shot executed by pinhole Auloma Superpanorama 6x17, Filter auloma ND4, negative scanned by Canon EOS 1100D, 120 film Kodak ektar 100

This time - "Making an Entrance!" www.maryannroy.wordpress.com

Viewed from the north side and the west of the altar cross on the high altar at Coventry Cathedral. It was executed by Geoffrey Clarke, who was also one of the trio of students at the Royal College of Art who executed the enormous stained glass panels in the nave. The altar cross contains the original Cross of Nails, made from nails found in the rubble of the original Cathedral after it was bombed.

 

Behind it are Spence’s plain glass windows for lighting the sanctuary, which to me are reminiscent of Le Corbusier’s at Notre-Dame du Haut, although Spence’s pattern is much more regular.

 

The extreme right of Graham Sutherland’s monumental tapestry, the larest in the world, is just visible.

 

More prominent are the pipes of the Cathedral Organ, located on both sides of the sanctuary. Organ building finally began in 1959 by Harrison and Harrison of Durham. The 1950s were a time of revolutionary ideas and counterrevolutionary backlashes in the organ world, which delayed the start of construction. An integral part of the cathedral’s design, the pipes were designed for visual aesthetics as well as musical quality.

 

Just occasionally people tell me they don’t like Coventry Cathedral. I couldn’t disagree more; a powerful symbol of Resurrection, restored to a very different life barely twenty years after being destroyed in the Blitz on 14 November 1940. The Modernist Cathedral of St Michael of the 20th Century both surrounded by and incomprehensible without the ruins of 14th Century building that surrounds it.

 

Coventry Cathedral incarnates the twin and interconnected British revivals of the two decades after the end of the Second World War – a revival of high culture and a revival of Christian faith. Basil Spence’s cathedral housing Jacob Epstein’s sculptures, John Piper’s massive arrangements of stained glass into windows, and Graham Sutherland’s tapestry, still in 2021 the largest in the world, represent collectively a totemic achievement in modernist visual arts and architecture.

 

The brief for the competition to select the architect of the new Cathedral demanded that the design emphasise the celebration of the Eucharist; Spence himself had a further vision of the building as the repository of great modern works of art. He described his building as “a plain jewel casket”. Piper’s windows cast shafts of colour into the heart of the nave, while the plain glass West Screen, which faces to the geographical south, allows much natural light into the building, essential given that the east end is entirely filled with Graham Sutherland’s great tapestry, still the largest in the world at 22 metres tall by 12 metres wide.

 

Coventry Cathedral was built to a tight budget – “not more than £985,000” – and making much use of reinforced concrete, the new cathedral was constructed in just six years, between Queen Elizabeth II laying the foundation stone on 23 March 1956 and the dedication ceremony on 25 May 1962.

 

Could there have been a finer or more appropriate setting for the world première of Benjamin Britten’s War Requiem on 30 May 1962? On that night, the Cathedral’s great post-War religious theme was also incarnated in the three soloists: Peter Pears (Britten’s partner) from the host nation, Dietrich Fischer-Dieskau from Germany, Galina Vishnevskaya from the USSR, representing three belligerent nations. That tri-national partnership continues to be symbolised by the presence of a replica of the Stalingrad Madonna given by the Kaiser Wilhelm Memorial Church in Berlin, where the original hangs, with a second copy being in Kazan Cathedral in Volgograd.

 

A building that breathes with the presence of the Holy Spirit, giving new life the Church in every generation.

civilians turned in two of the deserters this morning... they were found guilty and sentenced to death... the sentence was carried out at 5pm this evening...

Ranald Bain, 5th of Clanranald, was tried in the presence of the king and executed for an unrecorded crime at Perth in 1509.

 

His son Dougall Macdonald, 6th of Clanranald, due to his cruelty towards his own clansfolk, was assassinated in 1520 by members of his own clan and his sons were excluded from the succession of the chiefship. On his death the leadership of the clan transferred to his uncle, Alexander, son of Allan, 4th of Clanranald. With the exclusion of Dougalls heirs, Ranald Gallda, son of Allan, 4th of Clanranald, became the nearest male heir to the chiefship.

 

Alexander, 7th of Clanranald lead the clan until his death, sometime before 1530.

 

The 8th Captain of Clanranald was John Moidartach, his father's natural son (although he was later legitimised). His chiefship was disputed by his (legitimate) uncle, Ranald Galda, who was supported in his claim for the captaincy by Lord Lovat (who was Ranald Galda's maternal uncle), together with the Grants and the Gordons. Under the leadership of the Earl of Huntly, who although not directly involved in the dispute, was Lieutenant of the North, Ranald Galda and his allies were able to take possession of Castle Tioram. The numerically inferior Macdonalds however remained undefeated and after the Earl of Huntly withdrew back to the east, they ambushed and defeated the Frasers at the Battle of Blàr-nan-Léine (Battle of the Shirts) in 1544, in which Lord Lovat and his heir were both killed. By the time Huntly returned to Lochaber to avenge his allies, the Macdonalds had plundered the lands of their enemies and then fled out here to the safety of the Outer Isles. Alexander died in 1584 and was succeeded by his eldest son, Allan.

 

In 1588, Allan, 9th of Clanranald quarreled with Alexander Macdonald of Keppoch and killed Keppoch's brother. Allan was never pardoned for the murder and never received any charters from the crown for his lands, yet he possessed them undisturbed for the duration of his life. Allan married a daughter of Alasdair Crotach and his ill treatment of her was the cause of violent feuds between the Macdonalds of Clanranald and the Macleods. It is believed that Allan, who died in 1593 and was succeeded by his eldest surviving son Angus, built an earlier castle here at Ormacleit, some parts of which may remain within the current ruins.

 

Angus, 10th of Clanranald, was killed shortly after taking over from his father and was succeeded by his brother Donald. Donald was knighted at Holyrood by James VI, in 1617. He died at Castle Tioram in 1618 and was succeeded by his son John.

Shot executed by pinhole camera Auloma Panorama 6x12, film Bergger pancro 400, scan by canon dslr, to kow nore visit www.auloma.com

The political maneuvering executed by a weapons company such as Arch Heavy Industries was not without cost, even for a company founded in Hutt space where the influence of Empires and Republics held less sway. As it grew in reputation and size, the need to remain agile in anticipating the shifting currents of power required massive costs, both in research and development as well as more underhanded investments. Bribes, assassins, spies, bureaucrats, and mercenaries.

 

These costs were subsidized through more stable means of income. Some from investments, some from old fashioned criminal endeavors as AHI found itself needing to act as its own crime family on its native Nar Shaddaa. But its most successful would be another arms company. Officially, GreebleTech was an independent corporation founded on Rodia as an outfitter for non-Rodian species adventuring in the jungles. It would be where AHI would launch its less ambitious, more conservative designs - products aimed at lower income brackets (thugs, farmers, low budget security). Items with less risk, high margins. It also served as a means to offload designs and technology from projects which failed or were cancelled as a way of regaining capital.

 

This is most clearly seen in the example of GreebleTech's best selling product: the BC-62. After AHI had reverse engineered the Imperial E-11, it spun of several projects to explore what could be leveraged. From efforts to adapt the E-11s into other roles, efforts to strip them down into something cheaper or more rugged. These would eventually culminate in the AHI BH22. One project simply attempted to measure the maximum potential of the E-11; what would be possible with the best materials, the highest quality manufacturing practices, with the design refined to the tightest tolerances to be as effecient as possible. The result was prohibitively expensive and would require ridiculous amounts of fine tuning to complete barring it from viability, but the techniques perfected and technologies learned from this project would form the template for the BC-62: A robust carbine, heavier and sturdier than an E-11, shorter and lighter than A280 blaster rifle, it was the definition of versatile.

 

The BC-62 was well rounded, specializing or excelling in nothing while also failing at surprisingly little. It was expensive, but worth the price as a one-size-fits-all weapon. It became a favorite for those who had to earn their livelihood by the blaster. This allowed it to be marketed to professional bounty hunters, corporate police special units, and even royal honor guards of various planets. Weapons like the BC-62 brought in a stable steady income to fund AHI's more volatile research while avoiding the political spotlight of its parent company.

Again for model year 1963 minor restyled details were executed by Brooks Stevens (1911-1995) like a renewed grille and dashboard. Stevens also used thinner upper door frames to improve the visibility. More striking was the elimination of the outdated semi-panoramic windshield. All these measures gave the Lark a more modern look.

Despite all affords and the good reputation and reliability of Studebaker, and the fact that the Lark was relatively cheap (special the V8 versions), sales went down year by year.

 

You can find a very interesting article about the history of the Lark here: www.indieauto.org/2021/04/16/1964-studebaker-brooks-steve...

 

4739 cc V8 engine (was shared with Hawk GT and Avanti).

C. 1350 kg.

Production Studebaker Lark series: 1959-1966.

Production Studebaker Lark 2nd generation: Autumn 1961-1963.

Production Studebaker Lark Six and Eight this version: Autumn 1962-1963.

 

Picture was taken from:

Cars of the Sizzling '60s, a Decade of Great Rides and Good Vibrations, by the Auto Editors of Consumer Guide, Publications International LTD, Lincolnwood, 1997.

Original photographer, place and date unknown.

Book collection Sander Toonen (1998).

 

Halfweg, July 10, 2024.

 

© 2024 Sander Toonen, Halfweg | All Rights Reserved

See more photos of this, and the Wikipedia article.

 

Details, quoting from Smithsonian National Air and Space Museum | Lockheed P-38J-10-LO Lightning

 

In the P-38 Lockheed engineer Clarence "Kelly" Johnson and his team of designers created one of the most successful twin-engine fighters ever flown by any nation. From 1942 to 1945, U. S. Army Air Forces pilots flew P-38s over Europe, the Mediterranean, and the Pacific, and from the frozen Aleutian Islands to the sun-baked deserts of North Africa. Lightning pilots in the Pacific theater downed more Japanese aircraft than pilots flying any other Allied warplane.

 

Maj. Richard I. Bong, America's leading fighter ace, flew this P-38J-10-LO on April 16, 1945, at Wright Field, Ohio, to evaluate an experimental method of interconnecting the movement of the throttle and propeller control levers. However, his right engine exploded in flight before he could conduct the experiment.

 

Transferred from the United States Air Force.

 

Manufacturer:

Lockheed Aircraft Company

 

Date:

1943

 

Country of Origin:

United States of America

 

Dimensions:

Overall: 390 x 1170cm, 6345kg, 1580cm (12ft 9 9/16in. x 38ft 4 5/8in., 13988.2lb., 51ft 10 1/16in.)

 

Materials:

All-metal

 

Physical Description:

Twin-tail boom and twin-engine fighter; tricycle landing gear.

 

Long Description:

From 1942 to 1945, the thunder of P-38 Lightnings was heard around the world. U. S. Army pilots flew the P-38 over Europe, the Mediterranean, and the Pacific; from the frozen Aleutian Islands to the sun-baked deserts of North Africa. Measured by success in combat, Lockheed engineer Clarence "Kelly" Johnson and a team of designers created the most successful twin-engine fighter ever flown by any nation. In the Pacific Theater, Lightning pilots downed more Japanese aircraft than pilots flying any other Army Air Forces warplane.

 

Johnson and his team conceived this twin-engine, single-pilot fighter airplane in 1936 and the Army Air Corps authorized the firm to build it in June 1937. Lockheed finished constructing the prototype XP-38 and delivered it to the Air Corps on New Year's Day, 1939. Air Corps test pilot and P-38 project officer, Lt. Benjamin S. Kelsey, first flew the aircraft on January 27. Losing this prototype in a crash at Mitchel Field, New York, with Kelsey at the controls, did not deter the Air Corps from ordering 13 YP-38s for service testing on April 27. Kelsey survived the crash and remained an important part of the Lightning program. Before the airplane could be declared ready for combat, Lockheed had to block the effects of high-speed aerodynamic compressibility and tail buffeting, and solve other problems discovered during the service tests.

 

The most vexing difficulty was the loss of control in a dive caused by aerodynamic compressibility. During late spring 1941, Air Corps Major Signa A. Gilke encountered serious trouble while diving his Lightning at high-speed from an altitude of 9,120 m (30,000 ft). When he reached an indicated airspeed of about 515 kph (320 mph), the airplane's tail began to shake violently and the nose dropped until the dive was almost vertical. Signa recovered and landed safely and the tail buffet problem was soon resolved after Lockheed installed new fillets to improve airflow where the cockpit gondola joined the wing center section. Seventeen months passed before engineers began to determine what caused the Lightning's nose to drop. They tested a scale model P-38 in the Ames Laboratory wind tunnel operated by the NACA (National Advisory Committee for Aeronautics) and found that shock waves formed when airflow over the wing leading edges reached transonic speeds. The nose drop and loss of control was never fully remedied but Lockheed installed dive recovery flaps under each wing in 1944. These devices slowed the P-38 enough to allow the pilot to maintain control when diving at high-speed.

 

Just as the development of the North American P-51 Mustang, Republic P-47 Thunderbolt, and the Vought F4U Corsair (see NASM collection for these aircraft) pushed the limits of aircraft performance into unexplored territory, so too did P-38 development. The type of aircraft envisioned by the Lockheed design team and Air Corps strategists in 1937 did not appear until June 1944. This protracted shakedown period mirrors the tribulations suffered by Vought in sorting out the many technical problems that kept F4U Corsairs off U. S. Navy carrier decks until the end of 1944.

 

Lockheed's efforts to trouble-shoot various problems with the design also delayed high-rate, mass production. When Japan attacked Pearl Harbor, the company had delivered only 69 Lightnings to the Army. Production steadily increased and at its peak in 1944, 22 sub-contractors built various Lightning components and shipped them to Burbank, California, for final assembly. Consolidated-Vultee (Convair) subcontracted to build the wing center section and the firm later became prime manufacturer for 2,000 P-38Ls but that company's Nashville plant completed only 113 examples of this Lightning model before war's end. Lockheed and Convair finished 10,038 P-38 aircraft including 500 photo-reconnaissance models. They built more L models, 3,923, than any other version.

 

To ease control and improve stability, particularly at low speeds, Lockheed equipped all Lightnings, except a batch ordered by Britain, with propellers that counter-rotated. The propeller to the pilot's left turned counter-clockwise and the propeller to his right turned clockwise, so that one propeller countered the torque and airflow effects generated by the other. The airplane also performed well at high speeds and the definitive P-38L model could make better than 676 kph (420 mph) between 7,600 and 9,120 m (25,000 and 30,000 ft). The design was versatile enough to carry various combinations of bombs, air-to-ground rockets, and external fuel tanks. The multi-engine configuration reduced the Lightning loss-rate to anti-aircraft gunfire during ground attack missions. Single-engine airplanes equipped with power plants cooled by pressurized liquid, such as the North American P-51 Mustang (see NASM collection), were particularly vulnerable. Even a small nick in one coolant line could cause the engine to seize in a matter of minutes.

 

The first P-38s to reach the Pacific combat theater arrived on April 4, 1942, when a version of the Lightning that carried reconnaissance cameras (designated the F-4), joined the 8th Photographic Squadron based in Australia. This unit launched the first P-38 combat missions over New Guinea and New Britain during April. By May 29, the first 25 P-38s had arrived in Anchorage, Alaska. On August 9, pilots of the 343rd Fighter Group, Eleventh Air Force, flying the P-38E, shot down a pair of Japanese flying boats.

 

Back in the United States, Army Air Forces leaders tried to control a rumor that Lightnings killed their own pilots. On August 10, 1942, Col. Arthur I. Ennis, Chief of U. S. Army Air Forces Public Relations in Washington, told a fellow officer "… Here's what the 4th Fighter [training] Command is up against… common rumor out there that the whole West Coast was filled with headless bodies of men who jumped out of P-38s and had their heads cut off by the propellers." Novice Lightning pilots unfamiliar with the correct bailout procedures actually had more to fear from the twin-boom tail, if an emergency dictated taking to the parachute but properly executed, Lightning bailouts were as safe as parachuting from any other high-performance fighter of the day. Misinformation and wild speculation about many new aircraft was rampant during the early War period.

 

Along with U. S. Navy Grumman F4F Wildcats (see NASM collection) and Curtiss P-40 Warhawks (see NASM collection), Lightnings were the first American fighter airplanes capable of consistently defeating Japanese fighter aircraft. On November 18, men of the 339th Fighter Squadron became the first Lightning pilots to attack Japanese fighters. Flying from Henderson Field on Guadalcanal, they claimed three during a mission to escort Boeing B-17 Flying Fortress bombers (see NASM collection).

 

On April 18, 1943, fourteen P-38 pilots from the 70th and the 339th Fighter Squadrons, 347th Fighter Group, accomplished one of the most important Lightning missions of the war. American ULTRA cryptanalysts had decoded Japanese messages that revealed the timetable for a visit to the front by the commander of the Imperial Japanese Navy, Admiral Isoroku Yamamoto. This charismatic leader had crafted the plan to attack Pearl Harbor and Allied strategists believed his loss would severely cripple Japanese morale. The P-38 pilots flew 700 km (435 miles) at heights from 3-15 m (10-50 feet) above the ocean to avoid detection. Over the coast of Bougainville, they intercepted a formation of two Mitsubishi G4M BETTY bombers (see NASM collection) carrying the Admiral and his staff, and six Mitsubishi A6M Zero fighters (see NASM collection) providing escort. The Lightning pilots downed both bombers but lost Lt. Ray Hine to a Zero.

 

In Europe, the first Americans to down a Luftwaffe aircraft were Lt. Elza E. Shahan flying a 27th Fighter Squadron P-38E, and Lt. J. K. Shaffer flying a Curtiss P-40 (see NASM collection) in the 33rd Fighter Squadron. The two flyers shared the destruction of a Focke-Wulf Fw 200C-3 Condor maritime strike aircraft over Iceland on August 14, 1942. Later that month, the 1st fighter group accepted Lightnings and began combat operations from bases in England but this unit soon moved to fight in North Africa. More than a year passed before the P-38 reappeared over Western Europe. While the Lightning was absent, U. S. Army Air Forces strategists had relearned a painful lesson: unescorted bombers cannot operate successfully in the face of determined opposition from enemy fighters. When P-38s returned to England, the primary mission had become long-range bomber escort at ranges of about 805 kms (500 miles) and at altitudes above 6,080 m (20,000 ft).

 

On October 15, 1943, P-38H pilots in the 55th Fighter Group flew their first combat mission over Europe at a time when the need for long-range escorts was acute. Just the day before, German fighter pilots had destroyed 60 of 291 Eighth Air Force B-17 Flying Fortresses (see NASM collection) during a mission to bomb five ball-bearing plants at Schweinfurt, Germany. No air force could sustain a loss-rate of nearly 20 percent for more than a few missions but these targets lay well beyond the range of available escort fighters (Republic P-47 Thunderbolt, see NASM collection). American war planners hoped the long-range capabilities of the P-38 Lightning could halt this deadly trend, but the very high and very cold environment peculiar to the European air war caused severe power plant and cockpit heating difficulties for the Lightning pilots. The long-range escort problem was not completely solved until the North American P-51 Mustang (see NASM collection) began to arrive in large numbers early in 1944.

