la légendaire Ford victorieuse au Mans a été acquise au Royaume-Uni en février 2009 et immédiatement immatriculée par la FFVE. Basée sur le modèle Mk I, elle s'enorgueillit de caractéristiques améliorées qui la rendent aussi à l'aise sur route ou sur circuit. Parmi ses spécificités remarquables, une suspension ajustable à l'avant et à l'arrière, des amortisseurs réglables AVO (route/circuit), des étriers à 4 pistons HiSpec, des disques AP Racing ventilés aux quatre roues et des jantes alliage BRM (8 pouces à l'avant, 10 pouces à l'arrière) chaussées de pneus Avon. Les suspensions, freins, radiateur, pneus, échappement, etc ont coûté 16.700 â¬.
Monté en 2012, le moteur (17.850 â¬) est un Ford Boss 347 ci (5,7 litres) de compétition équipé d'une culasse en aluminium, de carburateurs compétition, d'un allumage électronique Mallory et d'un échappement céramique. Un vrai moteur de compétition avec un bloc à quatre goujons qui développe 430 ch mais peut grimper à 550 avec une préparation. Montée en même temps que le moteur, la boîte est une SADEV séquentielle à six rapports. La carrosserie a été repeinte il y a un an, tandis que les fenêtres latérales en Lexan ont été remplacées et l'intérieur regarni avec des matériaux conformes à l'origine. Tous ce travaux ont été effectués par des professionnels et toutes les factures sont fournies. Le coût total (y compris le prix d'achat) dépasse les 138.000 â¬.
La voiture est vendue avec son manuel indiquant la procédure de démarrage et les recommandations, un test au banc (enregistré en 2011) des essais de boîte sur les six rapports, la brochure de GT Developments, un rapport d'expert (indiquant une valeur de 120.000 â¬) et un dossier conséquent de restauration contenant des photos de la restauration.
Cette voiture est éligible pour des démonstrations lors de manifestations historiques comme Spa Classics, les Dix mille tours du Castellet, Le Mans Historique, etc et peut réaliser des temps au tour comparables à ceux de la GT40 originale. Cette superbe réplique de GT 40 peut être acquise pour une fraction du prix de la vraie et est vendue avec une carte grise française de collection et son contrôle technique valable jusqu'en 2017.
XS904 first flew on 26th August 1966 and started her RAF life with 11 Squadron in April 1967. Apart from brief periods with 5 Squadron and in storage or on overhaul, she spent her entire career with 11 Squadron. With the type's retirement from service she continued to fly with BAe on Tornado F3 Radar Development trials. Finally retired in late 1992, she was acquired by the Lightning Preservation Group at Bruntingthorpe and flown there on 21st January 1993.
Lightning F.3 XR718 (XR713 painted to represent XR718) was one of the last Lightning F.3 fighters to fly in RAF service after the majority of its kind had been scrapped (many believe prematurely) in the mid 1970s. Soldiering on for another decade or so, Lightning XR718 was eventually sent to RAF Wattisham (above), where it saw out its military days as a battle damage repair trainer alongside the dumped carcasses of Wattisham’s retired Phantom FGR.2s.
Against considerable odds, the Lightning survived the dreaded Wattisham scrap line of the early ’90s and still exists today, albeit not (yet) in one piece. Like many other surviving examples of its kind, XR718’s wings and tail were cut off for transport. And despite spending more than a decade at Walpole, Suffolk, the airframe was never reassembled.
In 2006 Lightning XR718 moved north to Over Dinsdale on the border of North Yorkshire and County Durham. Now displayed in a farmer’s field, the aircraft is still awaiting its extremities but with any luck it’ll be back in one piece in the not too distant future.
Lighting F.6 XR768 (ZF580 painted to represent XR768). 74 Squadron was the first frontline unit to operate Lightnings, in 1960. It had moved onto the F.3 version from April 1964, moving to Leuchars from Coltishall in the same year. When 74 Sqn began to exchange its F3s for F6s in August 1966, being the first squadron to receive full production-standard aircraft. The first aircraft received was was XR768 which arrived on August 1.
In June 1967, on three successive days, all thirteen of 74 Sqn's single-seat aircraft were flown out to Tengah under the banner of Operation “Hydraulic”, staging through Akrotiri, Cyprus, Masirah, Oman and Gan in the Indian Ocean. These were XR768-773, XS893, XS895-897, XS920-921 and XS927, coded ‘A’ to ‘N’ in order, excluding ‘I’. The first six aircraft left Leuchars on 4 June, with five the following day and the final two on the next day, these arriving at Tengah on the 11th. Seventeen Victor tankers were involved in this mission, which at the time was the longest ferry flight carried out by the RAF involving air-to-air refuelling.
XR768 returned to the UK when it was flown to 60 MU, Leconfield, in July 1970 for overhaul. XR768 was lost on 29 October 1974 when it crashed into the North Sea 13 miles East of Saltfleet, off Mablethorpe, Lincolnshire following a reheat fire in No 2 engine. The pilot - Flt Lt T.W.Jones - ejected and survived.