 

Poor cockpit heating in the H and J model Lightnings made flying and fighting at altitudes that frequently approached 12,320 m (40,000 ft) nearly impossible. This was a fundamental design flaw that Kelly Johnson and his team never anticipated when they designed the airplane six years earlier. In his seminal work on the Allison V-1710 engine, Daniel Whitney analyzed in detail other factors that made the P-38 a disappointing airplane in combat over Western Europe.

 

• Many new and inexperienced pilots arrived in England during December 1943, along with the new J model P-38 Lightning.

 

• J model rated at 1,600 horsepower vs. 1,425 for earlier H model Lightnings. This power setting required better maintenance between flights. It appears this work was not done in many cases.

 

• During stateside training, Lightning pilots were taught to fly at high rpm settings and low engine manifold pressure during cruise flight. This was very hard on the engines, and not in keeping with technical directives issued by Allison and Lockheed.

 

• The quality of fuel in England may have been poor, TEL (tetraethyl lead) fuel additive appeared to condense inside engine induction manifolds, causing detonation (destructive explosion of fuel mixture rather than controlled burning).

 

• Improved turbo supercharger intercoolers appeared on the J model P-38. These devices greatly reduced manifold temperatures but this encouraged TEL condensation in manifolds during cruise flight and increased spark plug fouling.

 

Using water injection to minimize detonation might have reduced these engine problems. Both the Republic P-47 Thunderbolt and the North American P-51 Mustang (see NASM collection) were fitted with water injection systems but not the P-38. Lightning pilots continued to fly, despite these handicaps.

 

During November 1942, two all-Lightning fighter groups, the 1st and the 14th, began operating in North Africa. In the Mediterranean Theater, P-38 pilots flew more sorties than Allied pilots flying any other type of fighter. They claimed 608 enemy a/c destroyed in the air, 123 probably destroyed and 343 damaged, against the loss of 131 Lightnings.

 

In the war against Japan, the P-38 truly excelled. Combat rarely occurred above 6,080 m (20,000 ft) and the engine and cockpit comfort problems common in Europe never plagued pilots in the Pacific Theater. The Lightning's excellent range was used to full advantage above the vast expanses of water. In early 1945, Lightning pilots of the 12th Fighter Squadron, 18th Fighter Group, flew a mission that lasted 10 ½ hours and covered more than 3,220 km (2,000 miles). In August, P-38 pilots established the world's long-distance record for a World War II combat fighter when they flew from the Philippines to the Netherlands East Indies, a distance of 3,703 km (2,300 miles). During early 1944, Lightning pilots in the 475th Fighter Group began the 'race of aces.' By March, Lieutenant Colonel Thomas J. Lynch had scored 21 victories before he fell to antiaircraft gunfire while strafing enemy ships. Major Thomas B. McGuire downed 38 Japanese aircraft before he was killed when his P-38 crashed at low altitude in early January 1945. Major Richard I. Bong became America's highest scoring fighter ace (40 victories) but died in the crash of a Lockheed P-80 (see NASM collection) on August 6, 1945.

 

Museum records show that Lockheed assigned the construction number 422-2273 to the National Air and Space Museum's P-38. The Army Air Forces accepted this Lightning as a P-38J-l0-LO on November 6, 1943, and the service identified the airplane with the serial number 42-67762. Recent investigations conducted by a team of specialists at the Paul E. Garber Facility, and Herb Brownstein, a volunteer in the Aeronautics Division at the National Air and Space Museum, have revealed many hitherto unknown aspects to the history of this aircraft.

 

Brownstein examined NASM files and documents at the National Archives. He discovered that a few days after the Army Air Forces (AAF) accepted this airplane, the Engineering Division at Wright Field in Dayton, Ohio, granted Lockheed permission to convert this P-38 into a two-seat trainer. The firm added a seat behind the pilot to accommodate an instructor who would train civilian pilots in instrument flying techniques. Once trained, these test pilots evaluated new Lightnings fresh off the assembly line.

 

In a teletype sent by the Engineering Division on March 2, 1944, Brownstein also discovered that this P-38 was released to Colonel Benjamin S. Kelsey from March 3 to April 10, 1944, to conduct special tests. This action was confirmed the following day in a cable from the War Department. This same pilot, then a Lieutenant, flew the XP-38 across the United States in 1939 and survived the crash that destroyed this Lightning at Mitchel Field, New York. In early 1944, Kelsey was assigned to the Eighth Air Force in England and he apparently traveled to the Lockheed factory at Burbank to pick up the P-38. Further information about these tests and Kelsey's involvement remain an intriguing question.

 

One of Brownstein's most important discoveries was a small file rich with information about the NASM Lightning. This file contained a cryptic reference to a "Major Bong" who flew the NASM P-38 on April 16, 1945, at Wright Field. Bong had planned to fly for an hour to evaluate an experimental method of interconnecting the movement of the throttle and propeller control levers. His flight ended after twenty-minutes when "the right engine blew up before I had a chance [to conduct the test]." The curator at the Richard I. Bong Heritage Center confirmed that America's highest scoring ace made this flight in the NASM P-38 Lightning.

 

Working in Building 10 at the Paul E. Garber Facility, Rob Mawhinney, Dave Wilson, Wil Lee, Bob Weihrauch, Jim Purton, and Heather Hutton spent several months during the spring and summer of 2001 carefully disassembling, inspecting, and cleaning the NASM Lightning. They found every hardware modification consistent with a model J-25 airplane, not the model J-10 painted in the data block beneath the artifact's left nose. This fact dovetails perfectly with knowledge uncovered by Brownstein. On April 10, the Engineering Division again cabled Lockheed asking the company to prepare 42-67762 for transfer to Wright Field "in standard configuration." The standard P-38 configuration at that time was the P-38J-25. The work took several weeks and the fighter does not appear on Wright Field records until May 15, 1944. On June 9, the Flight Test Section at Wright Field released the fighter for flight trials aimed at collecting pilot comments on how the airplane handled.

 

Wright Field's Aeromedical Laboratory was the next organization involved with this P-38. That unit installed a kit on July 26 that probably measured the force required to move the control wheel left and right to actuate the power-boosted ailerons installed in all Lightnings beginning with version J-25. From August 12-16, the Power Plant Laboratory carried out tests to measure the hydraulic pump temperatures on this Lightning. Then beginning September 16 and lasting about ten days, the Bombing Branch, Armament Laboratory, tested type R-3 fragmentation bomb racks. The work appears to have ended early in December. On June 20, 1945, the AAF Aircraft Distribution Office asked that the Air Technical Service Command transfer the Lightning from Wright Field to Altus Air Force Base, Oklahoma, a temporary holding area for Air Force museum aircraft. The P-38 arrived at the Oklahoma City Air Depot on June 27, 1945, and mechanics prepared the fighter for flyable storage.

 

Airplane Flight Reports for this Lightning also describe the following activities and movements:

 

6-21-45 Wright Field, Ohio, 5.15 hours of flying.

6-22-45Wright Field, Ohio, .35 minutes of flying by Lt. Col. Wendel [?] J. Kelley and P. Shannon.

6-25-45Altus, Oklahoma, .55 hours flown, pilot P. Shannon.

6-27-45Altus, Oklahoma, #2 engine changed, 1.05 hours flown by Air Corps F/O Ralph F. Coady.

10-5-45 OCATSC-GCAAF (Garden City Army Air Field, Garden City, Kansas), guns removed and ballast added.

10-8-45Adams Field, Little Rock, Arkansas.

10-9-45Nashville, Tennessee,

5-28-46Freeman Field, Indiana, maintenance check by Air Corps Capt. H. M. Chadhowere [sp]?

7-24-46Freeman Field, Indiana, 1 hour local flight by 1st Lt. Charles C. Heckel.

7-31-46 Freeman Field, Indiana, 4120th AAF Base Unit, ferry flight to Orchard Place [Illinois] by 1st Lt. Charles C. Heckel.

 

On August 5, 1946, the AAF moved the aircraft to another storage site at the former Consolidated B-24 bomber assembly plant at Park Ridge, Illinois. A short time later, the AAF transferred custody of the Lightning and more than sixty other World War II-era airplanes to the Smithsonian National Air Museum. During the early 1950s, the Air Force moved these airplanes from Park Ridge to the Smithsonian storage site at Suitland, Maryland.

 

• • •

 

Quoting from Wikipedia | Lockheed P-38 Lightning:

 

The Lockheed P-38 Lightning was a World War II American fighter aircraft built by Lockheed. Developed to a United States Army Air Corps requirement, the P-38 had distinctive twin booms and a single, central nacelle containing the cockpit and armament. Named "fork-tailed devil" by the Luftwaffe and "two planes, one pilot" by the Japanese, the P-38 was used in a number of roles, including dive bombing, level bombing, ground-attack, photo reconnaissance missions, and extensively as a long-range escort fighter when equipped with drop tanks under its wings.

 

The P-38 was used most successfully in the Pacific Theater of Operations and the China-Burma-India Theater of Operations as the mount of America's top aces, Richard Bong (40 victories) and Thomas McGuire (38 victories). In the South West Pacific theater, the P-38 was the primary long-range fighter of United States Army Air Forces until the appearance of large numbers of P-51D Mustangs toward the end of the war. The P-38 was unusually quiet for a fighter, the exhaust muffled by the turbo-superchargers. It was extremely forgiving, and could be mishandled in many ways, but the rate of roll was too slow for it to excel as a dogfighter. The P-38 was the only American fighter aircraft in production throughout American involvement in the war, from Pearl Harbor to Victory over Japan Day.

 

Variants: Lightning in maturity: P-38J

 

The P-38J was introduced in August 1943. The turbo-supercharger intercooler system on previous variants had been housed in the leading edges of the wings and had proven vulnerable to combat damage and could burst if the wrong series of controls were mistakenly activated. In the P-38J model, the streamlined engine nacelles of previous Lightnings were changed to fit the intercooler radiator between the oil coolers, forming a "chin" that visually distinguished the J model from its predecessors. While the P-38J used the same V-1710-89/91 engines as the H model, the new core-type intercooler more efficiently lowered intake manifold temperatures and permitted a substantial increase in rated power. The leading edge of the outer wing was fitted with 55 gal (208 l) fuel tanks, filling the space formerly occupied by intercooler tunnels, but these were omitted on early P-38J blocks due to limited availability.

 

The final 210 J models, designated P-38J-25-LO, alleviated the compressibility problem through the addition of a set of electrically-actuated dive recovery flaps just outboard of the engines on the bottom centerline of the wings. With these improvements, a USAAF pilot reported a dive speed of almost 600 mph (970 km/h), although the indicated air speed was later corrected for compressibility error, and the actual dive speed was lower. Lockheed manufactured over 200 retrofit modification kits to be installed on P-38J-10-LO and J-20-LO already in Europe, but the USAAF C-54 carrying them was shot down by an RAF pilot who mistook the Douglas transport for a German Focke-Wulf Condor. Unfortunately the loss of the kits came during Lockheed test pilot Tony LeVier's four-month morale-boosting tour of P-38 bases. Flying a new Lightning named "Snafuperman" modified to full P-38J-25-LO specs at Lockheed's modification center near Belfast, LeVier captured the pilots' full attention by routinely performing maneuvers during March 1944 that common Eighth Air Force wisdom held to be suicidal. It proved too little too late because the decision had already been made to re-equip with Mustangs.

 

The P-38J-25-LO production block also introduced hydraulically-boosted ailerons, one of the first times such a system was fitted to a fighter. This significantly improved the Lightning's rate of roll and reduced control forces for the pilot. This production block and the following P-38L model are considered the definitive Lightnings, and Lockheed ramped up production, working with subcontractors across the country to produce hundreds of Lightnings each month.

 

Noted P-38 pilots

 

Richard Bong and Thomas McGuire

 

The American ace of aces and his closest competitor both flew Lightnings as they tallied 40 and 38 victories respectively. Majors Richard I. "Dick" Bong and Thomas J. "Tommy" McGuire of the USAAF competed for the top position. Both men were awarded the Medal of Honor.

 

McGuire was killed in air combat in January 1945 over the Philippines, after racking up 38 confirmed kills, making him the second-ranking American ace. Bong was rotated back to the United States as America's ace of aces, after making 40 kills, becoming a test pilot. He was killed on 6 August 1945, the day the atomic bomb was dropped on Japan, when his P-80 Shooting Star jet fighter flamed out on takeoff.

 

Charles Lindbergh

 

The famed aviator Charles Lindbergh toured the South Pacific as a civilian contractor for United Aircraft Corporation, comparing and evaluating performance of single- and twin-engined fighters for Vought. He worked to improve range and load limits of the F4U Corsair, flying both routine and combat strafing missions in Corsairs alongside Marine pilots. In Hollandia, he attached himself to the 475th FG flying P-38s so that he could investigate the twin-engine fighter. Though new to the machine, he was instrumental in extending the range of the P-38 through improved throttle settings, or engine-leaning techniques, notably by reducing engine speed to 1,600 rpm, setting the carburetors for auto-lean and flying at 185 mph (298 km/h) indicated airspeed which reduced fuel consumption to 70 gal/h, about 2.6 mpg. This combination of settings had been considered dangerous; it was thought it would upset the fuel mixture and cause an explosion. Everywhere Lindbergh went in the South Pacific, he was accorded the normal preferential treatment of a visiting colonel, though he had resigned his Air Corps Reserve colonel's commission three years before. While with the 475th, he held training classes and took part in a number of Army Air Corps combat missions. On 28 July 1944, Lindbergh shot down a Mitsubishi Ki-51 "Sonia" flown expertly by the veteran commander of 73rd Independent Flying Chutai, Imperial Japanese Army Captain Saburo Shimada. In an extended, twisting dogfight in which many of the participants ran out of ammunition, Shimada turned his aircraft directly toward Lindbergh who was just approaching the combat area. Lindbergh fired in a defensive reaction brought on by Shimada's apparent head-on ramming attack. Hit by cannon and machine gun fire, the "Sonia's" propeller visibly slowed, but Shimada held his course. Lindbergh pulled up at the last moment to avoid collision as the damaged "Sonia" went into a steep dive, hit the ocean and sank. Lindbergh's wingman, ace Joseph E. "Fishkiller" Miller, Jr., had also scored hits on the "Sonia" after it had begun its fatal dive, but Miller was certain the kill credit was Lindbergh's. The unofficial kill was not entered in the 475th's war record. On 12 August 1944 Lindbergh left Hollandia to return to the United States.

 

Charles MacDonald

 

The seventh-ranking American ace, Charles H. MacDonald, flew a Lightning against the Japanese, scoring 27 kills in his famous aircraft, the Putt Putt Maru.

 

Robin Olds

 

Main article: Robin Olds

 

Robin Olds was the last P-38 ace in the Eighth Air Force and the last in the ETO. Flying a P-38J, he downed five German fighters on two separate missions over France and Germany. He subsequently transitioned to P-51s to make seven more kills. After World War II, he flew F-4 Phantom IIs in Vietnam, ending his career as brigadier general with 16 kills.

 

Clay Tice

 

A P-38 piloted by Clay Tice was the first American aircraft to land in Japan after VJ-Day, when he and his wingman set down on Nitagahara because his wingman was low on fuel.

 

Antoine de Saint-Exupéry

 

Noted aviation pioneer and writer Antoine de Saint-Exupéry vanished in a F-5B-1-LO, 42-68223, c/n 2734, of Groupe de Chasse II/33, out of Borgo-Porreta, Bastia, Corsica, a reconnaissance variant of the P-38, while on a flight over the Mediterranean, from Corsica to mainland France, on 31 July 1944. His health, both physical and mental (he was said to be intermittently subject to depression), had been deteriorating and there had been talk of taking him off flight status. There have been suggestions (although no proof to date) that this was a suicide rather than an aircraft failure or combat loss. In 2000, a French scuba diver found the wreckage of a Lightning in the Mediterranean off the coast of Marseille, and it was confirmed in April 2004 as Saint-Exupéry's F-5B. No evidence of air combat was found. In March 2008, a former Luftwaffe pilot, Horst Rippert from Jagdgruppe 200, claimed to have shot down Saint-Exupéry.

 

Adrian Warburton

 

The RAF's legendary photo-recon "ace", Wing Commander Adrian Warburton DSO DFC, was the pilot of a Lockheed P-38 borrowed from the USAAF that took off on 12 April 1944 to photograph targets in Germany. W/C Warburton failed to arrive at the rendezvous point and was never seen again. In 2003, his remains were recovered in Germany from his wrecked USAAF P-38 Lightning.

 

• • • • •

 

Quoting Smithsonian National Air and Space Museum | Boeing B-29 Superfortress "Enola Gay":

 

Boeing's B-29 Superfortress was the most sophisticated propeller-driven bomber of World War II and the first bomber to house its crew in pressurized compartments. Although designed to fight in the European theater, the B-29 found its niche on the other side of the globe. In the Pacific, B-29s delivered a variety of aerial weapons: conventional bombs, incendiary bombs, mines, and two nuclear weapons.

 

On August 6, 1945, this Martin-built B-29-45-MO dropped the first atomic weapon used in combat on Hiroshima, Japan. Three days later, Bockscar (on display at the U.S. Air Force Museum near Dayton, Ohio) dropped a second atomic bomb on Nagasaki, Japan. Enola Gay flew as the advance weather reconnaissance aircraft that day. A third B-29, The Great Artiste, flew as an observation aircraft on both missions.

 

Transferred from the United States Air Force.

 

Manufacturer:

Boeing Aircraft Co.

Martin Co., Omaha, Nebr.

 

Date:

1945

 

Country of Origin:

United States of America

 

Dimensions:

Overall: 900 x 3020cm, 32580kg, 4300cm (29ft 6 5/16in. x 99ft 1in., 71825.9lb., 141ft 15/16in.)

 

Materials:

Polished overall aluminum finish

 

Physical Description:

Four-engine heavy bomber with semi-monoqoque fuselage and high-aspect ratio wings. Polished aluminum finish overall, standard late-World War II Army Air Forces insignia on wings and aft fuselage and serial number on vertical fin; 509th Composite Group markings painted in black; "Enola Gay" in black, block letters on lower left nose.

Two Orcas execute a double breech at Sea World in San Diego, where they are still called Killer Whales. These huge creatures are incredibly graceful and agile. I have actually seen this happen once in the wild, where two humpback whales in Glacier Bay, Alaska did the same thing. Unfortunately, I wasn't quick enough to get a shot of that one.

The whole lower section of the seating area is called "the splash zone," for very good reason. If you sit there, you will most certainly get wet, if not completely soaked!

1/1250 sec

174/365

  

need more time to execute ideas

ahhh

The Chicken Rock, the southernmost part of Manx territory, and its eponymous lighthouse.

 

The weather isn't always wonderful on Irish Sea crossings, nor are ship-to-shore photographs always easy to execute (many shots of bare sea and bare sky with a narrow ribbon of distant buildings blurred by the motion of the ship). So I was tickled to get such lovely conditions around the south-west corner of the Isle of Man on the Belfast to Birkenhead ferry on Tuesday. Lovely light from the ideal angle, interesting scenery, and an overhang of scuddy white clouds to give interest to the top space. I've never been on the Isle of Man before, but this made me want to visit!

 

The Calf of Man (Manx: Yn Cholloo) is a 20½ square kilometre (618-acre) island off the southwest coast of the Isle of Man, separated from it by a narrow stretch of water called the Calf Sound. It has only two seasonal inhabitants. The word 'calf' derives from the Old Norse word kalfr which means a small island lying near a larger one. It is possible to reach the Calf of Man by boat from both Port Erin and Port St Mary. It is now owned by Manx National Heritage. The island has been a bird observatory since 1959 and welcomes visits from volunteers and ornithologists. The Calf of Man and its offshore rocks have no fewer than four lighthouses: two lighthouses were built in 1818 by Robert Stevenson to warn mariners of the hazards of the Chicken Rocks off the south end of the Calf. These were replaced in 1875 by a lighthouse built on the Chicken Rocks themselves. In 1968, a third lighthouse was built on the Calf after a severe fire destroyed the Chicken Rocks light. The Chicken Rocks lighthouse was later rebuilt. There are two minor, unfenced roads on the island and two very short streams.

 

The Isle of Man (Manx: Ellan Vannin), is an island and self-governing British Crown Dependency in the Irish Sea between Great Britain and Ireland. With a population of 83,000 spread over 572 square kilometres, it is not part of the United Kingdom nor, before Brexit, was it part of the European Union, although the head of state is Queen Elizabeth II, who holds the title “Lord of Mann”. The United Kingdom is, however, responsible for the isle's military defence.

 

The Manx language is similar to Irish and Scots Gaelic and the Manx are a Celtic Nation. Often considered a traditionalist and indeed rather reactionary place, nonetheless in 1881, the Manx Parliament, Tynwald, became the first national legislative body in the world to give women the right to vote in a general election. Online gambling is a significant contributor to the island’s economy, as are insurance, information and communications technology, and banking.

 

With gorgeous scenery and status as a UNESCO biosphere preserve, the island is popular with tourists especially from Northern England and both parts of Ireland, with which it has good transport links.

Execute Order 66

 

Commander Bly decals by me.

Tomorrow I will upload a detail picture of Commander Bly :)

Join "Execute Order 66" Lego group !

"Supernatural" is a 1933 American horror film directed by Victor Halperin. The film is about Roma Courtenay (Carole Lombard), who attends a staged seance but finds herself suddenly possessed by the spirit of an executed murderess, Ruth Rogen.

 

The film was the followup to Halperin's White Zombie and uses many members of the crew from that film in its production. Trouble grew on the set between Carole Lombard and the director as Lombard felt she was more suited for comedy films. The film was not as financially successful as White Zombie on its initial release.

 

Plot

Ruth Rogen (Vivienne Osborne) is on death row for murdering three of her former lovers. Her fourth lover, phony psychic Paul Bavian (Alan Dinehart), betrayed her to the police. Dr. Carl Houston (H.B. Warner) believes the evil spirit of an executed murderer goes abroad to commit more crimes after death, and gets permission to experiment on Rogen's body after she is executed.

 

Meanwhile, heiress Roma Courtney (Carole Lombard) is contacted by Bavian, who says her dead brother, John, wants to send her a message. When Bavian's landlady threatens to expose him, he murders her with a ring that has a poisoned needle. Roma and her fiancé, Grant Wilson (Randolph Scott), attend a seance performed by Bavian. Bavian tricks Roma into believing her brother was murdered by Hammond (William Farnum), manager of the Courtney estate. Roma and Grant leave the seance, and stumble into Dr. Houston's lab. Houston is pumping the dead body full of electricity. Rogen's eyes open, and fixate on Roma. The shocked couple leave.

 

In an attempt to prove Bavian a fraud, Grant schedules a second seance at Roma's home. Once more, Bavian uses tricks to convince Roma that Hammond is a murderer. This seance ends in confusion, and Bavian uses his ring to kill Hammond. At that moment, Rogen's spirit enters Roma's body. The possessed Roma agrees to leave with Bavian on her yacht. Grant and Dr. Houston, aided by John's ghost, realize Roma is possessed and rush to the yacht. They arrive just in time to prevent Rogen/Roma from strangling Bavian and Bavian from killing Roma. Exposed, Bavian hangs himself and Rogen's spirit departs. John's spirit subtly urges the two to marry.

 

Cast

Carole Lombard as Roma Courtney

Alan Dinehart as Paul Bavian

Vivienne Osborne as Ruth Rogen

Randolph Scott as Grant Wilson

H. B. Warner as Dr. Carl Houston

Beryl Mercer as Madam Gourjan

William Farnum as Nick "Nicky" Hammond

Willard Robertson as Prison Warden

George Burr Macannan as Max Schmitt

Lyman Williams as Ghost of John Courtney

Production

Supernatural reunited the Halperin brothers with their crew they had on White Zombie. This included screenwriter Garnett Weston and cinematographer Arthur Martinelli. They also had Oliver Lodge aboard as a technical director. Madge Bellamy wrote in her autobiography that the Halperin Brothers tried to get her from Paramount Studios for the lead role, but the studio insisted on signing Carole Lombard from Fox Studios. According to Bellamy, Lombard resented her role in the film as "her forte was comedy."[1] Lombard's resentment towards the film often led to arguments on the set with Halperin.[1] The 1933 Long Beach earthquake hit while filming which caused the cast and crew to run from the studio set shrieking in fright.[2]

 

Release

Supernatural premiered at the New York Paramount on April 21, 1933.[3] It's one week at the theater grossed $23,300.[3] The film played at smaller theaters and even as a second film in a double feature.[3] The film was not as strong of a financial success as Halperin's previous film White Zombie.[4] The film premiered in Australia in July 1933 and in the United Kingdom on February 10, 1934.

 

From contemporary reviews, The New York Herald gave the film a positive review stating that the film "doesn't make a bit of sense, but it does supply a lot of unwitting fun." Newsweek praised the film's script, pacing and direction The New York Times praised the acting of Lombard and Dinehart as well as that the film "succeeds in awakening no little interest in its spooky doings." The Film Daily noted the script which was "not developed in a manner that makes for good entertainment". Variety referred to it negatively as a film that dies within the first half-hour.

 

In retrospective Kim Newman described the film as a "a fascinating mix of the bizarre and the conventional, affords Carole Lombard one of her strangest roles". Newman added that Randolph Scott was miscast, stating that he "stands around in a tux as Roma's dull love interest" Newman also commented on Garnett Weston's script that was "an idea more impressive in concept than the execution" and that it contained "too many drawing-room chats between more interesting low-life material."

Vince executes.

 

After dinner at Rendezous, an amazing local Memphis BBQ joint, Vince hooked us all up with a limo so we could go drink bourbon on the banks of the Mississippi. He negotiated the driver to $25 and a half rack of dry rub ribs for about an hour of slow cruising. It totally made the whole trip. Afterwards the mantra of the vacation was 'what would vince do?'

Revenge! The redcoats are executing their pirate prisoners, to avenge their fallen comrades. All seems lost for the pirates as the last three of the crew line up down range of the imperial muskets. In a last ditch effort Peg-leg Pasco kicks a banana peel under the foot of his executioner and jumps off the side of the building into the churning seas below. He begins swimming for land with one thought on his mind, Revenge!

 

Other than that, this is a normal day in the city filled with fishing, toads, drinking and much much more

A formation in executing the nearly extinct Gotipua Dance at our Durga Puja Cultural Festival of 2013 - of South Madras Cultural Association, Chennai, India.

  

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All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.

 

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Gotipua is a traditional dance form in the state of Orissa, India, and the precursor of Odissi classical dance. It has been performed in Orissa for centuries by young boys, who dress as women to praise Jagannath and Krishna. The dance is executed by a group of boys who perform acrobatic figures inspired by the life of Radha and Krishna. The boys begin to learn the dance at an early age until adolescence, when their androgynous appearance changes. In the Oriya language Gotipua, means "single boy" (goti-pua). Raghurajpur, Orissa (near Puri) is an historic village known for its Gotipua dance troupes.

 

To transform into graceful feminine dancers the boys do not cut their hair, instead styling it in a knot and weaving garlands of flowers into it. They make up their faces with mixed white and red powder. Kajal (black eyeliner) is broadly applied around the eyes to give them an elongated look. The bindi usually round, is applied to the forehead, surrounded with a pattern made from sandalwood. Traditional paintings adorn the face, which are unique to each dance school.

 

The costume has evolved over time. The traditional dress is a Kanchula, a brightly coloured blouse with shiny decorations. An apron-like, embroidered silk cloth (nibibandha) is tied around the waist like a ruffle and worn around the legs. Some dancers still adhere to tradition by wearing a pattasari: a piece of thin fabric about 4 metres (13 ft 1 in) long, worn tightly with equal lengths of material on both sides and a knot on the navel. However, this traditional dress is often replaced by a newly designed cloth which is easier to put on.

 

Dancers wear specially designed, beaded jewelry: necklaces, bracelets, armbands and ear ornaments. Nose-piercing jewelry has been replaced with a painted motif. Ankle bells are worn, to accentuate the beats tapped out by the feet. The palms of the hands and soles of the feet are painted with a red liquid known as alta. The costume, jewelry and bells are considered sacred.

 

Long ago, the temples in Orissa had female dancers known as devadasi (or mahari), who were devoted to Jagannath, which gave rise to Mahari dance. Sculptures of dancers on bas-reliefs in temples in Orissa (and the Konark Sun and Jagannath Temples in Puri) demonstrate this ancient tradition. With the decline of mahari dancers around the 16th century during the reign of Rama Chandra Dev (who founded the Bhoi dynasty), boy dancers in Orissa continued the tradition. Gotipua dance is in the Odissi style, but their technique, costumes and presentation differ from those of the mahari; the singing is done by the dancers. Present-day Odissi dance has been influenced by Gotipua dance. Most masters of Odissi dance (such as Kelucharan Mohapatra, from Raghurajpur) were Gotipua dancers in their youth.

 

Odissi dance is a combination of tandava (vigorous, masculine) and lasya (graceful, feminine) dances. It has two basic postures: tribhangi (in which the body is held with bends at the head, torso and knees) and chouka (a square-like stance, symbolizing Jagannath). Fluidity in the upper torso is characteristic of Odissi dance, which is often compared to the gentle sea waves which caress the Orissa beaches.

 

Each year, the Guru Kelucharan Mohapatra Odissi Research Centre organizes the Gotipua Dance Festival in Bhubaneswar.

 

Source : en.wikipedia.org/wiki/Gotipua

via Instagram ift.tt/2falCrU

For the Tranquility, Peace, and Safety of all the American people of Puerto Rico who were in harm's way and have been devastated by hurricane Irma....

 

May The Lord Of Hosts speedily show our government how to execute a complete Military Logistics Campaign for all urgently needed necessities of life for the people of American Puerto Rico.

 

Tehillim - Psalms - Chapter 20

 

When New Orleans was hit by a terrible hurricane, the President of United States at that time immediately appointed a general of the army to direct a major military logistical campaign to swiftly provide what was necessary to mitigate suffering and save lives.

 

That's what this president needs to do for millions of suffering American citizens. The Atlantic Ocean is no excuse for feeble and undirected inaction. This is just a normal military logistics operation for which we provide the money.

 

Please call your Senators and Representatives to demand that Congress does something immediately, without further delay.

 

These are the days of awe leading up to Yom Kippur, the Day of Atonement. Even the undefeatable Sandy Koufax didn't pitch on that holy baseball day!

 

Every human being on earth is written into and sealed in the book of life for the coming New Year.

 

May you be inscribed and sealed for a good, tranquil, peaceful, safe, productive, and satisfying New Year.

 

Keep in mind that each of us, regardless of religion or ethnicity or affiliation, will be held accountable in the new year if we say and do nothing!

No correspondence.

 

One of three photographs depicting Austro-Hungarians executing what appear to be Russian or Ukrainian peasants.

 

The military justification for the massacre of civilians was that many were “partisans” engaged in a guerrilla war against the invading forces. As early as 17 August 1914, the Austro-Hungarian general, Lothar von Hortstein, complained that it was impossible to send reconnaissance patrols into Serb territory because “all were killed by the rural people”.

 

"According to various sources, between 11,400 and 36,000 civilians were condemned to the gallows in the early months of the war already. Additional hangmen had to be recruited and trained by the authorities as early as 1914 in order to carry out the numerous death penalties. Oftentimes no particular event was needed to set in motion the martial law machine: a thoughtless comment, a flimsy suspicion or a hint dropped by an informer was mostly more than enough to ensure an innocent civilian swung from the gallows. Moreover, there were increasingly ‘wild’ executions occurring outside of the military tribunals. In such cases, sentence was passed by the commanding officer alone."

A formation in executing the nearly extinct Gotipua Dance at our Durga Puja Cultural Festival of 2013 - of South Madras Cultural Association, Chennai, India.

  

______________________________________________________________________ _______________

Copyright © learning.photography.

All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.

 

Thanks for your Visit, Comments, Favs and Awards !

 

No private group or multiple group invites please !

 

Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.

______________________________________________________________________ _______________

  

Gotipua is a traditional dance form in the state of Orissa, India, and the precursor of Odissi classical dance. It has been performed in Orissa for centuries by young boys, who dress as women to praise Jagannath and Krishna. The dance is executed by a group of boys who perform acrobatic figures inspired by the life of Radha and Krishna. The boys begin to learn the dance at an early age until adolescence, when their androgynous appearance changes. In the Oriya language Gotipua, means "single boy" (goti-pua). Raghurajpur, Orissa (near Puri) is an historic village known for its Gotipua dance troupes.

 

To transform into graceful feminine dancers the boys do not cut their hair, instead styling it in a knot and weaving garlands of flowers into it. They make up their faces with mixed white and red powder. Kajal (black eyeliner) is broadly applied around the eyes to give them an elongated look. The bindi usually round, is applied to the forehead, surrounded with a pattern made from sandalwood. Traditional paintings adorn the face, which are unique to each dance school.

 

The costume has evolved over time. The traditional dress is a Kanchula, a brightly coloured blouse with shiny decorations. An apron-like, embroidered silk cloth (nibibandha) is tied around the waist like a ruffle and worn around the legs. Some dancers still adhere to tradition by wearing a pattasari: a piece of thin fabric about 4 metres (13 ft 1 in) long, worn tightly with equal lengths of material on both sides and a knot on the navel. However, this traditional dress is often replaced by a newly designed cloth which is easier to put on.

 

Dancers wear specially designed, beaded jewelry: necklaces, bracelets, armbands and ear ornaments. Nose-piercing jewelry has been replaced with a painted motif. Ankle bells are worn, to accentuate the beats tapped out by the feet. The palms of the hands and soles of the feet are painted with a red liquid known as alta. The costume, jewelry and bells are considered sacred.

 

Long ago, the temples in Orissa had female dancers known as devadasi (or mahari), who were devoted to Jagannath, which gave rise to Mahari dance. Sculptures of dancers on bas-reliefs in temples in Orissa (and the Konark Sun and Jagannath Temples in Puri) demonstrate this ancient tradition. With the decline of mahari dancers around the 16th century during the reign of Rama Chandra Dev (who founded the Bhoi dynasty), boy dancers in Orissa continued the tradition. Gotipua dance is in the Odissi style, but their technique, costumes and presentation differ from those of the mahari; the singing is done by the dancers. Present-day Odissi dance has been influenced by Gotipua dance. Most masters of Odissi dance (such as Kelucharan Mohapatra, from Raghurajpur) were Gotipua dancers in their youth.

 

Odissi dance is a combination of tandava (vigorous, masculine) and lasya (graceful, feminine) dances. It has two basic postures: tribhangi (in which the body is held with bends at the head, torso and knees) and chouka (a square-like stance, symbolizing Jagannath). Fluidity in the upper torso is characteristic of Odissi dance, which is often compared to the gentle sea waves which caress the Orissa beaches.

 

Each year, the Guru Kelucharan Mohapatra Odissi Research Centre organizes the Gotipua Dance Festival in Bhubaneswar.

 

Source : en.wikipedia.org/wiki/Gotipua

Many students of American Civil War history are aware that the United States executed Captain Henry Wirz for various war crimes he was convicted of while serving as commander of the Confederate prisoner of war camp at Andersonville. Only one other man shared that fate of Confederate officer executed for war crimes after the Civil War and that was Champ Ferguson. Ferguson was a Confederate partisan leader from Tennessee that exemplified the bloody guerilla activities by both sides in certain Southern states. He was convicted of killing 53 men and was believed to have killed over a hundred. Many of his kills were neighbors and even friends before the war. Ferguson claimed that it was kill or be killed and that everyone he killed would have killed him if they had the chance. He also claimed he was entitled to amnesty as a Confederate officer.

The stories about Ferguson are as legendary now as they were then. The episode that probably got him the most attention was the claim against him after the battle of Saltville on October 2, 1864. Salt was essential to the Confederate Army and civilians in the area. Destruction of the salt mines there might have condemned the local populace to starvation, but the Union forces that attacked the mines probably were looking to deprive the Confederates of the opportunity to preserve vital meat supplies. Ferguson and his guerillas participated in the battle. Ferguson was alleged to have ordered his men to killed African American prisoners from the 5th Cavalry. He is said to have personally looked for an enemy in a Confederate hospital there and killed a captured and wounded Union officer, Lt. Elza Smith of the 13th Kentucky Cavalry.

Shortly after the main Confederate armies surrendered, Ferguson surrendered believing he was protected. Union forces felt differently and after a military trial he was hung in Nashville, Tennessee on October 20, 1865. Whether he was a homicidal maniac, Confederate soldier simply doing what Union partisans were doing or something in between is debated in books and articles to the present.

 

Executed Australia. EDINBURGH AIRPORT

JJG executing immaculate body position on the final wall section of Colossus (33), Little Babylon, Fiordland, New Zealand. Josiah's success on this route makes him just the fourth Kiwi to climb 33 on home soil.