Latest output from Aldenham - and not a brown steering wheel or driver’s seat in sight!
From left to right, RTW205, RTL277, RT4361,2564,3625,3656.
These EFE RTs and RTLs now have easily detachable chassis and cab units which enable driver-equipped units and steered chassis to be fitted in less than a minute. Hopefully this should allow better display scenes to be created without permanently confining any models to particular roles.
During the research I ascertained that most RTL front hub caps were wheel colour at this time, and most RT were unpainted aluminum, often with AEC badges, so those features are also now part of the overhaul process.
Rochester Cathedral has been transformed by ‘Peace Doves’ an artwork by Peter Walker Sculptor
Bringing a message of peace and hope, the Peace Doves artwork has been created from around fifteen thousand individually hand made paper doves, together they collectively form this beautiful artwork which as a whole reflects joining together in unity, peace and hope moving forward.
Peace Doves is an artwork that has been re-curated for different spaces as it tours the UK, adaptations have been seen in Liverpool, Lichfield, Derby, Sheffield and now at Rochester.
The Peace Doves project has incorporated educational engagement with many schools and community groups in the local area and each person has written individual messages of peace and hope onto each dove.
Throughout history the dove has been viewed as a symbol of peace in many different cultures. For example in Greek mythology the dove is a symbol of the renewal of life, and liturgically within the Bible the dove appears at the Baptism of Jesus in the river Jordan and in the teachings of Noah and the Ark as a symbol of the Holy Spirit.
www.rochestercathedral.org/peacedoves
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The church is the cathedral of the Diocese of Rochester in the Church of England and the seat (cathedra) of the Bishop of Rochester, the second oldest bishopric in England after that of the Archbishop of Canterbury. The edifice is a Grade I listed building (number 1086423)
The Rochester diocese was founded by Justus, one of the missionaries who accompanied Augustine of Canterbury to convert the pagan southern English to Christianity in the early 7th century. As the first Bishop of Rochester, Justus was granted permission by King Æthelberht of Kent to establish a church dedicated to Andrew the Apostle (like the monastery at Rome where Augustine and Justus had set out for England) on the site of the present cathedral, which was made the seat of a bishopric. The cathedral was to be served by a college of secular priests and was endowed with land near the city called Priestfields.[3][a][b]
Under the Roman system, a bishop was required to establish a school for the training of priests.[4] To provide the upper parts for music in the services a choir school was required.[5] Together these formed the genesis of the cathedral school which today is represented by the King's School, Rochester. The quality of chorister training was praised by Bede.
The original cathedral was 42 feet (13 m) high and 28 feet (8.5 m) wide. The apse is marked in the current cathedral on the floor and setts outside show the line of the walls. Credit for the construction of the building goes to King Æthelberht rather than St Justus. Bede describes St Paulinus' burial as "in the sanctuary of the Blessed Apostle Andrew which Æthelberht founded likewise he built the city of Rochester."[c][7]
Æthelberht died in 617 and his successor, Eadbald of Kent, was not a Christian. Justus fled to Francia and remained there for a year before he was recalled by the king.[8]
In 644 Ithamar, the first English-born bishop, was consecrated at the cathedral.[d] Ithamar consecrated Deusdedit as the first Saxon Archbishop of Canterbury on 26 March 655.[9]
The cathedral suffered much from the ravaging of Kent by King Æthelred of Mercia in 676. So great was the damage that Putta retired from the diocese and his appointed successor, Cwichelm, gave up the see "because of its poverty".[10]
In 762, the local overlord, Sigerd, granted land to the bishop, as did his successor Egbert.[e][11] The charter is notable as it is confirmed by Offa of Mercia as overlord of the local kingdom.
Following the invasion of 1066, William the Conqueror granted the cathedral and its estates to his half-brother, Odo of Bayeux. Odo misappropriated the resources and reduced the cathedral to near-destitution. The building itself was ancient and decayed. During the episcopate of Siward (1058–1075) it was served by four or five canons "living in squalor and poverty".[12] One of the canons became vicar of Chatham and raised sufficient money to make a gift to the cathedral for the soul and burial of his
Gundulf's church
Lanfranc, Archbishop of Canterbury, amongst others, brought Odo to account at the trial of Penenden Heath c. 1072. Following Odo's final fall, Gundulf was appointed as the first Norman bishop of Rochester in 1077. The cathedral and its lands were restored to the bishop.