Christo Vladimirov Javacheff (1935–2020) and Jeanne-Claude Denat de Guillebon (1935–2009), known as Christo and Jeanne-Claude, were artists noted for their large-scale, site-specific environmental installations, often large landmarks and landscape elements wrapped in fabric, including the Wrapped Reichstag, The Pont Neuf Wrapped, Running Fence in California, and The Gates in New York City's Central Park. Born on the same day in Bulgaria and Morocco, respectively, the pair met and married in Paris in the late 1950s. Originally working under Christo's name, they later credited their installations to both "Christo and Jeanne-Claude". Until his own death in 2020, Christo continued to plan and execute projects after Jeanne-Claude's death in 2009. Their work was typically large, visually impressive, and controversial, often taking years and sometimes decades of careful preparation – including technical solutions, political negotiation, permitting and environmental approval, hearings and public persuasion. The pair refused grants, scholarships, donations or public money, instead financing the work via the sale of their own artwork. Christo and Jeanne-Claude described the myriad elements that brought the projects to fruition as integral to the artwork itself, and said their projects contained no deeper meaning than their immediate aesthetic impact; their purpose being simply for joy, beauty, and new ways of seeing the familiar.

Christo and Jeanne-Claude met in October 1958 when he was commissioned to paint a portrait of her mother, Précilda de Guillebon. Their first show, in Cologne, 1961, showcased the three types of artworks for which they would be known: wrapped items, oil barrels, and ephemeral, large-scale works.[3] Near Christo's first solo show in Paris, in 1962, the pair blocked an alley with 240 barrels for several hours in a piece called Iron Curtain, a poetic reply to the Berlin Wall. They developed consistent, longtime terms of their collaboration. They together imagined projects, for which Christo would create sketches and preparatory works that were later sold to fund the resulting installation. Christo and Jeanne-Claude hired assistants to do the work of wrapping the object at hand. They originally worked under the name "Christo" to simplify dealings and their brand, given the difficulties of establishing an artist's reputation and the prejudices against female artists,[6] but they would later retroactively credit their large-scale outdoor works to both "Christo and Jeanne-Claude". They eventually flew in separate planes such that, in case one crashed, the other could continue their work. Within a year of Wrapped Coast, Christo began work on Valley Curtain: an orange curtain of fabric to be hung across the mountainous Colorado State Highway 325.[ They simultaneously worked on Wrapped Walk Ways (Tokyo and Holland) and Wrapped Island (South Pacific), neither of which came to fruition. The artists formed a corporation to benefit from tax and other liabilities, a form they used for later projects. Following a failed attempt to mount the curtain in late 1971, a new engineer and builder-contractor raised the fabric in August 1972. The work only stood for 28 hours before the wind again destroyed the fabric. This work, their most expensive to date and first to involve construction workers, was captured in a documentary by David and Albert Maysles. Christo's Valley Curtain was nominated for Best Documentary Short in the 1974 Academy Awards.[15] The Maysles would film many of the artists' later projects.Inspired by a snow fence, in 1972, Christo and Jeanne-Claude began preparations for Running Fence: a 24.5- mile fence of white nylon, supported by steel posts and steel cables, running through the Californian landscape and into the ocean. In exchange for temporary use of ranch land, the artists agreed to offer payment and use of the deconstructed building materials. Others challenged its construction in 18 public hearings and three state court sessions. The fence began construction in April 1976 and the project culminated in a two-week display in September, after which it was deconstructed. Christo and Jeanne-Claude planned a project based on Jeanne-Claude's idea to surround eleven islands in Miami's Biscayne Bay with 603,850 m2 (6,499,800 sq ft) of pink polypropylene floating fabric. Surrounded Islands was completed on May 7, 1983, with the aid of 430 workers and could be admired for two weeks. The workers were outfitted with pink long sleeve shirts with pale blue text written on the back reading “Christo Surrounded Islands”, and then in acknowledging the garment's designer, "designed and produced by Willi Smith". Their 1991 The Umbrellas involved the simultaneous setup of blue and gold umbrellas in Japan and California, respectively. The 3,100-umbrella project cost US$26 million and attracted three million visitors. Christo closed the exhibition early after a woman was killed by a windblown umbrella in California. Separately, a worker was killed during the deconstruction of the Japanese exhibit. Christo and Jeanne-Claude wrapped the Berlin Reichstag building in 1995 following 24 years of governmental lobbying across six Bundestag presidents. Wrapped Reichstag's 100,000 square meters of silver fabric draped the building, fastened with blue rope. Christo described the Reichstag wrapping as autobiographical based on his Bulgarian upbringing. The wrapping became symbolic of unified Germany and marked Berlin's return as a world city. The Guardian posthumously described the work as their "most spectacular achievement". In 1998, the artists wrapped trees at the Beyeler Foundation and its nearby Berower Park. Prior attempts had failed to secure government support in Saint Louis, Missouri, and Paris. The work was self-funded through sale of photographic documentation and preparatory works, as had become standard for the couple. Work began on the installation of the couple's most protracted project, The Gates, in New York City's Central Park in January 2005. Its full title, The Gates, Central Park, New York, 1979–2005, refers to the time that passed from their initial proposal until they were able to go ahead with it with the permission of the new mayor Michael R. Bloomberg. The Gates was open to the public from February 12–27, 2005. A total of 7,503 gates made of saffron-colored fabric were placed on paths in Central Park. They were five meters (16 ft) high and had a combined length of 37 km (23 mi). The mayor presented them with the Doris C. Freedman Award for public art.[30] The project cost an estimated US$21 million, which the artists planned to recoup by selling project documentation. Christo filled the Gasometer Oberhausen from March 16 until December 30, 2013 with the installation Big Air Package. After The Wall (1999) as the final installation of the Emscher Park International Building Exhibition, Big Air Package was his second work of art in the Gasometer. The "Big Air Package – Project for Gasometer Oberhausen, Germany" was conceived by Christo in 2010 (for the first time without his wife Jeanne-Claude). The sculpture was set up in the interior of the industrial monument and was made of 20,350 m3 (719,000 cu ft) of translucent fabric and 4,500 m (14,800 ft) of rope. In the inflated state, the envelope, with a weight of 5.3 tonnes (5.8 short tons), reached a height of more than 90 m (300 ft), a diameter of 50 m (160 ft) and a volume of 177,000 m3 (6,300,000 cu ft). The monumental work of art was, temporarily, the largest self-supporting sculpture in the world. In the accessible interior of Big Air Package, the artist generated a unique experience of space, proportions, and light. The Floating Piers were a series of walkways installed at Lake Iseo near Brescia, Italy. From June 18 to July 3, 2016, visitors were able to walk just above the surface of the water from the village of Sulzano on the mainland to the islands of Monte Isola and San Paolo. The floating walkways were made of around 200,000 polyethene cubes covered with 70,000 m2 (750,000 sq ft) of bright yellow fabric: 3 km (1.9 mi) of piers moved on the water; another 1.5 km (0.93 mi) of golden fabric continued along the pedestrian streets in Sulzano and Peschiera Maraglio. After the exhibition, all components were to be removed and recycled.[33] The installation was facilitated by the Beretta family, owners of the oldest active manufacturer of firearm components in the world and the primary sidearm supplier of the U.S. Army.[34] The Beretta family owns the island of San Paolo, which was surrounded by Floating Piers walkways. The work was a success with the Italian public and critics as well. The London Mastaba was a temporary floating installation exhibited from June to September 2018 on The Serpentine in London. The installation consisted of 7,506 oil barrels, in the shape of a mastaba, a form of an early bench in use in ancient Mesopotamia, with a flat roof and inward sloping sides. It sat on a floating platform of high-density polyethene, held in place by 32 anchors. It was 20 m (66 ft) in height and weighed 600 tonnes (660 short tons). The vertical ends were painted in a mosaic of red, blue and mauve, whilst the sloping sides were in red with bands of white. Simultaneously with the display of The London Mastaba, the nearby Serpentine Gallery presented an exhibition of the artists' work, entitled Christo and Jeanne-Claude: Barrels and The Mastaba 1958–2018. The exhibition comprised sculptures, drawings, collages, scale-models and photographs from the last 60 years of the artists' work. Christo and Jeanne-Claude announced plans for a future project, titled Over The River, to be constructed on the Arkansas River between Salida, Colorado, and Cañon City, Colorado, on the eastern slope of the Rocky mountains. Plans for the project call for horizontally suspending 10.8 km (6.7 mi) of reflective, translucent fabric panels high above the water, on steel cables anchored into the river's banks. Project plans called for its installation for two weeks during the summer of 2015, at the earliest, and for the river to remain open to recreation during the installation. Reaction among area residents was intense, with supporters hoping for a tourist boom and opponents fearing that the project would ruin the visual appeal of the landscape and inflict damage on the river ecosystem. One local rafting guide compared the project to "hanging pornography in a church." The U.S. Bureau of Land Management released a Record of Decision approving the project on November 7, 2011. Work on the project cannot begin, however, until the Bureau of Land Management issues a Notice to Proceed. A lawsuit against the Colorado Division of Parks and Wildlife was filed on July 22, 2011, by Rags Over the Arkansas River (ROAR), a local group opposed to the project. The lawsuit is still awaiting a court date.[ Christo and Jeanne-Claude's inspiration for Over the River came in 1985 as they were wrapping the Pont-Neuf and a fabric panel was being elevated over the Seine. The artists began a three-year search for appropriate locations in 1992, considering some eighty-nine river locations. They chose the Arkansas River because its banks were high enough that recreational rafters could enjoy the river at the same time. Christo and Jeanne-Claude spent more than $6 million on environmental studies, design engineering, and wind tunnel testing of fabrics. As with past projects, Over The River would be financed entirely by Christo and Jeanne-Claude, through the sale of Christo's preparatory drawings, collages, scale models, and early works of the 1950s/1960s. On July 16, 2010, the U.S. Bureau of Land Management released its four-volume Draft Environmental Impact Statement, which reported many potentially serious types of adverse impact but also many proposed "mitigation" options. In January 2017, after the election of President Trump, Christo canceled the controversial project citing protest of the new administration as well as tiring from the hard-fought legal battle waged by local residents.

 

L'Arc de Triomphe, Wrapped

 

Continuing their series of monumental "wrapping" projects, the Arc de Triomphe in Paris is to be wrapped in 30,000 square meters of recyclable polypropylene fabric in silvery blue, and 7,000 meters (23,000 feet) of red rope, originally scheduled for autumn of 2020.[54] This was postponed a year to Saturday, September 18 to Sunday, October 3, 2021, due to the COVID-19 pandemic in France and its impact on the arts and cultural sector worldwide. Following Christo's death, his office stated that the project would nevertheless be completed.

 

Reception

Christo and Jeanne-Claude's work is held by many major public collections. The artists received the 1995 Praemium Imperiale, the 2006 Vilcek Prize,[59] and the 2004 International Sculpture Center's Lifetime Achievement in Contemporary Sculpture Award. Art critic David Bourdon described Christo's wrappings as a "revelation through concealment."[61] Unto his critics Christo replied, "I am an artist, and I have to have courage ... Do you know that I don't have any artworks that exist? They all go away when they're finished. Only the preparatory drawings, and collages are left, giving my works an almost legendary character. I think it takes much greater courage to create things to be gone than to create things that will remain."[ Jeanne-Claude was a firm believer in the aesthetic beauty of works of art; she said, "'We want to create works of art of joy and beauty, which we will build because we believe it will be beautiful.'"

 

Biographies

Christo

 

Young Christo

Christo Vladimirov Javacheff (Bulgarian: Христо Владимиров Явашев, [xrisˈtɔ vlɐˈdimirof jaˈvaʃɛf]) was born on June 13, 1935, in Gabrovo, Bulgaria, as the second of three sons to Tzveta Dimitrova (a Macedonian Bulgarian from Thessaloniki) and Vladimir Javacheff, who worked at a textile manufacturer. Christo was shy and had a predilection for art. He received private art instruction at a young age and the support of his parents, who invited visiting artists to their house.[65] Christo was particularly affected by events from World War II and the country's fluid borders. During evacuations, he and his brothers stayed with a family in the rural hills outside town, where Christo connected with nature and handicraft. While Bulgaria was under repressive totalitarian rule, and Western art was suppressed, Christo pursued realistic painting through the mid-1950s. He was admitted into the Sofia Academy of Fine Arts in 1953[68] but found the school dull and stifling. Instead, he found inspiration in Skira art books, and visiting Russian professors who were older than he and once active in Russian modernism and the Soviet avant-garde. On the weekends, academy students were sent to paint propaganda and Christo unhappily participated. He found work as a location scout for the state cinema and served three tours of duty during summer breaks. In 1956, he used an academy connection to receive permission to visit family in Prague, where the theater of Emil František Burian reinvigorated him. Amid fears of further Russian suppression in Hungary, Christo decided to flee to Vienna as a railcar stowaway. He had little money after paying the bribe, did not speak the language, had deserted during his Bulgarian military service, and feared being trapped in a refugee camp. In Vienna, he stayed with a family friend (who had not expected him), studied at the Vienna Fine Arts Academy, and surrendered his passport to seek political asylum as a stateless person. There, he supported himself with commissions and briefly visited Italy with the academy, whose program he found equally unhappy as the one before it. At the behest of a friend relocated from Sofia, he saved up to visit Geneva in late 1957. In violation of his visa, he continued to pursue commissions (whose works he would sign with his family name, reserving his given name for more serious work) and was transformed after visiting the Kunstmuseum Basel and Kunsthaus Zürich. In January 1958, he first began to wrap things, as would become his trademark, starting with a paint can. His collection of wrapped household items would be known as his Inventory. In February 1958, Christo left for Paris, having received a visa with the assistance of a Sofia academy connection. In 1973, after 17 stateless years, Christo became a United States citizen.[80] He died at his home in New York City on May 31, 2020, at 84. No cause of death was specified.[81] L’Arc de Triomphe, Wrapped, a planned work by Christo and Jeane-Claude, is to go ahead posthumously in Paris in September 2021.

 

Jeanne-Claude

Jeanne-Claude Denat de Guillebon (French: [ʒan klod dəna də gijəbɔ̃]) was born in Casablanca, Morocco, where her father, an army officer, was stationed. Her mother, Précilda, was 17 when she married Jeanne-Claude's father, Major Léon Denat. Précilda and Léon Denat divorced shortly after Jeanne-Claude was born, and Précilda remarried three times. Jeanne-Claude earned a baccalauréat in Latin and philosophy in 1952 from the University of Tunis.[5] After Précilda married the General Jacques de Guillebon in 1947, the family lived in Bern (1948–1951) and Tunisia (1952–1957) before returning to Paris.[ Jeanne-Claude was described as "extroverted" and with natural organizational abilities. Her hair was dyed red, which she claimed was selected by her husband.[84] She took responsibility for overseeing work crews and for raising funds. Jeanne-Claude died in New York City on November 18, 2009, from complications due to a brain aneurysm. Her body was to be donated to science, one of her final wishes.[85] When she died, she and Christo were at work on Over the River[86] and the United Arab Emirates project, The Mastaba.[5] She said, "Artists don't retire. They die. That's all. When they stop being able to create art, they die."

 

Marriage

Christo and Jeanne-Claude met in October 1958 when he was commissioned to paint a portrait of her mother, Précilda de Guillebon. Initially, Christo was attracted to Jeanne-Claude's half-sister, Joyce. Jeanne-Claude was engaged to Philippe Planchon.Shortly before her wedding, Jeanne-Claude became pregnant by Christo. Although she married Planchon, Jeanne-Claude left him immediately after their honeymoon. Christo and Jeanne-Claude' s son, Cyril, was born on May 11, 1960. Jeanne-Claude became an American citizen in March 1984.[19] The couple received permission to wrap the Pont Neuf, a bridge in Paris, in August and the wrapped the bridge in for two weeks in August 1985. The Pont Neuf Wrapped attracted three million visitors. Wrapping the Pont Neuf continued the tradition of transforming a sculptural dimension into a work of art. The fabric maintained the principal shapes of the Pont Neuf but it emphasized the details and the proportions. As with Surrounded Islands, workers who assisted with the installation and deinstallation of Pont Neuf Wrapped wore uniforms designed by Willi Smith.

 

The couple relocated to New York City, the new art world capital, in 1964. Christo began to make Store Fronts, wooden facades made to resemble shop windows, which he continued for four years. His largest piece was shown in the 1968 Documenta 4. In the mid-1960s, they also created Air Packages,[8] inflated and wrapped research balloons.[9] In 1969, at the invitation of the museum director Jan van der Marck they wrapped the Chicago Museum of Contemporary Art while it remained open.[10] It was panned by the public and ordered to be undone by the fire department, which went unenforced.[11] With the help of Australian collector John Kaldor, Christo and Jeanne-Claude and 100 volunteers wrapped the coast of Sydney's Little Bay as Wrapped Coast, the first piece for Kaldor Public Art Projects.[12]

There are many smaller stories within the larger sweep of history. Christo, the Bulgarian-born artist who died on 31 May 2020, famous for his gigantic wrapping works at the scale of Paris’s Pont Neuf in 1985 and the Berlin Reichstag ten years later, first came into existence thanks to a hairdresser. When Christo was a young artist, this hairdresser, René Bourgeois, introduced him to rich ladies whose portraits he painted to survive. And it was within this context that he was introduced to Précida Guillebon who had a daughter named Jeanne Claude; a young upper class girl who would eventually become Christo’s wife, his accomplice, and the linchpin of his sprawling projects, whose name would end up appearing with his on their works. She died in 2009. Between 1958 and 1964 Christo lived in Paris, before going to spend the rest of his life in New York. The Centre Pompidou’s exhibition focuses on this particular period, which would determine the rest of his creative output, followed by two large rooms homing in on the “making of” the project that remains etched in memory but which lasted only two weeks (like all of his monumental works): the wrapping of the Pont Neuf. It was in 1958 that Christo, a young refugee from Eastern Europe who crossed the border hidden in the back of a truck, began wrapping objects. He was interested in their volume and he talks about this as a process of “mummifying”, a practice he performed unconsciously: “I don’t know why I wrapped things”. At the time it was interpreted as the actions of a nomad figuratively packing his bags. Christo went off to explore different directions, including the “Wall of Oil Barrels” which the influential art critic of the time Pierre Restany referred to as “cathedrals of an unknown religion”. This description also perfectly encapsulates the artist’s future monumental practice. On 18 September 2021 he was due to wrap the Arc de Triomphe in Paris over a period of two weeks. The project, the ultimate ephemeral cathedral to the cult of Christo, had to be delayed owing to rare birds nesting on top of the Napoleonic edifice.

 

judithbenhamouhuet.com/centre-pompidou-why-did-christo-wr...

 

en.wikipedia.org/wiki/Christo_and_Jeanne-Claude

Mondopuzzle Art Collection 2016. Art. No. 61252

1.000 pcs, 68,5 x 48 cm.

My first Mondopuzzle and it felt just like a Grafika.

Good colors and very sharp image.

 

Claude-Joseph Vernet (French, 14 August 1714 – 3 December 1789). For twenty years Vernet lived in Rome, producing views of seaports, storms, calms, moonlights, and large whales, becoming especially popular with English aristocrats, many of whom were on the Grand Tour. In 1745 he married an Englishwoman whom he met in the city. In 1753 he was recalled to Paris: there, by royal command, he executed the series of the seaports of France (now in the Louvre and the Musée national de la Marine) by which he is best known. Vernet has attempted to bring the foreground of his work to life through painting a wide array of figures engaging in a variety of activities, endeavouring to convey a sense of the commotion and drama of France's seaports. This is one of Vernet's many paintings showing storms and shipwrecks.

There are 15 paintings in Mondopuzzle's Vernet series.

A republic garrison on Kashyyyk.

 

This is my 3rd entry for the "Repubrick Buildig Cahllange: Order 66"

 

Categorie: 4 (more than 600 bricks )

Order 66 MOC

 

I hope you enjoy, here is a MOC I made recently. It may be small but I tried to fit as much detail as possible into it. I wanted to use some building techniques that I have never used in a MOC before.

 

Dear New Views, welcome to my public profile, I have been designing and building LEGO for a long as I can remember, and it’s become a part of my life. I will be uploading every time I have a new digital design or build. If you like what you see please consider following and turning on notifications so you don’t miss future fantastic builds. Got any suggestions for future builds, questions, or feedback feel free to leave a comment, I read every all comments every week.

Thank you.

Salon-la-Tour is a commune in the Corrèze department in central France.

 

Violette Szabo, a 22-year-old British agent who was parachuted a second time into France, on 7 June 1944 (where she was to try to help obstructing the movement of German SS units from the south of France to Normandy), was captured near Salon-la-Tour.

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Violette Reine Elizabeth Szabo GC (née Bushell; 26 June 1921 – c. 5 February 1945) was a British-French Special Operations Executive (SOE) agent during the Second World War and a posthumous recipient of the George Cross. On her second mission into occupied France, Szabo was captured by the German army, interrogated, tortured and deported to Ravensbrück concentration camp in Germany, where she was executed.

 

Violette Szabo was born on 26 June 1921 in Paris, France, of parents Charles George Bushell and Reine Blanche Leroy, as the second child of five and the only daughter.

 

Szabo's father, son of a publican from Hampstead Norreys, was serving as a British Army driver in France during the First World War when he met her mother, a dressmaker originally from Pont-Remy, Somme. After the war the couple lived in London, where Charles worked as a taxi-driver, car salesman and shopkeeper.

 

During the early 1930s, as a result of the Great Depression, Violette and her youngest brother, Dickie, lived with their maternal aunt in Picardy, northern France. The family was reunited in South London when Violette was 11 years old. She was an active and lively girl, enjoying gymnastics, long-distance bicycling and ice-skating with four brothers and several male cousins. Violette was regarded as a tomboy, especially after being taught to shoot by her father; her shooting was reputedly very accurate.

 

While she had temporarily lost the ability to speak English in Picardy, Violette quickly relearned the language while attending school in Brixton. There she was reportedly popular and regarded as exotic owing to her ability to speak another language. Her home life was loving, though she often clashed with her strict father and once ran away to France after an argument. The family, except her monolingual father, would often converse in French.

 

At the age of 14, Violette went to work for a French corsetière in South Kensington and later worked at retailer Woolworths in Oxford Street. At the outbreak of World War II she was working at Le Bon Marché, a Brixton department store.

 

In early 1940 Violette joined the Women's Land Army and was sent to carry out strawberry picking in Fareham, Hampshire, but she soon returned to London to work in an armaments factory in Acton. She met Étienne Szabo, a decorated non-commissioned officer in the French Foreign Legion of Hungarian descent, at the Bastille Day parade in London in 1940, where Violette had been sent by her mother, accompanied by her friend Winnie Wilson, to bring home a homesick French soldier for dinner. They married at Aldershot Register Office in Manor Park on 21 August 1940 after a 42-day romance; Violette was 19, Étienne was 31. They enjoyed a week's honeymoon before Étienne set off from Liverpool to fight in the abortive Free French attack on Dakar, Senegal. From there, he went to South Africa before seeing action, again against the Vichy French, in the successful Anglo-Free French campaigns in Eritrea and Syria in 1941. He returned to the UK for a brief leave later in the year.

 

After her marriage, Violette became a switchboard operator for the General Post Office in central London, working throughout the Blitz. Bored by the job, she enlisted in the Auxiliary Territorial Service (ATS) on 11 September 1941. She was posted to Leicester for initial training before being sent to one of the first mixed anti-aircraft batteries of the 7th Heavy Anti-Aircraft Training Regiment, Royal Artillery in Oswestry, Shropshire for specialised instruction as a predictor and then to the 481st Heavy (Mixed) Anti-Aircraft Battery. After further training in Anglesey, Gunner Szabo and her unit were posted to Frodsham, Cheshire, near Warrington, from December 1941 to February 1942. Szabo found within weeks that she was pregnant, so she left the ATS to return to London for the birth.

 

Szabo took a flat in Notting Hill, which was to be her home until she left for her second mission to France in June 1944. On 8 June 1942, she gave birth to Tania Damaris Desiree Szabo at St Mary's Hospital while Étienne was stationed at Bir Hakeim in North Africa. The following day, he took part in a valiant defence against the Afrika Korps, escaping with his battalion from the assault of the 15th Panzer Division on 10 June.

 

Violette sent her baby to childminders while she worked at the South Morden aircraft factory where her father was stationed. During this period, she was informed of her husband's death in action. Étienne had died on 24 October 1942 from chest wounds received while leading his men in a diversionary attack on Qaret el Himeimat, at the beginning of the Second Battle of El Alamein; he had never seen his daughter. It was Étienne's death that made Violette accept an offer to train as a field agent in the British Special Operations Executive (SOE) as her best way of fighting the enemy that killed her husband.

 

Special Operations Executive

 

It is unclear how or why Szabo was recruited by F-Section, as her surviving official file is thin, but her fluency in French and her previous service in the ATS probably brought her to the attention of SOE. She would have been invited to an interview regarding war work with E. Potter, the alias of Selwyn Jepson, a detective novelist and the F-Section recruiter. Szabo was given security clearance on 1 July 1943 and selected for training as a field agent on 10 July. She was commissioned as a section leader in the First Aid Nursing Yeomanry, a civilian service often used by SOE as a cover for female agents.

 

After an assessment for fluency in French and a series of interviews, Szabo was sent from 7–27 August to STS 4, a training school at Winterfold House, and after a moderately favourable report, to Special Training School 24 of Group A at Arisaig in the Scottish Highlands in September and October. Szabo received intensive instruction in fieldcraft, night and daylight navigation, weapons and demolition. Again her reports were mixed, but she passed the course and moved on to Group B.

 

Szabo was sent to the SOE "finishing school" at Beaulieu, Hampshire, where she learnt escape and evasion, uniform recognition, communications and cryptography, and had further training in weaponry. The final stage in training was parachute jumping, which was taught at Ringway Airport near Manchester. On her first attempt, Szabo badly sprained her ankle and was sent home for recuperation, spending some time in Bournemouth (it was this ankle that was to fail her later in France). She was able to take the parachuting course again and passed with a second class in February 1944. On 24 January 1944, Szabo made her will, witnessed by Vera Atkins and Major R. A. Bourne Paterson of SOE, naming her mother, Reine, as executrix and her daughter Tania as sole beneficiary.

 

In 2012 Max Hastings wrote that Szabo was "adored by the men and women of SOE both for her courage and endless infectious Cockney laughter", while Leo Marks remembered her as "A dark-haired slip of mischief....She had a Cockney accent which added to her impishness".

 

First mission

 

Due to the ankle injury, Szabo's first deployment was delayed, but it was during her second course at Ringway that she first met Philippe Liewer (d. c. 1948). While in London she also socialised with Bob Maloubier, so SOE decided she would work as a courier for Liewer's Salesman circuit. However, the mission was postponed when F Section received a signal from Harry Peulevé's (codename Jean) Author circuit warning that several members of the Rouen-Dieppe group had been arrested, including Claude Malraux (codename Cicero; brother of novelist Andre Malraux) and radio operator Isidore Newman. This extra time meant Szabo could be sent for a refresher course in wireless operation in London, and it was then that Leo Marks, SOE's cryptographer, seeing her struggle with her original French nursery rhyme, gave Szabo his own composition, The Life That I Have as her code poem.

 

On 5 April 1944, Szabo and Liewer were flown from RAF Tempsford in Bedfordshire in a US B-24 Liberator bomber and parachuted into German-occupied France, near Cherbourg. Her cover was that she was a commercial secretary named Corinne Reine Leroy (the latter two names being her mother's first and maiden names), who was born on 26 June 1921 (her real birthdate) in Bailleul, and who was a resident of Le Havre, which gave her reason to travel to the Restricted Zone of German occupation on the coast.

 

Under the code name "Louise", which happened to be her nickname (she was also nicknamed "La P'tite Anglaise", as she stood only 5'3" tall), she and SOE colleague Philippe Liewer (under the name "Major Charles Staunton"), organiser of the Salesman circuit, tried to assess the damage made by the German arrests, with Szabo travelling to Rouen, where Liewer could not go as a wanted man (both he and Maloubier were on wanted posters with their codenames), and to Dieppe to gather intelligence and carry out reconnaissance. It soon became clear that the circuit, which originally involved over 120 members (80 in Rouen and 40 on the coast) had been exposed beyond repair. Szabo returned to Paris to brief Liewer, and in the two days, before they were due to depart, she bought a dress for Tania, three frocks and a yellow sweater for herself, and perfume for her mother and herself. While the destruction of Salesman was a heavy blow to SOE, her reports on the local factories producing war materials for the Germans were important in establishing Allied bombing targets.

 

She returned to England by Lysander, piloted by Bob Large, DFC, of the RAF, on 30 April 1944, landing after a stressful flight in which the plane was hit by anti-aircraft fire over Chateaudun, and Szabo was thrown about the body of the plane. Large had turned off the intercom when attacked and did not turn it back on for the rest of the flight, so when the plane landed heavily due to a burst tyre, and he went to get Szabo out, she (thinking they had been shot down and not having seen her blond pilot) let Large have a volley of abuse in French, mistaking him for a German. When she realised what had really happened, he was rewarded with a kiss. Philippe Liewer returned at the same time in another Lysander. On 24 May 1944 Szabo was promoted to Ensign in the FANY.

 

After two aborted attempts, due to stormy weather on the night of 4/5 June and the abandonment of the intended landing ground on 5/6 June by the Resistance reception committee because of German patrols, Szabo and three colleagues were dropped by parachute from a USAAF Liberator flown from RAF Harrington in Northamptonshire onto a landing field near Sussac on the outskirts of Limoges early on 8 June 1944 (immediately following D-Day, and Tania Szabo's second birthday).

Szabo was part of a four-person team sent to operate in the department of Haute Vienne with the circuit codename 'Salesman II', led by her SOE commander Philippe Liewer (now codenamed Hamlet), whose rolled-up Rouen circuit had been 'Salesman', and including Second Lieutenant Jean-Claude Guiet (codenames Claude and Virgile) of the US Army as wireless operator (W/O), and Bob Maloubier (alias Robert 'Bob' Mortier; codenames Clothaire and Paco), Violette and Liewer's friend and comrade of SOE who was to act as military instructor to the local Maquis, and who had worked as weapons instructor and explosives officer for Liewer on the original Salesman I circuit. For this mission, Szabo's cover was that she was a Mme Villeret, the young widow of an antiques dealer from Nantes. It is possible Szabo had twisted an ankle on landing.

 

Upon arrival, she was sent to co-ordinate the activities of the local maquis in sabotaging communication lines during German attempts to stem the Normandy landings. When he arrived in the Limousin, Philippe Liewer found the local maquis to be poorly led and less prepared for action than he expected. To better co-ordinate Resistance activity against the Germans, he decided to send his courier, Szabo, as his liaison officer to the more active Maquis of Correze and the Dordogne, led by Jacques Poirier (SOE), head of the renamed Digger circuit, who had taken over from Harry Peulevé of the Author circuit, upon the latter's arrest. However, due to poor intelligence gathering by the local Resistance, Liewer was unaware that the 2nd SS Panzer Division was making its slow journey north to the Normandy battlefields through his area.

 

At 9.30 am on 10 June Szabo set off on her mission, not inconspicuously by bicycle as Liewer would have preferred, but in a Citroen driven by a young maquis section leader, Jacques Dufour ('Anastasie'). He had insisted upon using the car, even though the Germans had forbidden the use of cars by the French after D-Day, to drive her half of the 100 kilometres (62 mi) of her journey. At her request to Liewer, Szabo was armed with a Sten gun and eight magazines of ammunition. She was dressed in a light suit, flat-heeled shoes and no stockings. On their way across the sunlit fields of south-central France they picked up Jean Bariaud, a 26-year-old Resistance friend of Dufour, who was meant to accompany them on the return journey.

 

Their car raised the suspicions of German troops at an unexpected roadblock outside of Salon-la-Tour that had been set up to find Sturmbannführer Helmut Kämpfe, a battalion commander of the 2nd SS Panzer Division, who had been captured by the local resistance. When Dufour slowed the car, the unarmed Bariaud was able to escape and later warn the Salesman team of the arrest of his two companions.

 

According to Minney and Vickers, when they had stopped, Szabo and Dufour leapt from the car, he to the left and she to the right and the cover of a tree, as Dufour opened fire. A gun battle ensued during which a woman emerging from a barn was killed by the Germans. As armoured cars arrived at the scene, Szabo crossed the road to join Dufour, and they leapt a gate, before running across a field towards a small stream. They then ran up a hill towards some trees, when Szabo fell and severely twisted an ankle. She refused Dufour's offer of help, urging him to flee, and, dragging herself to the edge of the cornfield, she struggled to an apple tree. Standing behind the tree, she then provided Dufour with covering fire, allowing him to make his escape to hide in a friend's barn. Szabo fought the Germans for thirty minutes, killing a corporal, possibly more, and wounding some others. Eventually, she ran out of ammunition and was captured by two men who dragged her up the hill to a bridge over a railway. She was hot, dishevelled, and in pain. Szabo was questioned by a young officer whose armoured car had drawn up nearby. She was then taken away. Szabo's captors were most likely from the 1st Battalion of 3rd SS Panzer Grenadier Regiment Deutschland (Das Reich Division) whose commanding officer was the missing Sturmbannführer Kämpfe.

 

In R.J. Minney's biography, as above, she is described as putting up fierce resistance with her Sten gun, although German documents of the incident record no German injuries or casualties. A recent biography of Vera Atkins, the intelligence officer for the French section of SOE, notes that there was a great deal of confusion about what happened to Szabo—the story was revised four times—and states that the Sten gun incident "was probably a fabrication". Szabo's most recent biographer, Susan Ottaway, includes the battle in her book, as does Tania Szabo in hers, and Philip Vickers in his book on Das Reich. Authors Sarah Helm and Max Hastings express doubt about the story of the battle.

 

Violette Szabo was transferred to the custody of the Sicherheitsdienst (SD, the SS Security Service) in Limoges, where she was interrogated for four days by SS-Sturmbannführer Kowatch. She gave her name as "Vicky Taylor", the name she had intended to use if she needed to return to England via Spain. (Her reason for choosing this name is unknown, but it may have been a play on szabo being the Hungarian word for "tailor".) From there, she was moved to Fresnes Prison in Paris and brought to Gestapo headquarters at 84 Avenue Foch for interrogation and torture by the Sicherheitsdienst, who by now knew of her true identity and activities as an SOE agent.

 

With the Allies driving deep into France and George Patton's Third US Army heading towards Paris, the decision was taken by the Germans to send their most valuable French prisoners to Germany. On 8 August 1944, Szabo, shackled to SOE wireless operator Denise Bloch, was entrained with other male and female prisoners, including several SOE agents she knew, for transfer. At some point in the journey, probably outside Chalons-sur-Marne, an Allied air raid caused the guards to temporarily abandon the train, allowing Szabo and Bloch to get water from a lavatory to the caged male prisoners in the next carriage, the two women both providing inspiration and a morale boost to the suffering men. When the train reached Reims, the prisoners were taken by lorries to a large barn for two nights, where Szabo, still tied at the ankle to Bloch, who was in good spirits, was able to wash some of her clothes in a rudimentary fashion and to speak about her experiences to her SOE colleague Harry Peulevé.

 

From Reims, via Strasbourg, the prisoners went by train to Saarbrücken and a transit camp in the suburb of Neue Bremm, where hygiene facilities were nonexistent, and food was only indigestible bread crusts. After about ten days, Szabo and most of the other women were sent on to Ravensbrück concentration camp, where over 92,000 women were to die during the war. The exhausted women arrived at this notorious place of disease, starvation, and violence on 25 August 1944 after a terrible eighteen-day journey.

 

Although she endured hard labour and malnutrition, she helped save the life of Belgian resistance courier Hortense Daman, kept up the spirits of her fellow detainees, and, according to fellow inmate American Virginia d'Albert-Lake, constantly planned to escape. While at Ravensbrück, Szabo, Denise Bloch, Lilian Rolfe and Lake were among 1,000 French women sent to the Heinkel factory at the sub-camp of Torgau. Here they protested and refused to make munitions, and were forced to work in the vegetable cellar outside the camp walls and then to dig potatoes. The British women also made contact with French prisoners at a nearby POW camp who, being better fed, provided them with extra rations and offered to send messages to London with a transmitter they had built (there is no evidence they were successful).

 

After the Torgau incident, Szabo, Bloch, Rolfe and Lake were part of a group of around 250 prisoners sent back to Ravensbrück on 6 October, where Violette was put to work in the fabric store. In late October 1944, the protest women were transferred to a punishment camp at Königsberg, where they were forced into harsh physical labour felling trees, clearing rock-hard icy ground for the construction of an airfield and digging a trench for a narrow-gauge railway. Violette volunteered for tree-felling in the forest, where the trees gave some shelter from the bitter winds (Lilian and Denise were too ill to join her). In the bitter East Prussian winter of 1944, each day the women were forced to stand for Appell (roll-call) in the early morning for up to five hours before being sent to work, many of them freezing to death. Szabo was dressed only in the summer clothes she had been wearing when sent to Germany and the women received barely any food and slept in frozen barracks without blankets. According to Christine Le Scornet, a seventeen-year-old French girl whom Violette befriended, and Jeannie Rousseau, the co-leader of the Torgau revolt, she maintained her morale, was optimistic about liberation and continued to plan to escape. On 19 or 20 January 1945, the three British agents were recalled to Ravensbrück and sent first to the Strafblock, where they were possibly brutally assaulted and then to the punishment bunker, where they were kept in solitary confinement. The women were already in poor physical condition—Rolfe could barely walk—and the abuse finally weakened Szabo's morale.