Gundulf's first undertaking in the construction of the new cathedral seems to have been the construction of the tower which today bears his name. In about 1080 he began construction of a new cathedral to replace Justus' church. He was a talented architect who probably played a major part in the design or the works he commissioned. The original cathedral had a presbytery of six bays with aisles of the same length. The four easternmost bays stood over an undercroft which forms part of the present crypt. To the east was a small projection, probably for the silver shrine of Paulinus which was translated there from the old cathedral.[f] The transepts were 120 feet long, but only 14 feet wide. With such narrow transepts it is thought that the eastern arches of the nave abuted the quire arch.[14] To the south another tower (of which nothing visible remains) was built. There was no crossing tower.[15] The nave was not completed at first. Apparently designed to be nine bays long, most of the south side but only five bays to the north were completed by Gundulf. The quire was required by the priory and the south wall formed part of its buildings. It has been speculated that Gundulf simply left the citizens to complete the parochial part of the building.[16] Gundulf did not stop with the fabric, he also replaced the secular chaplains with Benedictine monks, obtained several royal grants of land and proved a great benefactor to his cathedral city.
In 1078 Gudulf founded St Bartholomew's Hospital just outside the city of Rochester. The Priory of St Andrew contributed daily and weekly provisions to the hospital which also received the offerings from the two altars of St James and of St Giles.[17]
During the episcopates of Ernulf (1115–1124) and John (I) (1125–1137) the cathedral was completed. The quire was rearranged, the nave partly rebuilt, Gundulf's nave piers were cased and the west end built. Ernulf is also credited with building the refectory, dormitory and chapter house, only portions of which remain. Finally John translated the body of Ithamar from the old Saxon cathedral to the new Norman one, the whole being dedicated in 1130 (or possibly 1133) by the Archbishop of Canterbury, assisted by 13 bishops in the presence of Henry I, but the occasion was marred by a great fire which nearly destroyed the whole city and damaged the new cathedral. It was badly damaged by fires again in 1137 and 1179. One or other of these fires was sufficiently severe to badly damage or destroy the eastern arm and the transepts. Ernulf's monastic buildings were also damaged.
Probably from about 1190, Gilbert de Glanville (bishop 1185–1214) commenced the rebuilding of the east end and the replacement on the monastic buildings. The north quire transept may have been sufficiently advanced to allow the burial of St William of Perth in 1201, alternatively the coffin may have lain in the north quire aisle until the transept was ready. It was then looted in 1215 by the forces of King John during siege of Rochester Castle. Edmund de Hadenham recounts that there was not a pyx left "in which the body of the Lord might rest upon the altar".[14] However, by 1227, the quire was again in use when the monks made their solemn entry into it. The cathedral was rededicated in 1240 by Richard Wendene (also known as Richard de Wendover) who had been translated from Bangor.[14][18]
The shrines of Ss Paulinus and William of Perth, along with the relics of St Ithamar, drew pilgrims to the cathedral. Their offerings were so great that both the work mentioned above and the ensuing work could be funded.
Unlike the abbeys of the period (which were led by an abbot) the monastic cathedrals were priories ruled over by a prior with further support from the bishop.[19] Rochester and Carlisle (the other impoverished see) were unusual in securing the promotion of a number of monks to be bishop. Seven bishops of Rochester were originally regular monks between 1215 and the Dissolution.[20] A consequence of the monastic attachment was a lack of patronage at the bishop's disposal. By the early 16th century only 4% of the bishop's patronage came from non-parochial sources.[21] The bishop was therefore chronically limited in funds to spend on the non-monastic part of the cathedral.
The next phase of the development was begun by Richard de Eastgate, the sacrist. The two eastern bays of the nave were cleared and the four large piers to support the tower were built. The north nave transept was then constructed. The work was nearly completed by Thomas de Mepeham who became sacrist in 1255. Not long after the south transept was completed and the two bays of the nave nearest the crossing rebuilt to their current form. The intention seems to have been to rebuild the whole nave, but probably lack of funds saved the late Norman work.
The cathedral was desecrated in 1264 by the troops of Simon de Montfort, during sieges of the city and castle. It is recorded that armed knights rode into the church and dragged away some refugees. Gold and silver were stolen and documents destroyed. Some of the monastic buildings were turned into stables.[22] Just over a year later De Montfort fell at the Battle of Evesham to the forces of Edward I. Later, in 1300, Edward passed through Rochester on his way to Canterbury and is recorded as having given seven shillings (35p) at the shrine of St William, and the same again the following day. During his return he again visited the cathedral and gave a further seven shillings at each of the shrines of Ss Paulinus and Ithamar.
The new century saw the completion of the new Decorated work with the original Norman architecture. The rebuilding of the nave being finally abandoned. Around 1320 the south transept was altered to accommodate the altar of the Virgin Mary.
There appears to have been a rood screen thrown between the two western piers of the crossing. A rood loft may have surmounted it.[23] Against this screen was placed the altar of St Nicholas, the parochial altar of the city. The citizens demanded the right of entrance by day or night to what was after all their altar. There were also crowds of strangers passing through the city. The friction broke out as a riot in 1327 after which the strong stone screens and doors which wall off the eastern end of the church from the nave were built.[24] The priory itself was walled off from the town at this period. An oratory was established in angulo navis ("in the corner of the nave") for the reserved sacrament; it is not clear which corner was being referred to, but Dr Palmer[25] argues that the buttress against the north-west tower pier is the most likely setting. He notes the arch filled in with rubble on the aisle side; and on nave side there is a scar line with lower quality stonework below. The buttress is about 4 feet (1.2 m) thick, enough for an oratory. Palmer notes that provision for reservation of consecrated hosts was often made to the north of the altar which would be the case here.