 

Szabo was killed in the execution alley at Ravensbrück, aged 23, on or before 5 February 1945. She was shot in the back of the head while kneeling down, by SS-Rottenführer Schult in the presence of camp commandant Fritz Suhren (who pronounced the death penalty), camp overseer and deputy commandant Johann Schwarzhuber, SS-Scharführer Zappe, SS-Rottenführer Schenk (responsible for the crematorium), chief camp doctor Dr Trommer and dentist Dr Martin Hellinger, from the deposition of Schwarzhuber recorded by Vera Atkins 13 March 1946. Denise Bloch and Lilian Rolfe – neither of whom could walk and were carried on stretchers – were shot at the same time, by order of the highest Nazi authorities; the bodies were disposed of in the camp crematorium. Their clothes were not returned to the camp Effektenkammer (property store) as usually happened after executions.

 

Along with Szabo, Bloch, and Rolfe, one other member of the SOE was also executed at Ravensbrück: Cecily Lefort. She was killed in the gas chamber sometime in February 1945. Forty-one female Section F SOE agents served in France, some for more than two years, most for only a few months. Twenty-six of them survived World War II. Twelve were executed including Szabo, one was killed when her ship was sunk, two died of disease while imprisoned, and one died of natural causes. Female agents ranged in age from 20 to 53 years.

 

While there is some confusion about the precise circumstances of her execution, Szabo, along with her male and female colleagues who died in the concentration camps, is recorded by the War Office as having been killed in action. As an agent dressed in civilian clothes operating behind enemy lines, Szabo was regarded by the Germans as a franc-tireur not protected by the Geneva Convention and liable to summary execution. Though she was treated harshly at Ravensbrück, there is no conclusive proof that she was tortured or sexually assaulted by the Germans; her biographer, Susan Ottaway, thinks it unlikely.

---

www.youtube.com/watch?app=desktop&v=A8Zrq6FHmt0

 

What craziness is this, a day in that London on a weekday? Well, working one day last weekend, and another next weekend, meant I took a day in Lieu.

 

So there.

 

And top of my list of places to visit was St Magnus. This would be the fifth time I have tried to get inside, and the first since I wrote to the church asking whether they would be open a particular Saturday, and then any Saturday. Letters which were ignored

 

So, I walked out of Monument Station, down the hill there was St Magnus: would it be open?

 

It was, and inside it was a box, nay a treasure chest of delights.

 

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

 

St Magnus the Martyr, London Bridge is a Church of England church and parish within the City of London. The church, which is located in Lower Thames Street near The Monument to the Great Fire of London,[1] is part of the Diocese of London and under the pastoral care of the Bishop of London and the Bishop of Fulham.[2] It is a Grade I listed building.[3] The rector uses the title "Cardinal Rector". [4]

St Magnus lies on the original alignment of London Bridge between the City and Southwark. The ancient parish was united with that of St Margaret, New Fish Street, in 1670 and with that of St Michael, Crooked Lane, in 1831.[5] The three united parishes retained separate vestries and churchwardens.[6] Parish clerks continue to be appointed for each of the three parishes.[7]

St Magnus is the guild church of the Worshipful Company of Fishmongers and the Worshipful Company of Plumbers, and the ward church of the Ward of Bridge and Bridge Without. It is also twinned with the Church of the Resurrection in New York City.[8]

Its prominent location and beauty has prompted many mentions in literature.[9] In Oliver Twist Charles Dickens notes how, as Nancy heads for her secret meeting with Mr. Brownlow and Rose Maylie on London Bridge, "the tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom". The church's spiritual and architectural importance is celebrated in the poem The Waste Land by T. S. Eliot, who adds in a footnote that "the interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors".[10] One biographer of Eliot notes that at first he enjoyed St Magnus aesthetically for its "splendour"; later he appreciated its "utility" when he came there as a sinner.

 

The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April in or around 1116 (the precise year is unknown).[12] He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival.[13] Magnus had a reputation for piety and gentleness and was canonised in 1135. St. Ronald, the son of Magnus's sister Gunhild Erlendsdotter, became Earl of Orkney in 1136 and in 1137 initiated the construction of St. Magnus Cathedral in Kirkwall.[14] The story of St. Magnus has been retold in the 20th century in the chamber opera The Martyrdom of St Magnus (1976)[15] by Sir Peter Maxwell Davies, based on George Mackay Brown's novel Magnus (1973).

 

he identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926.[16] Following this decision a patronal festival service was held on 16 April 1926.[17] In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century).[18] However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades."[19] For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea.[20] The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',[21] and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".[22] A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century,[23] but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921

 

A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan.[25] However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation.[26] A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery,[27] and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication.[28] Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.

 

Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders.[30] A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower.[31] St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area[32] and was certainly in existence by 1128-33.[33]

The small ancient parish[34] extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street.[35] The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located immediately West of the bridge, and Fish Wharf, which was to the South of the church. The latter was of considerable importance as the fishmongers had their shops on the wharf. The tenement was devised by Andrew Hunte to the Rector and Churchwardens in 1446.[36] The ancient parish was situated in the South East part of Bridge Ward, which had evolved in the 11th century between the embankments to either side of the bridge.[37]

In 1182 the Abbot of Westminster and the Prior of Bermondsey agreed that the advowson of St Magnus should be divided equally between them. Later in the 1180s, on their presentation, the Archdeacon of London inducted his nephew as parson.

 

Between the late Saxon period and 1209 there was a series of wooden bridges across the Thames, but in that year a stone bridge was completed.[39] The work was overseen by Peter de Colechurch, a priest and head of the Fraternity of the Brethren of London Bridge. The Church had from early times encouraged the building of bridges and this activity was so important it was perceived to be an act of piety - a commitment to God which should be supported by the giving of alms. London’s citizens made gifts of land and money "to God and the Bridge".[40] The Bridge House Estates became part of the City's jurisdiction in 1282.

 

Until 1831 the bridge was aligned with Fish Street Hill, so the main entrance into the City from the south passed the West door of St Magnus on the north bank of the river.[41] The bridge included a chapel dedicated to St Thomas Becket[42] for the use of pilgrims journeying to Canterbury Cathedral to visit his tomb.[43] The chapel and about two thirds of the bridge were in the parish of St Magnus. After some years of rivalry a dispute arose between the church and the chapel over the offerings given to the chapel by the pilgrims. The matter was resolved by the brethren of the chapel making an annual contribution to St Magnus.[44] At the Reformation the chapel was turned into a house and later a warehouse, the latter being demolished in 1757-58.

The church grew in importance. On 21 November 1234 a grant of land was made to the parson of St Magnus for the enlargement of the church.[45] The London eyre of 1244 recorded that in 1238 "A thief named William of Ewelme of the county of Buckingham fled to the church of St. Magnus the Martyr, London, and there acknowledged the theft and abjured the realm. He had no chattels."[46] Another entry recorded that "The City answers saying that the church of ... St. Magnus the Martyr ... which [is] situated on the king's highway ... ought to belong to the king and be in his gift".[47] The church presumably jutted into the road running to the bridge, as it did in later times.[48] In 1276 it was recorded that "the church of St. Magnus the Martyr is worth £15 yearly and Master Geoffrey de la Wade now holds it by the grant of the prior of Bermundeseie and the abbot of Westminster to whom King Henry conferred the advowson by his charter.

 

In 1274 "came King Edward and his wife [Eleanor] from the Holy Land and were crowned at Westminster on the Sunday next after the Feast of the Assumption of Our Lady [15 August], being the Feast of Saint Magnus [19 August]; and the Conduit in Chepe ran all the day with red wine and white wine to drink, for all such as wished."[50] Stow records that "in the year 1293, for victory obtained by Edward I against the Scots, every citizen, according to their several trade, made their several show, but especially the fishmongers" whose solemn procession including a knight "representing St Magnus, because it was upon St Magnus' day".

An important religious guild, the Confraternity de Salve Regina, was in existence by 1343, having been founded by the "better sort of the Parish of St Magnus" to sing the anthem 'Salve Regina' every evening.[51] The Guild certificates of 1389 record that the Confraternity of Salve Regina and the guild of St Thomas the Martyr in the chapel on the bridge, whose members belonged to St Magnus parish, had determined to become one, to have the anthem of St Thomas after the Salve Regina and to devote their united resources to restoring and enlarging the church of St Magnus.[52] An Act of Parliament of 1437[53] provided that all incorporated fraternities and companies should register their charters and have their ordinances approved by the civic authorities.[54] Fear of enquiry into their privileges may have led established fraternities to seek a firm foundation for their rights. The letters patent of the fraternity of St Mary and St Thomas the Martyr of Salve Regina in St Magnus dated 26 May 1448 mention that the fraternity had petitioned for a charter on the grounds that the society was not duly founded.

 

In the mid-14th century the Pope was the Patron of the living and appointed five rectors to the benefice.[56]

Henry Yevele, the master mason whose work included the rebuilding of Westminster Hall and the naves of Westminster Abbey and Canterbury Cathedral, was a parishioner and rebuilt the chapel on London Bridge between 1384 and 1397. He served as a warden of London Bridge and was buried at St Magnus on his death in 1400. His monument was extant in John Stow's time, but was probably destroyed by the fire of 1666.[57]

Yevele, as the King’s Mason, was overseen by Geoffrey Chaucer in his capacity as the Clerk of the King's Works. In The General Prologue of Chaucer's The Canterbury Tales the five guildsmen "were clothed alle in o lyveree Of a solempne and a greet fraternitee"[58] and may be thought of as belonging to the guild in the parish of St Magnus, or one like it.[59] Chaucer's family home was near to the bridge in Thames Street.

 

n 1417 a dispute arose concerning who should take the place of honour amongst the rectors in the City churches at the Whit Monday procession, a place that had been claimed from time to time by the rectors of St Peter Cornhill, St Magnus the Martyr and St Nicholas Cole Abbey. The Mayor and Aldermen decided that the Rector of St Peter Cornhill should take precedence.[61]

St Magnus Corner at the north end of London Bridge was an important meeting place in mediaeval London, where notices were exhibited, proclamations read out and wrongdoers punished.[62] As it was conveniently close to the River Thames, the church was chosen by the Bishop between the 15th and 17th centuries as a convenient venue for general meetings of the clergy in his diocese.[63] Dr John Young, Bishop of Callipolis (rector of St Magnus 1514-15) pronounced judgement on 16 December 1514 (with the Bishop of London and in the presence of Thomas More, then under-sheriff of London) in the heresy case concerning Richard Hunne.[64]

In pictures from the mid-16th century the old church looks very similar to the present-day St Giles without Cripplegate in the Barbican.[65] According to the martyrologist John Foxe, a woman was imprisoned in the 'cage' on London Bridge in April 1555 and told to "cool herself there" for refusing to pray at St Magnus for the recently deceased Pope Julius III.[66]

Simon Lowe, a Member of Parliament and Master of the Merchant Taylors' Company during the reign of Queen Mary and one of the jurors who acquitted Sir Nicholas Throckmorton in 1554, was a parishioner.[67] He was a mourner at the funeral of Maurice Griffith, Bishop of Rochester from 1554 to 1558 and Rector of St Magnus from 1537 to 1558, who was interred in the church on 30 November 1558 with much solemnity. In accordance with the Catholic church's desire to restore ecclesiastical pageantry in England, the funeral was a splendid affair, ending in a magnificent dinner.

 

Lowe was included in a return of recusants in the Diocese of Rochester in 1577,[69] but was buried at St Magnus on 6 February 1578.[70] Stow refers to his monument in the church. His eldest son, Timothy (died 1617), was knighted in 1603. His second son, Alderman Sir Thomas Lowe (1550–1623), was Master of the Haberdashers' Company on several occasions, Sheriff of London in 1595/96, Lord Mayor in 1604/05 and a Member of Parliament for London.[71] His youngest son, Blessed John Lowe (1553–1586), having originally been a Protestant minister, converted to Roman Catholicism, studied for the priesthood at Douay and Rome and returned to London as a missionary priest.[72] His absence had already been noted; a list of 1581 of "such persons of the Diocese of London as have any children ... beyond the seas" records "John Low son to Margaret Low of the Bridge, absent without licence four years". Having gained 500 converts to Catholicism between 1583 and 1586, he was arrested whilst walking with his mother near London Bridge, committed to The Clink and executed at Tyburn on 8 October 1586.[73] He was beatified in 1987 as one of the eighty-five martyrs of England and Wales.

 

Sir William Garrard, Master of the Haberdashers' Company, Alderman, Sheriff of London in 1553/53, Lord Mayor in 1555/56 and a Member of Parliament was born in the parish and buried at St Magnus in 1571.[74] Sir William Romney, merchant, philanthropist, Master of the Haberdashers' Company, Alderman for Bridge Within and Sheriff of London in 1603/04[75] was married at St Magnus in 1582. Ben Jonson is believed to have been married at St Magnus in 1594.[76]

The patronage of St Magnus, having previously been in the Abbots and Convents of Westminster and Bermondsey (who presented alternatively), fell to the Crown on the suppression of the monasteries. In 1553, Queen Mary, by letters patent, granted it to the Bishop of London and his successors.[77]

The church had a series of distinguished rectors in the second half of the 16th and first half of the 17th century, including Myles Coverdale (Rector 1564-66), John Young (Rector 1566-92), Theophilus Aylmer (Rector 1592-1625), (Archdeacon of London and son of John Aylmer), and Cornelius Burges (Rector 1626-41). Coverdale was buried in the chancel of St Bartholomew-by-the-Exchange, but when that church was pulled down in 1840 his remains were removed to St Magnus.[78]

On 5 November 1562 the churchwardens were ordered to break, or cause to be broken, in two parts all the altar stones in the church.[79] Coverdale, an anti-vestiarian, was Rector at the peak of the vestments controversy. In March 1566 Archbishop Parker caused great consternation among many clergy by his edicts prescribing what was to be worn and by his summoning the London clergy to Lambeth to require their compliance. Coverdale excused himself from attending.[80] Stow records that a non-conforming Scot who normally preached at St Magnus twice a day precipitated a fight on Palm Sunday 1566 at Little All Hallows in Thames Street with his preaching against vestments.[81] Coverdale's resignation from St Magnus in summer 1566 may have been associated with these events. Separatist congregations started to emerge after 1566 and the first such, who called themselves 'Puritans' or 'Unspottyd Lambs of the Lord', was discovered close to St Magnus at Plumbers' Hall in Thames Street on 19 June 1567.

 

St Magnus narrowly escaped destruction in 1633. A later edition of Stow's Survey records that "On the 13th day of February, between eleven and twelve at night, there happened in the house of one Briggs, a Needle-maker near St Magnus Church, at the North end of the Bridge, by the carelessness of a Maid-Servant setting a tub of hot sea-coal ashes under a pair of stairs, a sad and lamentable fire, which consumed all the buildings before eight of the clock the next morning, from the North end of the Bridge to the first vacancy on both sides, containing forty-two houses; water then being very scarce, the Thames being almost frozen over."[83] Susannah Chambers "by her last will & testament bearing date 28th December 1640 gave the sum of Twenty-two shillings and Sixpence Yearly for a Sermon to be preached on the 12th day of February in every Year within the Church of Saint Magnus in commemoration of God's merciful preservation of the said Church of Saint Magnus from Ruin, by the late and terrible Fire on London Bridge. Likewise Annually to the Poor the sum of 17/6."[84] The tradition of a "Fire Sermon" was revived on 12 February 2004, when the first preacher was the Rt Revd and Rt Hon Richard Chartres, Bishop of London.

 

Parliamentarian rule and the more Protestant ethos of the 1640s led to the removal or destruction of "superstitious" and "idolatrous" images and fittings. Glass painters such as Baptista Sutton, who had previously installed "Laudian innovations", found new employment by repairing and replacing these to meet increasingly strict Protestant standards. In January 1642 Sutton replaced 93 feet of glass at St Magnus and in June 1644 he was called back to take down the "painted imagery glass" and replace it.[86] In June 1641 "rail riots" broke out at a number of churches. This was a time of high tension following the trial and execution of the Earl of Strafford and rumours of army and popish plots were rife. The Protestation Oath, with its pledge to defend the true religion "against all Popery and popish innovation", triggered demands from parishioners for the removal of the rails as popish innovations which the Protestation had bound them to reform. The minister arranged a meeting between those for and against the pulling down of the rails, but was unsuccessful in reaching a compromise and it was feared that they would be demolished by force.[87] However, in 1663 the parish resumed Laudian practice and re-erected rails around its communion table.[88]

Joseph Caryl was incumbent from 1645 until his ejection in 1662. In 1663 he was reportedly living near London Bridge and preaching to an Independent congregation that met at various places in the City.[89]

During the Great Plague of 1665, the City authorities ordered fires to be kept burning night and day, in the hope that the air would be cleansed. Daniel Defoe's semi-fictictional, but highly realistic, work A Journal of the Plague Year records that one of these was "just by St Magnus Church"

 

Despite its escape in 1633, the church was one of the first buildings to be destroyed in the Great Fire of London in 1666.[91] St Magnus stood less than 300 yards from the bakehouse of Thomas Farriner in Pudding Lane where the fire started. Farriner, a former churchwarden of St Magnus, was buried in the middle aisle of the church on 11 December 1670, perhaps within a temporary structure erected for holding services.[92]

The parish engaged the master mason George Dowdeswell to start the work of rebuilding in 1668. The work was carried forward between 1671 and 1687 under the direction of Sir Christopher Wren, the body of the church being substantially complete by 1676.[93] At a cost of £9,579 19s 10d St Magnus was one of Wren's most expensive churches.[94] The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus.

 

The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,[95] the parish agreeing after some debate to place the communion table on a marble ascent with steps[96] and to commission altar rails of Sussex wrought iron. The nave and aisles are paved with freestone flags. A steeple, closely modelled on one built between 1614 and 1624 by François d'Aguilon and Pieter Huyssens for the church of St Carolus Borromeus in Antwerp, was added between 1703 and 1706.[97] London's skyline was transformed by Wren's tall steeples and that of St Magnus is considered to be one his finest.[98]

The large clock projecting from the tower was a well-known landmark in the city as it hung over the roadway of Old London Bridge.[99] It was presented to the church in 1709 by Sir Charles Duncombe[100] (Alderman for the Ward of Bridge Within and, in 1708/09, Lord Mayor of London). Tradition says "that it was erected in consequence of a vow made by the donor, who, in the earlier part of his life, had once to wait a considerable time in a cart upon London Bridge, without being able to learn the hour, when he made a promise, that if he ever became successful in the world, he would give to that Church a public clock ... that all passengers might see the time of day."[101] The maker was Langley Bradley, a clockmaker in Fenchurch Street, who had worked for Wren on many other projects, including the clock for the new St Paul's Cathedral. The sword rest in the church, designed to hold the Lord Mayor's sword and mace when he attended divine service "in state", dates from 1708.

Duncombe and his benefactions to St Magnus feature prominently in Daniel Defoe's The True-Born Englishman, a biting satire on critics of William III that went through several editions from 1700 (the year in which Duncombe was elected Sheriff).