The central tower was at last raised by Hamo de Hythe in 1343, thus essentially completing the cathedral. Bells were placed in the central tower (see Bells section below). The chapter room doorway was constructed at around this time. The Black Death struck England in 1347–49. From then on there were probably considerably more than twenty monks in the priory.
The modern paintwork of the quire walls is modelled on artwork from the Middle Ages. Gilbert Scott found remains of painting behind the wooden stalls during his restoration work in the 1870s. The painting is therefore part original and part authentic. The alternate lions and fleurs-de-lis reflect Edward III's victories, and assumed sovereignty over the French. In 1356 the Black Prince had defeated John II of France at Poitiers and took him prisoner. On 2 July 1360 John passed through Rochester on his way home and made an offering of 60 crowns (£15) at the Church of St Andrew.[27]
The Oratory provided for the citizens of Rochester did not settle the differences between the monks and the city. The eventual solution was the construction of St Nicholas' Church by the north side of the cathedral. A doorway was knocked through the western end of the north aisle (since walled up) to allow processions to pass along the north aisle of the cathedral before leaving by the west door.[27][28]
In the mid-15th century the clerestory and vaulting of the north quire aisle was completed and new Perpendicular Period windows inserted into the nave aisles. Possible preparatory work for this is indicated in 1410–11 by the Bridge Wardens of Rochester who recorded a gift of lead from the Lord Prior. The lead was sold on for 41 shillings.[g][29] In 1470 the great west window at the cathedral was completed and finally, in around 1490, what is now the Lady Chapel was built.[27] Rochester Cathedral, although one of England's smaller cathedrals, thus demonstrates all styles of Romanesque and Gothic architecture.[30]
In 1504 John Fisher was appointed Bishop of Rochester. Although Rochester was by then an impoverished see, Fisher elected to remain as bishop for the remainder of his life. He had been tutor to the young Prince Henry and on the prince's accession as Henry VIII, Fisher remained his staunch supporter and mentor. He figured in the anti-Lutheran policies of Henry right up until the divorce issue and split from Rome in the early 1530s. Fisher remained true to Rome and for his defence of the Pope was elevated as a cardinal in May 1535. Henry was angered by these moves and, on 22 June 1535, Cardinal Fisher was beheaded on Tower Green.
Henry VIII visited Rochester on 1 January 1540 when he met Ann of Cleves for the first time and was "greatly disappointed".[31] Whether connected or not, the old Priory of St Andrew was dissolved by royal command later in the year, one of the last monasteries to be dissolved.
The west front is dominated by the central perpendicular great west window. Above the window the dripstone terminates in a small carved head at each side. The line of the nave roof is delineated by a string course above which rises the crenelated parapet. Below the window is a blind arcade interrupted by the top of the Great West Door. Some of the niches in the arcade are filled with statuary. Below the arcade the door is flanked with Norman recesses. The door itself is of Norman work with concentric patterned arches. The semicircular tympanum depicts Christ sitting in glory in the centre, with Saints Justus and Ethelbert flanking him on either side of the doorway. Supporting the saints are angels and surrounding them are the symbols of the Four Evangelists: Ss Matthew (a winged man), Mark (a lion), Luke (an ox) and John (an eagle).[52] On the lintel below are the Twelve Apostles and on the shafts supporting it King Soloman and the Queen of Sheba.[53] Within the Great West Door there is a glass porch which allows the doors themselves to be kept open throughout the day.
Either side of the nave end rises a tower which forms the junction of the front and the nave walls. The towers are decorated with blind arcading and are carried up a further two stories above the roof and surmounted with pyramidal spires. The aisle ends are Norman. Each has a large round headed arch containing a window and in the northern recess is a small door. Above each arch is plain wall surmounted by a blind arcade, string course at the roof line and plain parapet. The flanking towers are Norman in the lower part with the style being maintained in the later work. Above the plain bases there are four stories of blind arcading topped with an octagonal spire.[54]
The outside of the nave and its aisles is undistinguished, apart from the walled up north-west door which allowed access from the cathedral to the adjacent St Nicholas' Church.[28] The north transept is reached from the High Street via Black Boy Alley, a medieval pilgrimage route. The decoration is Early English, but reworked by Gilbert Scott. Scott rebuilt the gable ends to the original high pitch from the lower one adopted at the start of the 19th century. The gable itself is set back from the main wall behind a parapet with walkway. He also restored the pilgrim entrance and opened up the blind arcade in the northern end of the west wall.[55]
To the east of the north transept is the Sextry Gate. It dates from Edward III's reign and has wooden domestic premises above. The area beyond was originally enclosed, but is now open to the High Street through the memorial garden and gates. Beyond the Sextry Gate is the entrance to Gundulf's Tower, used as a private back door to the cathedral.