 

Shortly before his death in 1711, Duncombe commissioned an organ for the church, the first to have a swell-box, by Abraham Jordan (father and son).[103] The Spectator announced that "Whereas Mr Abraham Jordan, senior and junior, have, with their own hands, joinery excepted, made and erected a very large organ in St Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling notes, which never was in any organ before; this instrument will be publicly opened on Sunday next [14 February 1712], the performance by Mr John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said Church, to accommodate all those gentlemen who shall have a curiosity to hear it".[104]

The organ case, which remains in its original state, is looked upon as one of the finest existing examples of the Grinling Gibbons's school of wood carving.[105] The first organist of St Magnus was John Robinson (1682–1762), who served in that role for fifty years and in addition as organist of Westminster Abbey from 1727. Other organists have included the blind organist George Warne (1792–1868, organist 1820-26 until his appointment to the Temple Church), James Coward (1824–80, organist 1868-80 who was also organist to the Crystal Palace and renowned for his powers of improvisation) and George Frederick Smith FRCO (1856–1918, organist 1880-1918 and Professor of Music at the Guildhall School of Music).[106] The organ has been restored several times - in 1760, 1782, 1804, 1855, 1861, 1879, 1891, 1924, 1949 after wartime damage and 1997 - since it was first built.[107] Sir Peter Maxwell Davies was one of several patrons of the organ appeal in the mid-1990s[108] and John Scott gave an inaugural recital on 20 May 1998 following the completion of that restoration.[109] The instrument has an Historic Organ Certificate and full details are recorded in the National Pipe Organ Register.[110]

The hymn tune "St Magnus", usually sung at Ascensiontide to the text "The head that once was crowned with thorns", was written by Jeremiah Clarke in 1701 and named for the church.

 

Canaletto drew St Magnus and old London Bridge as they appeared in the late 1740s.[112] Between 1756 and 1762, under the London Bridge Improvement Act of 1756 (c. 40), the Corporation of London demolished the buildings on London Bridge to widen the roadway, ease traffic congestion and improve safety for pedestrians.[113] The churchwardens’ accounts of St Magnus list many payments to those injured on the Bridge and record that in 1752 a man was crushed to death between two carts.[114] After the House of Commons had resolved upon the alteration of London Bridge, the Rev Robert Gibson, Rector of St Magnus, applied to the House for relief; stating that 48l. 6s. 2d. per annum, part of his salary of 170l. per annum, was assessed upon houses on London Bridge; which he should utterly lose by their removal unless a clause in the bill about to be passed should provide a remedy.[115] Accordingly, Sections 18 and 19 of 1756 Act provided that the relevant amounts of tithe and poor rate should be a charge on the Bridge House Estates.[116]

A serious fire broke out on 18 April 1760 in an oil shop at the south east corner of the church, which consumed most of the church roof and did considerable damage to the fabric. The fire burnt warehouses to the south of the church and a number of houses on the northern end of London Bridge.

 

As part of the bridge improvements, overseen by the architect Sir Robert Taylor, a new pedestrian walkway was built along the eastern side of the bridge. With the other buildings gone St Magnus blocked the new walkway.[117] As a consequence it was necessary in 1762 to 1763 to remove the vestry rooms at the West end of the church and open up the side arches of the tower so that people could pass underneath the tower.[118] The tower’s lower storey thus became an external porch. Internally a lobby was created at the West end under the organ gallery and a screen with fine octagonal glazing inserted. A new Vestry was built to the South of the church.[119] The Act also provided that the land taken from the church for the widening was "to be considered ... as part of the cemetery of the said church ... but if the pavement thereof be broken up on account of the burying of any persons, the same shall be ... made good ... by the churchwardens"

 

Soldiers were stationed in the Vestry House of St Magnus during the Gordon Riots in June 1780.[121]

By 1782 the noise level from the activities of Billingsgate Fish Market had become unbearable and the large windows on the north side of the church were blocked up leaving only circular windows high up in the wall.[122] At some point between the 1760s and 1814 the present clerestory was constructed with its oval windows and fluted and coffered plasterwork.[123] J. M. W. Turner painted the church in the mid-1790s.[124]

The rector of St Magnus between 1792 and 1808, following the death of Robert Gibson on 28 July 1791,[125] was Thomas Rennell FRS. Rennell was President of Sion College in 1806/07. There is a monument to Thomas Leigh (Rector 1808-48 and President of Sion College 1829/30,[126] at St Peter's Church, Goldhanger in Essex.[127] Richard Hazard (1761–1837) was connected with the church as sexton, parish clerk and ward beadle for nearly 50 years[128] and served as Master of the Parish Clerks' Company in 1831/32.[129]

In 1825 the church was "repaired and beautified at a very considerable expense. During the reparation the east window, which had been closed, was restored, and the interior of the fabric conformed to the state in which it was left by its great architect, Sir Christopher Wren. The magnificent organ ... was taken down and rebuilt by Mr Parsons, and re-opened, with the church, on the 12th February, 1826".[130] Unfortunately, as a contemporary writer records, "On the night of the 31st of July, 1827, [the church's] safety was threatened by the great fire which consumed the adjacent warehouses, and it is perhaps owing to the strenuous and praiseworthy exertions of the firemen, that the structure exists at present. ... divine service was suspended and not resumed until the 20th January 1828. In the interval the church received such tasteful and elegant decorations, that it may now compete with any church in the metropolis.

 

In 1823 royal assent was given to ‘An Act for the Rebuilding of London Bridge’ and in 1825 John Garratt, Lord Mayor and Alderman of the Ward of Bridge Within, laid the first stone of the new London Bridge.[132] In 1831 Sir John Rennie’s new bridge was opened further upstream and the old bridge demolished. St Magnus ceased to be the gateway to London as it had been for over 600 years. Peter de Colechurch[133] had been buried in the crypt of the chapel on the bridge and his bones were unceremoniously dumped in the River Thames.[134] In 1921 two stones from Old London Bridge were discovered across the road from the church. They now stand in the churchyard.

Wren's church of St Michael Crooked Lane was demolished, the final service on Sunday 20 March 1831 having to be abandoned due to the effects of the building work. The Rector of St Michael preached a sermon the following Sunday at St Magnus lamenting the demolition of his church with its monuments and "the disturbance of the worship of his parishioners on the preceeding Sabbath".[135] The parish of St Michael Crooked Lane was united to that of St Magnus, which itself lost a burial ground in Church Yard Alley to the approach road for the new bridge.[136] However, in substitution it had restored to it the land taken for the widening of the old bridge in 1762 and was also given part of the approach lands to the east of the old bridge.[137] In 1838 the Committee for the London Bridge Approaches reported to Common Council that new burial grounds had been provided for the parishes of St Michael, Crooked Lane and St Magnus, London Bridge.

 

Depictions of St Magnus after the building of the new bridge, seen behind Fresh Wharf and the new London Bridge Wharf, include paintings by W. Fenoulhet in 1841 and by Charles Ginner in 1913.[139] This prospect was affected in 1924 by the building of Adelaide House to a design by John James Burnet,[140] The Times commenting that "the new ‘architectural Matterhorn’ ... conceals all but the tip of the church spire".[141] There was, however, an excellent view of the church for a few years between the demolition of Adelaide Buildings and the erection of its replacement.[142] Adelaide House is now listed.[143] Regis House, on the site of the abandoned King William Street terminus of the City & South London Railway (subsequently the Northern Line),[144] and the Steam Packet Inn, on the corner of Lower Thames Street and Fish Street Hill,[145] were developed in 1931.

 

By the early 1960s traffic congestion had become a problem[147] and Lower Thames Street was widened over the next decade[148] to form part of a significant new east-west transport artery (the A3211).[149] The setting of the church was further affected by the construction of a new London Bridge between 1967 and 1973.[150] The New Fresh Wharf warehouse to the east of the church, built in 1939, was demolished in 1973-4 following the collapse of commercial traffic in the Pool of London[151] and, after an archaeological excavation,[152] St Magnus House was constructed on the site in 1978 to a design by R. Seifert & Partners.[153] This development now allows a clear view of the church from the east side.[154] The site to the south east of The Monument (between Fish Street Hill and Pudding Lane), formerly predominantly occupied by fish merchants,[155] was redeveloped as Centurion House and Gartmore (now Providian) House at the time of the closure of old Billingsgate Market in January 1982.[156] A comprehensive redevelopment of Centurion House began in October 2011 with completion planned in 2013.[157] Regis House, to the south west of The Monument, was redeveloped by Land Securities PLC in 1998.[158]

The vista from The Monument south to the River Thames, over the roof of St Magnus, is protected under the City of London Unitary Development Plan,[159] although the South bank of the river is now dominated by The Shard. Since 2004 the City of London Corporation has been exploring ways of enhancing the Riverside Walk to the south of St Magnus.[160] Work on a new staircase to connect London Bridge to the Riverside Walk is due to commence in March 2013.[161] The story of St Magnus's relationship with London Bridge and an interview with the rector featured in the television programme The Bridges That Built London with Dan Cruickshank, first broadcast on BBC Four on 14 June 2012.[162] The City Corporation's 'Fenchurch and Monument Area Enhancement Strategy' of August 2012 recommended ways of reconnecting St Magnus and the riverside to the area north of Lower Thames Street.

 

A lectureship at St Michael Crooked Lane, which was transferred to St Magnus in 1831, was endowed by the wills of Thomas and Susannah Townsend in 1789 and 1812 respectively.[164] The Revd Henry Robert Huckin, Headmaster of Repton School from 1874 to 1882, was appointed Townsend Lecturer at St Magnus in 1871.[165]

St Magnus narrowly escaped damage from a major fire in Lower Thames Street in October 1849.

 

During the second half of the 19th century the rectors were Alexander McCaul, DD (1799–1863, Rector 1850-63), who coined the term 'Judaeo Christian' in a letter dated 17 October 1821,[167] and his son Alexander Israel McCaul (1835–1899, curate 1859-63, rector 1863-99). The Revd Alexander McCaul Sr[168] was a Christian missionary to the Polish Jews, who (having declined an offer to become the first Anglican Bishop in Jerusalem)[169] was appointed professor of Hebrew and rabbinical literature at King's College, London in 1841. His daughter, Elizabeth Finn (1825–1921), a noted linguist, founded the Distressed Gentlefolk Aid Association (now known as Elizabeth Finn Care).[170]

In 1890 it was reported that the Bishop of London was to hold an inquiry as to the desirability of uniting the benefices of St George Botolph Lane and St Magnus. The expectation was a fusion of the two livings, the demolition of St George’s and the pensioning of "William Gladstone’s favourite Canon", Malcolm MacColl. Although services ceased there, St George’s was not demolished until 1904. The parish was then merged with St Mary at Hill rather than St Magnus.[171]

The patronage of the living was acquired in the late 19th century by Sir Henry Peek Bt. DL MP, Senior Partner of Peek Brothers & Co of 20 Eastcheap, the country's largest firm of wholesale tea brokers and dealers, and Chairman of the Commercial Union Assurance Co. Peek was a generous philanthropist who was instrumental in saving both Wimbledon Common and Burnham Beeches from development. His grandson, Sir Wilfred Peek Bt. DSO JP, presented a cousin, Richard Peek, as rector in 1904. Peek, an ardent Freemason, held the office of Grand Chaplain of England. The Times recorded that his memorial service in July 1920 "was of a semi-Masonic character, Mr Peek having been a prominent Freemason".[172] In June 1895 Peek had saved the life of a young French girl who jumped overboard from a ferry midway between Dinard and St Malo in Brittany and was awarded the bronze medal of the Royal Humane Society and the Gold Medal 1st Class of the Sociâetâe Nationale de Sauvetage de France.[173]

In November 1898 a memorial service was held at St Magnus for Sir Stuart Knill Bt. (1824–1898), head of the firm of John Knill and Co, wharfingers, and formerly Lord Mayor and Master of the Plumbers' Company.[174] This was the first such service for a Roman Catholic taken in an Anglican church.[175] Sir Stuart's son, Sir John Knill Bt. (1856-1934), also served as Alderman for the Ward of Bridge Within, Lord Mayor and Master of the Plumbers' Company.

 

Until 1922 the annual Fish Harvest Festival was celebrated at St Magnus.[176] The service moved in 1923 to St Dunstan in the East[177] and then to St Mary at Hill, but St Magnus retained close links with the local fish merchants until the closure of old Billingsgate Market. St Magnus, in the 1950s, was "buried in the stink of Billingsgate fish-market, against which incense was a welcome antidote".

 

A report in 1920 proposed the demolition of nineteen City churches, including St Magnus.[179] A general outcry from members of the public and parishioners alike prevented the execution of this plan.[180] The members of the City Livery Club passed a resolution that they regarded "with horror and indignation the proposed demolition of 19 City churches" and pledged the Club to do everything in its power to prevent such a catastrophe.[181] T. S. Eliot wrote that the threatened churches gave "to the business quarter of London a beauty which its hideous banks and commercial houses have not quite defaced. ... the least precious redeems some vulgar street ... The loss of these towers, to meet the eye down a grimy lane, and of these empty naves, to receive the solitary visitor at noon from the dust and tumult of Lombard Street, will be irreparable and unforgotten."[182] The London County Council published a report concluding that St Magnus was "one of the most beautiful of all Wren's works" and "certainly one of the churches which should not be demolished without specially good reasons and after very full consideration."[183] Due to the uncertainty about the church's future, the patron decided to defer action to fill the vacancy in the benefice and a curate-in-charge temporarily took responsibility for the parish.[184] However, on 23 April 1921 it was announced that the Revd Henry Joy Fynes-Clinton would be the new Rector. The Times concluded that the appointment, with the Bishop’s approval, meant that the proposed demolition would not be carried out.[185] Fr Fynes-Clinton was inducted on 31 May 1921.[186]

The rectory, built by Robert Smirke in 1833-5, was at 39 King William Street.[187] A decision was taken in 1909 to sell the property, the intention being to purchase a new rectory in the suburbs, but the sale fell through and at the time of the 1910 Land Tax Valuations the building was being let out to a number of tenants. The rectory was sold by the diocese on 30 May 1921 for £8,000 to Ridgways Limited, which owned the adjoining premises.[188] The Vestry House adjoining the south west of the church, replacing the one built in the 1760s, may also have been by Smirke. Part of the burial ground of St Michael Crooked Lane, located between Fish Street Hill and King William Street, survived as an open space until 1987 when it was compulsorily purchased to facilitate the extension of the Docklands Light Railway into the City.[189] The bodies were reburied at Brookwood Cemetery.

 

The interior of the church was restored by Martin Travers in 1924, in a neo-baroque style,[191] reflecting the Anglo-Catholic character of the congregation[192] following the appointment of Henry Joy Fynes-Clinton as Rector.[193] Fr Fynes, as he was often known, served as Rector of St Magnus from 31 May 1921 until his death on 4 December 1959 and substantially beautified the interior of the church.[194]

Fynes-Clinton held very strong Anglo-Catholic views, and proceeded to make St Magnus as much like a baroque Roman Catholic church as possible. However, "he was such a loveable character with an old-world courtesy which was irresistible, that it was difficult for anyone to be unpleasant to him, however much they might disapprove of his views".[195] He generally said the Roman Mass in Latin; and in personality was "grave, grand, well-connected and holy, with a laconic sense of humour".[196] To a Protestant who had come to see Coverdale's monument he is reported to have said "We have just had a service in the language out of which he translated the Bible".[197] The use of Latin in services was not, however, without grammatical danger. A response from his parishioners of "Ora pro nobis" after "Omnes sancti Angeli et Archangeli" in the Litany of the Saints would elicit a pause and the correction "No, Orate pro nobis."

 

In 1922 Fynes-Clinton refounded the Fraternity of Our Lady de Salve Regina.[198] The Fraternity's badge[199] is shown in the stained glass window at the east end of the north wall of the church above the reredos of the Lady Chapel altar. He also erected a statue of Our Lady of Walsingham and arranged pilgrimages to the Norfolk shrine, where he was one of the founding Guardians.[200] In 1928 the journal of the Catholic League reported that St Magnus had presented a votive candle to the Shrine at Walsingham "in token of our common Devotion and the mutual sympathy and prayers that are we hope a growing bond between the peaceful country shrine and the church in the heart of the hurrying City, from the Altar of which the Pilgrimages regularly start".[201]

Fynes-Clinton was General Secretary of the Anglican and Eastern Orthodox Churches Union and its successor, the Anglican and Eastern Churches Association, from 1906 to 1920 and served as Secretary to the Archbishop of Canterbury's Eastern Churches Committee from 1920 to around 1924. A Solemn Requiem was celebrated at St Magnus in September 1921 for the late King Peter of the Serbs, Croats and Slovenes.

At the midday service on 1 March 1922, J.A. Kensit, leader of the Protestant Truth Society, got up and protested against the form of worship.[202] The proposed changes to the church in 1924 led to a hearing in the Consistory Court of the Chancellor of the Diocese of London and an appeal to the Court of Arches.[203] Judgement was given by the latter Court in October 1924. The advowson was purchased in 1931, without the knowledge of the Rector and Parochial Church Council, by the evangelical Sir Charles King-Harman.[204] A number of such cases, including the purchase of the advowsons of Clapham and Hampstead Parish Churches by Sir Charles, led to the passage of the Benefices (Purchase of Rights of Patronage) Measure 1933.[205] This allowed the parishioners of St Magnus to purchase the advowson from Sir Charles King-Harman for £1,300 in 1934 and transfer it to the Patronage Board.

 

St Magnus was one of the churches that held special services before the opening of the second Anglo-Catholic Congress in 1923.[207] Fynes-Clinton[208] was the first incumbent to hold lunchtime services for City workers.[209] Pathé News filmed the Palm Sunday procession at St Magnus in 1935.[210] In The Towers of Trebizond, the novel by Rose Macauley published in 1956, Fr Chantry-Pigg's church is described as being several feet higher than St Mary’s Bourne Street and some inches above even St Magnus the Martyr.[211]

In July 1937 Fr Fynes-Clinton, with two members of his congregation, travelled to Kirkwall to be present at the 800th anniversary celebrations of St Magnus Cathedral, Kirkwall. During their stay they visited Egilsay and were shown the spot where St Magnus had been slain. Later Fr Fynes-Clinton was present at a service held at the roofless church of St Magnus on Egilsay, where he suggested to his host Mr Fryer, the minister of the Cathedral, that the congregations of Kirkwall and London should unite to erect a permanent stone memorial on the traditional site where Earl Magnus had been murdered. In 1938 a cairn was built of local stone on Egilsay. It stands 12 feet high and is 6 feet broad at its base. The memorial was dedicated on 7 September 1938 and a bronze inscription on the monument reads "erected by the Rector and Congregation of St Magnus the Martyr by London Bridge and the Minister and Congregation of St Magnus Cathedral, Kirkwall to commemorate the traditional spot where Earl Magnus was slain, AD circa 1116 and to commemorate the Octocentenary of St Magnus Cathedral 1937"

 

A bomb which fell on London Bridge in 1940 during the Blitz of World War II blew out all the windows and damaged the plasterwork and the roof of the north aisle.[213] However, the church was designated a Grade I listed building on 4 January 1950[214] and repaired in 1951, being re-opened for worship in June of that year by the Bishop of London, William Wand.[215] The architect was Laurence King.[216] Restoration and redecoration work has subsequently been carried out several times, including after a fire in the early hours of 4 November 1995.[217] Cleaning of the exterior stonework was completed in 2010.