The north quire transept and east end are all executed in Early English style, the lower windows light the crypt which is earlier. Adjoining the east end of the cathedral is the east end of the Chapter Room which is in the same style. The exact form of the east end is more modern than it appears, being largely due to the work of Scott in the 19th century. Scott raised the gable ends to the original high pitch, but for lack of funds the roofs have not been raised; writing in 1897 Palmer noted: "they still require roofs of corresponding pitch, a need both great and conspicuous".[56]
On the south side of the cathedral the nave reaches the main transept and beyond a modern porch. The aisle between the transepts is itself a buttress to the older wall behind and supported by a flying buttress. The unusual position of this wall is best explained when considering the interior, below. The southern wall of the presbytery is hidden by the chapter room, an 18th-century structure.
he western part of the nave is substantially as Gundulf designed it. According to George H. Palmer (who substantially follows St John Hope) "Rochester and Peterborough possess probably the best examples of the Norman nave in the country".[60] The main arcade is topped by a string course below a triforium. The triforium is Norman with a further string course above. The clerestory above is of perpendicular style. From the capitals pilasters rise to the first string course but appear to have been removed from the triforium stage. Originally they might have supported the roof timbers, or even been the springing of a vault.[61]
The easternmost bay of the triforium appears to be Norman, but is the work of 14th-century masons. The final bay of the nave is Decorated in style and leads to the tower piers. Of note is the north pier which possibly contains the Oratory Chapel mentioned above.[62]
The aisles are plain with flat pilasters. The eastern two bays are Decorated with springing for vaulting. Whether the vault was ever constructed is unknown, the present wooden roof extends the full length of the aisles.
The crossing is bounded to the east by the quire screen with the organ above. This is of 19th-century work and shows figures associated with the early cathedral. Above the crossing is the central tower, housing the bells and above that the spire. The ceiling of the crossing is notable for the four Green Men carved on the bosses. Visible from the ground is the outline of the trapdoor through which bells can be raised and lowered when required. The floor is stepped up to the pulpitum and gives access to the quire through the organ screen.
The north transept is from 1235 in Early English style. The Victorian insertion of windows has been mentioned above in the external description. Dominating the transept is the baptistery fresco. The fresco by Russian artist Sergei Fyodorov is displayed on the eastern wall. It is located within an arched recess. The recess may have been a former site of the altar of St Nicholas from the time of its construction in 1235 until it was moved to the screen before the pulpitum in 1322. A will suggests that "an altar of Jesu" also stood here at some point, an altar of some sort must have existed as evidenced by the piscina to the right of the recess.[64] The vaulting is unusual in being octpartite, a development of the more common sexpartite. The Pilgrim Door is now the main visitor entrance and is level for disabled access.
he original Lady Chapel was formed in the south transept by screening it off from the crossing. The altar of the Blessed Virgin Mary was housed in the eastern arch of the transept. There are traces of painting both on the east wall and under the arch. The painting delineates the location of the mediaeval north screen of the Lady Chapel. Around 1490 this chapel was extended westwards by piercing the western wall with a large arch and building the chapel's nave against the existing south aisle of cathedral. From within the Lady Chapel the upper parts of two smaller clerestory windows may be seen above the chapel's chancel arch. Subsequently, a screen was placed under the arch and the modern Lady Chapel formed in the 1490 extension.
The south transept is of early Decorated style. The eastern wall of it is a single wide arch at the arcade level. There are two doorways in the arch, neither of which is used, the northern one being hidden by the memorial to Dr William Franklin. The south wall starts plain but part way up is a notable monument to Richard Watts, a "coloured bust, with long gray beard".[65] According to Palmer there used to be a brass plaque to Charles Dickens below this but only the outline exists, the plaque having been moved to the east wall of the quire transept.[66] The west wall is filled by the large arch mentioned above with the screen below dividing it from the present Lady Chapel.
The Lady Chapel as it now exists is of Decorated style with three lights along southern wall and two in the west wall. The style is a light and airy counterpart to the stolid Norman work of the nave. The altar has been placed against the southern wall resulting in a chapel where the congregation wraps around the altar. The window stained glass is modern and tells the gospel story.
The first, easternmost, window has the Annunciation in the upper light: Gabriel speaking to Mary (both crowned) with the Holy Spirit as a dove descending. The lower light shows the Nativity with the Holy Family, three angels and shepherds. The next window shows St Elizabeth in the upper light surrounded by stars and the sun in splendour device. The lower light shows the Adoration of the Magi with Mary enthroned with the Infant. The final window of the south wall has St Mary Magdelene with her ointment surrounded by Tudor roses and fleurs-de-lis in the upper light with the lower light showing the Presentation in the Temple. The west wall continues with St. Margaret of Scotland in the upper light surrounded by fouled anchor and thistle roundels. The reference is to the original dedication of the cathedral as the Priory of St Andrew. The lower light shows the Crucifixion with Mary and St Peter. The final window is unusual, the upper light is divided in three and shows King Arthur with the royal arms flanked by St George on the left and St Michael on the right. The lower light shows the Ascension: two disciples to the left, three women with unguents to the right and three bare crosses top right.
Wu Ping's house in Chongqing, China, sits on its own island of land amid construction all around it.
“For weeks a dispute had drawn attention from people all across China as a simple homeowner stared down the forces of large-scale redevelopment that are sweeping this country, blocking the preparation of a gigantic construction site by an act of sheer will.”
for more details, please refer to
www.nytimes.com/2007/03/26/world/asia/26cnd-china.html?ex...
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A text In English:
The Swallow-tailed Hummingbird, so called from its forked tail, is one of the largest hummingbirds in cities and gardens, but it also occurs in gallery forests, bushy pastures and edges of woods or coppices. It is green, except for the blue head and upper breast, turning to iridescent purple according to the direction of light; it has dark wings and a heavy black bill. The tail is dark blue with the external feathers longer than central ones. It is very aggressive and attacks other hummingbirds that dare to visit flowers in certain trees. Where the flowers are available for many months, the individual is fiercely territorial, but generally needs to search soon for other flowering plants. It flies to catch small insets on or under leaves in the gallery forests or woodlands. The female builds a small cup-shaped nest saddled on a branch, not far from the main trunk in the shade of leaves. Perched on favorite branches, the male can utter long but low chirps. Once in a while, it interrupts these singing sessions to feed, and flies back for more song or to clean the plumage. They occur from the Guianas and Amazon River to Paraguay and southeastern Peru. They can get along with partially deforested zones, but may disappear with intensive agriculture and with the development of treeless cities.
Um texto em Português:
Beija-flor Tesoura (Eupetomena macroura), fotografado em Brasília-DF, Brasil.
Eupetomena macroura (Gmelin, 1788): tesoura; swallow-tailed hummingbird c.
Destaca-se das espécies estudadas pelo maior porte e pela cauda comprida e bifurcada, o que lhe valeu o nome popular. Como é comum entre os beija-flores, é uma espécie agressiva que disputa com outras o seu território e fontes de alimento.
Nidificação: o ninho, em forma de tigela, é assentado numa forquilha de arbusto ou árvores, a cerca de 2 a 3 m do solo. O material utilizado na construção é composto por fibras vegetais incluindo painas, musgos e liquens, aderidos externamente com teias de aranhas.
Hábitat: capoeiras, cerrados, borda de matas e jardins.
Tamanho: 17,0 cm
A SEGUIR UM TEXTO ENCONTRADO E REPRODUZIDO DO ENDEREÇO nationalgeographic.abril.uol.com.br/ng/edicoes/83/reporta... DA NATIONAL GEOGRAFIC:
Prodígios da micro-engenharia, os beija-flores são os campeões dos pesos-leves entre as aves
Uma faísca safira, um frêmito de asas, e o minúsculo pássaro - ou seria um inseto? - some como miragem fugaz. Reaparece instantes depois, agora num ângulo melhor. É pássaro mesmo, um dervixe do tamanho do meu polegar com asas que batem 80 vertiginosas vezes por segundo, produzindo um zumbido quase inaudível. As penas da cauda, à guisa de leme, delicadamente direcionam o vôo em três direções. Ele fita a trombeta de uma vistosa flor alaranjada e do bico fino como agulha projeta uma língua delgada feito linha. Um raio de Sol ricocheteia de suas penas iridescentes. A cor refletida deslumbra como uma pedra preciosa contra uma janela ensolarada. Não admira que os beija-flores sejam tão queridos e que tanta gente já tenha tropeçado ao tentar descrevê-los. Nem mesmo circunspectos cientistas resistem a termos como "belo", "magnífico", "exótico".
Surpresa maior é o fato de o aparentemente frágil beija-flor ser uma das mais resistentes criaturas do reino animal. Cerca de 330 espécies prosperam em ambientes diversos, muitos deles brutais: do Alasca à Argentina, do deserto do Arizona à costa de Nova Scotia, da Amazônia à linha nevada acima dos 4,5 mil metros nos Andes (misteriosamente, essas aves só são encontradas no Novo Mundo).
"Eles vivem no limite do que é possível aos vertebrados, e com maestria", diz Karl Schuchmann, ornitólogo do Instituto Zoológico Alexander Koenig e do Fundo Brehm, na Alemanha. Schuchmann ouviu falar de um beija-flor que viveu 17 anos em cativeiro. "Imagine a resistência de um organismo de 5 ou 6 gramas para viver tanto tempo!", diz ele espantado. Em média, o minúsculo coração de um beija-flor bate cerca de 500 vezes por minuto (em repouso!). Assim, o desse pequeno cativo teria batido meio bilhão de vezes, quase o dobro do total de uma pessoa de 70 anos.
Mas esses passarinhos são duráveis apenas em vida. Quando morrem, seus ossos delicados e ocos quase nunca se fossilizam. Daí o assombro causado pela recente descoberta de um amontoado de fósseis de aves que talvez inclua um beija-flor ancestral de 30 milhões de anos. Como os beija-flores modernos, os espécimes fósseis tinham o bico longo e fino e os ossos superiores das asas mais curtos, terminando em uma saliência arredondada que talvez lhes permitisse fazer a rotação na articulação do ombro e parar no ar.
A outra surpresa foi o local do achado: no sul da Alemanha, longe do território dos beija-flores atuais. Para alguns cientistas, essa descoberta mostra que já existiram beija-flores fora das Américas, mas se extinguiram. Ou quem sabe os fósseis não fossem de beija-flor. Os céticos, entre eles Schuchmann, afirmam que muitas vezes, ao longo da evolução, outros grupos de aves adquiriram características semelhantes às do beija-flor. Os verdadeiros beija-flores, diz Schuchmann, evoluíram nas florestas do leste do Brasil, onde competiam com insetos pelo néctar das flores.
"O Brasil foi o laboratório do protótipo", diz o ornitólogo. "E o modelo funcionou." O beija-flor tornou-se a obra-prima da microengenharia da natureza. Aperfeiçoou sua habilidade de parar no ar há dezenas de milhões de anos para competir por parte das flores do Novo Mundo.
"Eles são uma ponte entre o mundo das aves e o dos insetos", diz Doug Altshuler, da Universidade da Califórnia em Riverside. Altshuler, que estuda o vôo dos beija-flores, examinou os movimentos das asas do pássaro. Observou que, nele, os impulsos elétricos propulsores dos músculos das asas lembram mais os dos insetos que os das aves. Talvez por isso o beija-flor produza tanta energia por batida de asas: mais, por unidade de massa, que qualquer outro vertebrado. Altshuler também analisou os trajetos neurais do beija-flor, que funcionam com a mesma vertiginosa velocidade encontrada nas aves mais ágeis, como seu primo mais próximo, o andorinhão. "São incríveis; uns pequenos Frankesteins", compara.
Certamente eles sabem intimidar: grama por grama, talvez sejam os maiores confrontadores da natureza. "O vocabulário do beija-flor deve ser 100% composto de palavrões", graceja Sheri Williamson, naturalista do Southeastern Arizona Bird Observatory. A agressão do beija-flor nasce de ferozes instintos territoriais moldados à necessidade de sugar néctar a cada poucos minutos. Os beija-flores competem desafiando e ameaçando uns aos outros. Postam-se face a face no ar, rodopiam, mergulham na direção da grama e voam de ré, em danças de dominância que terminam tão subitamente quanto começam.
O melhor lugar para vermos tais batalhas é nas montanhas, especialmente no Equador, em que ricos ecossistemas se apresentam em suas várias altitudes. Sheri supõe que o sentido norte-sul das cordilheiras americanas também crie rotas favoráveis à migração para onde haja constante suprimento de flores. O que contrasta, diz ela, com as barreiras naturais que se estendem de leste a oeste na África, como o Saara e o Mediterrâneo.
Algumas espécies de beija-flor, porém, adaptaram-se a atravessar vastidões planas, onde o alimento é escasso. Antes de sua intrépida migração da primavera para os Estados Unidos e o Canadá, os beija-flores-de-garganta-vermelha reúnem-se no México e empanturram-se de insetos e néctar. Armazenam gordura e duplicam de peso em uma semana. Em seguida, atravessam o golfo do México, voando 800 quilômetros sem escalas por 20 horas, até a costa distante.
A região próxima à linha do equador é um reino de beija-flores. Quem sai do aeroporto de Quito, no Equador, pode ser logo saudado por um cintilante beija-flor-violeta, com pintura de guerra de manchas púrpura iridescentes nos lados da face. A leste da cidade, nas cabeceiras da bacia Amazônica, o beija-flor-bico-de-espada esvoaça na mata portando o bico mais longo de todas as aves em proporção a seu tamanho: mais de metade do comprimento total do animal. Nas encostas do Cotopaxi, um vulcão ao sul de Quito, o beija-flor-do-chimborazo foi avistado acima dos 4,5 mil metros. Ali ele passa a noite entorpecido em cavernas, pois desacelera seu ritmo metabólico o suficiente para não morrer de fome antes de amanhecer. Mais tarde, aquecido pelo Sol, ele recomeça a se alimentar.
"Quem estuda beija-flores fica irremediavelmente enfeitiçado", diz Sheri Williamson. "São criaturinhas sedutoras. Tentei resistir, mas agora tenho sangue de beija-flor correndo nas veias."
Canon EOS Digital Rebel XT
"No, not really. Just that Jaz and I are crazy in love, and playing sex games that get a little out of control sometimes."
~Juicy
by: Noelle Mack
Giving further credence to the status of Punjab as a favoured destination for investors, ITC Limited today announced to double its investment in Punjab from the earlier Rs 700 crore to Rs 1400 crore. Disclosing this during my interaction with the top corporate honchos here, the President of FMCG Businesses, ITC Limited Mr. Sanjiv Puri said his company had succeeded in making Kinnow juice and it would be in the market within the current financial year.
The Managing Director of Godrej Agrovet Limited - Mr. Balram Yadav said his company would evaluate setting up a green house and food park over 100 acres. I told him that the government was ready to create the entire infrastructure for the green house at Ladhowal.
Molson Coors president Ravi Kaza announced his company was upgrading its plant by investing Rs 50 crore. Representatives of Marks and Spencer, Cannon, Shaktibhog Atta, Walmart and Dabur also held one to one meetings with me and all sounded very upbeat about investing in Punjab. Walmart representatives said there was scope of opening a dozen more Walmart stores in Punjab as the company's stores in Punjab had the best sales.
Looking forward to a really Progressive Punjab!!!
The solar panel and antennae on the summit of Emory Peak. I assume these are for the park's radio network. The false summit has more cells and antennae, along with an anemometer and what seems to be other instruments.
You can see the Chisos Basin development center below - lodge, restaurant, store, post office, campground, utility buildings, and such.
a bit lopsided - that's what happens when you prepare you pictures on bouncy train....Around March 2014. Argyll Street. London.
Babies' Development in the Second Year: 12 to 15 Months....http://www.secretsofbabybehavior.com/2010/06/babies-development-in-second-year-12-to.html
A self portrait taken with the brownie.
Taken with a Baby Brownie Special. I took and empty 127 reel and the paper backing from the last 127 roll I shot and re-rolled 35mm film onto the reel. I taped the leader at the beginning and stuck the whole thing in my changing bag. I then carefully pulled the film out of the 35mm cassette as I rolled the 127 backing onto a reel.
Developed in Rodinal 1:100-ish stand development.
HafenCity Hamburg
HafenCity is being developed from west to east and from north to south – 62 projects are completed in 2017 and another 70 are under construction or in the planning stage; deals through sale of land or exclusive options have been closed on around 1.65 million sqm GFA. In the meantime, HafenCity has established its popularity as a place to live and work. Nowadays more than 1,800 residential units are completed approx. 12,000 people work in HafenCity as a whole, employed by more than 730 companies
HafenCity is among the most outstanding urban development projects on the waterfront anywhere. Based on a sophisticated concept, it is expanding the area of Hamburg City by 40 percent. It also has spin-off effects for the existing city centre, the whole of the Hanseatic city state with its 1.8 million inhabitants and its surrounding metropolitan region with a population of some five million. Hamburg’s identity as a maritime port city will be underscored in the process and HafenCity itself serve as a blueprint for the development of the European city of the 21st century. It is already regarded as a model for major international urban development projects, although its development timescale continues through to 2025/30.
In 2009, Am Sandtorkai/Dalmannkai led the way as the first completed neighbourhood in HafenCity’s development. The beginning of 2017 saw the opening of Hamburg’s outstanding and internationally applauded new Elbphilharmonie Concert Hall, designed by Herzog & de Meuron, which sits atop the historic Kaispeicher A warehouse building. The new Hamburg landmark accommodates two concert auditoria, a five-star hotel and around 45 apartments. Close by, completion of the second large neighbourhood, Am Sandtorpark/Grasbrook, popular with many young families, followed at the beginning of 2011. The first primary school with kindergarten opened here in 2009, followed in 2013 by the popular Grasbrook park – primary school children were also involved in its design. Meanwhile, on Strandkai to the south, the first buildings completed there in 2009, Unilever headquarters and the Marco Polo Tower, an ensemble of office building and residential multi-storey, won multiple awards. At the same time, the first open spaces directly adjoining the River Elbe were opened up.
Glass elephant. Mamiya RB67, Mamiya-Sekor 127 mm, f5,6 , 1/125, Rollei Retro 400S, R09 1+100, 60 minutes stand development, Epson V700.
The ongoing construction in October 2015 of a new retail development which includes his excellency the messiah John Lewis together with an obligatory new cinema, shops and a sprinkling of luxury apartments at Bond Street in the City of Chelmsford in Essex (UK).
www.bondstreetchelmsford.co.uk/
Photography courtesy of my regular photostream contributor David and is posted here with very kind permission.
© Tan Bing Dun 2013
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Dry tendril. 8 September 2005. Old Woman Creek.
Old Woman Creek is the smallest reserve in the National Estuarine Research System. It is also the only Great Lakes-type, freshwater estuary in the system. The reserve features freshwater marshes, swamp forests, a barrier beach, upland forest, estuarine waters, stream and nearshore Lake Erie.