 

Some minor changes were made to the parish boundary in 1954, including the transfer to St Magnus of an area between Fish Street Hill and Pudding Lane. The site of St Leonard Eastcheap, a church that was not rebuilt after the Great Fire, is therefore now in the parish of St Magnus despite being united to St Edmund the King.

Fr Fynes-Clinton marked the 50th anniversary of his priesthood in May 1952 with High Mass at St Magnus and lunch at Fishmongers' Hall.[218] On 20 September 1956 a solemn Mass was sung in St Magnus to commence the celebration of the 25th anniversary of the restoration of the Holy House at Walsingham in 1931. In the evening of that day a reception was held in the large chamber of Caxton Hall, when between three and four hundred guests assembled.[219]

Fr Fynes-Clinton was succeeded as rector in 1960 by Fr Colin Gill,[220] who remained as incumbent until his death in 1983.[221] Fr Gill was also closely connected with Walsingham and served as a Guardian between 1953 and 1983, including nine years as Master of the College of Guardians.[222] He celebrated the Mass at the first National Pilgrimage in 1959[223] and presided over the Jubilee celebrations to mark the 50th anniversary of the Shrine in 1981, having been present at the Holy House's opening.[224] A number of the congregation of St Stephen's Lewisham moved to St Magnus around 1960, following temporary changes in the form of worship there.

 

In 1994 the Templeman Commission proposed a radical restructuring of the churches in the City Deanery. St Magnus was identified as one of the 12 churches that would remain as either a parish or an 'active' church.[226] However, the proposals were dropped following a public outcry and the consecration of a new Bishop of London.

The parish priest since 2003 has been Fr Philip Warner, who was previously priest-in-charge of St Mary's Church, Belgrade (Diocese in Europe) and Apokrisiarios for the Archbishop of Canterbury to the Serbian Orthodox Church. Since January 2004 there has been an annual Blessing of the Thames, with the congregations of St Magnus and Southwark Cathedral meeting in the middle of London Bridge.[227] On Sunday 3 July 2011, in anticipation of the feast of the translation of St Thomas Becket (7 July), a procession from St Magnus brought a relic of the saint to the middle of the bridge.[228]

David Pearson specially composed two new pieces, a communion anthem A Mhànais mo rùin (O Magnus of my love) and a hymn to St Magnus Nobilis, humilis, for performance at the church on the feast of St Magnus the Martyr, 16 April 2012.[229] St Magnus's organist, John Eady, has won composition competitions for new choral works at St Paul's Cathedral (a setting of Veni Sancte Spiritus first performed on 27 May 2012) and at Lincoln Cathedral (a setting of the Matin responsory for Advent first performed on 30 November 2013).[230]

In addition to liturgical music of a high standard, St Magnus is the venue for a wide range of musical events. The Clemens non Papa Consort, founded in 2005, performs in collaboration with the production team Concert Bites as the church's resident ensemble.[231] The church is used by The Esterhazy Singers for rehearsals and some concerts.[232] The band Mishaped Pearls performed at the church on 17 December 2011.[233] St Magnus featured in the television programme Jools Holland: London Calling, first broadcast on BBC2 on 9 June 2012.[234] The Platinum Consort made a promotional film at St Magnus for the release of their debut album In the Dark on 2 July 2012.[235]

The Friends of the City Churches had their office in the Vestry House of St Magnus until 2013.

 

Martin Travers modified the high altar reredos, adding paintings of Moses and Aaron and the Ten Commandments between the existing Corinthian columns and reconstructing the upper storey. Above the reredos Travers added a painted and gilded rood.[237] In the centre of the reredos there is a carved gilded pelican (an early Christian symbol of self-sacrifice) and a roundel with Baroque-style angels. The glazed east window, which can be seen in an early photograph of the church, appears to have been filled in at this time. A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for Reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.

The interior was made to look more European by the removal of the old box pews and the installation of new pews with cut-down ends. Two new columns were inserted in the nave to make the lines regular. The Wren-period pulpit by the joiner William Grey[238] was opened up and provided with a soundboard and crucifix. Travers also designed the statue of St Magnus of Orkney, which stands in the south aisle, and the statue of Our Lady of Walsingham.[239]

On the north wall there is a Russian Orthodox icon, painted in 1908. The modern stations of the cross in honey-coloured Japanese oak are the work of Robert Randall and Ashley Sands.[240] One of the windows in the north wall dates from 1671 and came from Plumbers' Hall in Chequer Yard, Bush Lane, which was demolished in 1863 to make way for Cannon Street Railway Station.[241] A fireplace from the Hall was re-erected in the Vestry House. The other windows on the north side are by Alfred Wilkinson and date from 1952 to 1960. These show the arms of the Plumbers’, Fishmongers’ and Coopers’ Companies together with those of William Wand when Bishop of London and Geoffrey Fisher when Archbishop of Canterbury and (as noted above) the badge of the Fraternity of Our Lady de Salve Regina.

The stained glass windows in the south wall, which are by Lawrence Lee and date from 1949 to 1955, represent lost churches associated with the parish: St Magnus and his ruined church of Egilsay, St Margaret of Antioch with her lost church in New Fish Street (where the Monument to the Great Fire now stands), St Michael with his lost church of Crooked Lane (demolished to make way for the present King William Street) and St Thomas Becket with his chapel on Old London Bridge.[242]

The church possesses a fine model of Old London Bridge. One of the tiny figures on the bridge appears out of place in the mediaeval setting, wearing a policeman's uniform. This is a representation of the model-maker, David T. Aggett, who is a Liveryman of the Worshipful Company of Plumbers and was formerly in the police service.[243]

The Mischiefs by Fire Act 1708 and the Fires Prevention (Metropolis) Act 1774 placed a requirement on every parish to keep equipment to fight fires. The church owns two historic fire engines that belonged to the parish of St Michael, Crooked Lane.[244] One of these is in storage at the Museum of London. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown.

In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.

 

Prior to the Great Fire of 1666 the old tower had a ring of five bells, a small saints bell and a clock bell.[246] 47 cwt of bell metal was recovered[247] which suggests that the tenor was 13 or 14 cwt. The metal was used to cast three new bells, by William Eldridge of Chertsey in 1672,[248] with a further saints bell cast that year by Hodson.[249] In the absence of a tower, the tenor and saints bell were hung in a free standing timber structure, whilst the others remained unhung.[250]

A new tower was completed in 1704 and it is likely that these bells were transferred to it. However, the tenor became cracked in 1713 and it was decided to replace the bells with a new ring of eight.[251] The new bells, with a tenor of 21 cwt, were cast by Richard Phelps of the Whitechapel Bell Foundry. Between 1714 and 1718 (the exact date of which is unknown), the ring was increased to ten with the addition of two trebles given by two former ringing Societies, the Eastern Youths and the British Scholars.[252] The first peal was rung on 15 February 1724 of Grandsire Caters by the Society of College Youths. The second bell had to be recast in 1748 by Robert Catlin, and the tenor was recast in 1831 by Thomas Mears of Whitechapel,[253] just in time to ring for the opening of the new London Bridge. In 1843, the treble was said to be "worn out" and so was scrapped, together with the saints bell, while a new treble was cast by Thomas Mears.[254] A new clock bell was erected in the spire in 1846, provided by B R & J Moore, who had earlier purchased it from Thomas Mears.[255] This bell can still be seen in the tower from the street.

The 10 bells were removed for safe keeping in 1940 and stored in the churchyard. They were taken to Whitechapel Bell Foundry in 1951 whereupon it was discovered that four of them were cracked. After a long period of indecision, fuelled by lack of funds and interest, the bells were finally sold for scrap in 1976. The metal was used to cast many of the Bells of Congress that were then hung in the Old Post Office Tower in Washington, D.C.

A fund was set up on 19 September 2005, led by Dickon Love, a member of the Ancient Society of College Youths, with a view to installing a new ring of 12 bells in the tower in a new frame. This was the first of three new rings of bells he has installed in the City of London (the others being at St Dunstan-in-the-West and St James Garlickhythe). The money was raised and the bells were cast during 2008/9 by the Whitechapel Bell Foundry. The tenor weighed 26cwt 3qtr 9 lbs (1360 kg) and the new bells were designed to be in the same key as the former ring of ten. They were consecrated by the Bishop of London on 3 March 2009 in the presence of the Lord Mayor[256] and the ringing dedicated on 26 October 2009 by the Archdeacon of London.[257] The bells are named (in order smallest to largest) Michael, Margaret, Thomas of Canterbury, Mary, Cedd, Edward the Confessor, Dunstan, John the Baptist, Erkenwald, Paul, Mellitus and Magnus.[258] The bells project is recorded by an inscription in the vestibule of the church.

 

The first peal on the twelve was rung on 29 November 2009 of Cambridge Surprise Maximus.[260] Notable other recent peals include a peal of Stedman Cinques on 16 April 2011 to mark the 400th anniversary of the granting of a Royal Charter to the Plumbers' Company,[261] a peal of Cambridge Surprise Royal on 28 June 2011 when the Fishmongers' Company gave a dinner for Prince Philip, Duke of Edinburgh at their hall on the occasion of his 90th birthday[262] and a peal of Avon Delight Maximus on 24 July 2011 in solidarity with the people of Norway following the tragic massacre on Utoeya Island and in Oslo.[263] On the latter occasion the flag of the Orkney Islands was flown at half mast. In 2012 peals were rung during the Thames Diamond Jubilee Pageant on 3 June and during each of the three Olympic/Paralympic marathons, on 5 and 12 August and 9 September.

The BBC television programme, Still Ringing After All These Years: A Short History of Bells, broadcast on 14 December 2011, included an interview at St Magnus with the Tower Keeper, Dickon Love,[264] who was captain of the band that rang the "Royal Jubilee Bells" during the Thames Diamond Jubilee Pageant on 3 June 2012 to celebrate the Diamond Jubilee of Queen Elizabeth II.[265] Prior to this, he taught John Barrowman to handle a bell at St Magnus for the BBC coverage.

The bells are currently rung every Sunday around 12:15 (following the service) by the Guild of St Magnus.

 

Every other June, newly elected wardens of the Fishmongers' Company, accompanied by the Court, proceed on foot from Fishmongers' Hall[267] to St Magnus for an election service.[268] St Magnus is also the Guild Church of The Plumbers' Company. Two former rectors have served as master of the company,[269] which holds all its services at the church.[270] On 12 April 2011 a service was held to commemorate the 400th anniversary of the granting of the company's Royal Charter at which the Bishop of London, the Rt Revd and Rt Hon Richard Chartres KCVO, gave the sermon and blessed the original Royal Charter. For many years the Cloker Service was held at St Magnus, attended by the Coopers' Company and Grocers' Company, at which the clerk of the Coopers' Company read the will of Henry Cloker dated 10 March 1573.[271]

St Magnus is also the ward church for the Ward of Bridge and Bridge Without, which elects one of the city's aldermen. Between 1550 and 1978 there were separate aldermen for Bridge Within and Bridge Without, the former ward being north of the river and the latter representing the City's area of control in Southwark. The Bridge Ward Club was founded in 1930 to "promote social activities and discussion of topics of local and general interest and also to exchange Ward and parochial information" and holds its annual carol service at St Magnus.

 

en.wikipedia.org/wiki/St_Magnus-the-Martyr

execute...

The Nuva archer is a skilled warrior and technological wonder. The concept was brought about by General Taka's imagination and executed by the hands of the most skilled matoran. This archer differs from traditional archer units in that he does not need to carry his ammunition on his body during battle. His "arrows" or bolts are stored, generated, and replinished within his technologically advanced left arm which coordinates with the "crossbow" or bolt thrower that he wields. The bolt thrower is one of a kind and is viewed as a breakthrough in modern weaponry. Though quite bulky, the bolt thrower allows the archer to fire single highly charged energy bolts, which have the power to penetrate light/medium armor, at a rate of 1.5 seconds. After firing 10 bolts the archer's arm requires a cool down period which lasts approximately 8 to 10 seconds. Once completed, the archer may continue raining destruction down upon the enemy. The archer's built-in optical system allows the archer to target enemy's from a greater distance than the typical archer. The Nuva archer's advanced weaponry and overal engineering give the Nuva army a great advantage on the battlefied when facing overwhelming numbers.

 

I hope you guys enjoy this one! Building him really inspired me to go back and revamp General Taka and the Nuva Infantry, so stay tuned for those guys in the future! Thanks for all of your support this past year! Looking forward to the next year!

From Wikipedia, the free encyclopedia

 

F-84 Thunderjet

 

RoleFighter-bomber

ManufacturerRepublic Aviation

First flight28 February 1946

IntroductionNovember 1947

Retired1964 (USAF)

1974 (Yugoslavia)

Primary userUnited States Air Force

Number built7,524

Unit cost

US$237,247 (F-84G)[1]

US$769,330 (F-84F)

VariantsRepublic F-84F Thunderstreak

Republic XF-84H Thunderscreech

Republic XF-91 Thunderceptor

The Republic F-84 Thunderjet was an American turbojet fighter-bomber aircraft. Originating as a 1944 United States Army Air Forces (USAAF) proposal for a "day fighter", the F-84 first flew in 1946. Although it entered service in 1947, the Thunderjet was plagued by so many structural and engine problems that a 1948 U.S. Air Force review declared it unable to execute any aspect of its intended mission and considered canceling the program. The aircraft was not considered fully operational until the 1949 F-84D model and the design matured only with the definitive F-84G introduced in 1951. In 1954, the straight-wing Thunderjet was joined by the swept-wing F-84F Thunderstreak fighter and RF-84F Thunderflash photo reconnaissance aircraft.

 

The Thunderjet became the USAF's primary strike aircraft during the Korean War, flying 86,408 sorties and destroying 60% of all ground targets in the war as well as eight Soviet-built MiG fighters. Over half of the 7,524 F-84s produced served with NATO nations, and it was the first aircraft to fly with the U.S. Air Force Thunderbirds demonstration team. The USAF Strategic Air Command had F-84 Thunderjets in service from 1948 through 1957.

 

The F-84 was the first production fighter aircraft to utilize inflight refueling and the first fighter capable of carrying a nuclear weapon, the Mark 7 nuclear bomb. Modified F-84s were used in several unusual projects, including the FICON and Tom-Tom dockings to the B-29 Superfortress and B-36 bomber motherships, and the experimental XF-84H Thunderscreech turboprop.

 

The F-84 nomenclature can be somewhat confusing. The straight-wing F-84A to F-84E and F-84G models were called the Thunderjet. The F-84F Thunderstreak and RF-84F Thunderflash were different airplanes with swept wings. The XF-84H Thunderscreech (not its official name) was an experimental turboprop version of the F-84F. The F-84F swept wing version was intended to be a small variation of the normal Thunderjet with only a few different parts, so it kept the basic F-84 number. Production delays on the F-84F resulted in another order of the straight-wing version; this was the F-84G.

 

Design and development

 

An F-84G at Chaumont-Semoutiers Air Base, France, in 1953

In 1944, Republic Aviation's chief designer, Alexander Kartveli, began working on a turbojet-powered replacement for the P-47 Thunderbolt piston-engined fighter. The initial attempts to redesign the P-47 to accommodate a jet engine proved futile due to the large cross-section of the early centrifugal compressor turbojets. Instead, Kartveli and his team designed a new aircraft with a streamlined fuselage largely occupied by an axial compressor turbojet engine and fuel stored in rather thick unswept wings.[1]

 

On 11 September 1944, the USAAF released General Operational Requirements for a day fighter with a top speed of 600 mph (521 kn, 966 km/h), combat radius of 705 miles (612 nmi, 1,135 km), and armament of either six 0.50 in (12.7 mm) or four 0.60 in (15.2 mm) machine guns. In addition, the new aircraft had to use the General Electric TG-180 axial turbojet which entered production as the Allison J35.

 

On 11 November 1944, Republic received an order for three prototypes of the new XP-84—Model AP-23.[1] Since the design promised superior performance to the Lockheed-built P-80 Shooting Star and Republic had extensive experience in building single-seat fighters, no competition was held for the contract. The name Thunderjet was chosen to continue the Republic Aviation tradition started with the P-47 Thunderbolt while emphasizing the new method of propulsion. On 4 January 1945, even before the aircraft took to the air, the USAAF expanded its order to 25 service test YP-84As and 75 production P-84Bs (later modified to 15 YP-84A and 85 P-84B).

 

Meanwhile, wind tunnel testing by the National Advisory Committee for Aeronautics revealed longitudinal instability and stabilizer skin buckling at high speeds.[1] The weight of the aircraft, a great concern given the low thrust of early turbojets, was growing so quickly that the USAAF had to set a gross weight limit of 13,400 lb (6,080 kg). The results of this preliminary testing were incorporated into the third prototype, designated XP-84A, which was also fitted with a more powerful J35-GE-15 engine with 4,000 lbf (17.79 kN) of thrust.[1]

 

The first prototype XP-84 was transferred to Muroc Army Air Field (present-day Edwards Air Force Base) where it flew for the first time on 28 February 1946 with Major Wallace A. "Wally" Lien at the controls. It was joined by the second prototype in August, both aircraft flying with J35-GE-7 engines producing 3,745 lbf (16.66 kN). The 15 YP-84As delivered to Patterson Field (present-day Wright-Patterson Air Force Base) for service tests differed from XP-84s by having an upgraded J35-A-15 engine, carrying six 0.50 in (12.7 mm) M2 Browning machine guns (four in the nose and one in each wing root), and having the provision for wingtip fuel tanks holding 226 U.S. gal (856 L) each.

 

Due to delays with delivery of jet engines and production of the XP-84A, the Thunderjet had undergone only limited flight testing by the time production P-84Bs began to roll out of the factory in 1947. In particular, the impact of wingtip tanks on aircraft handling was not thoroughly studied. This proved problematic later.[1]

 

After the creation of the United States Air Force by the National Security Act of 1947, the Pursuit designation was replaced with Fighter, and the P-84 became the F-84.

 

F-84s were assigned to the 27th Fighter Wing, 27th Fighter Escort Wing, 27th Strategic Fighter Wing, 31st Fighter Escort Wing, 127th Fighter Day Wing, 127th Fighter Escort Wing, 127th Strategic Fighter Wing, 407th Strategic Fighter Wing and the 506th Strategic Fighter Wing of the Strategic Air Command from 1947 through 1958.[2]

 

Operational history

The F-84B, which differed from YP-84A only in having faster-firing M3 machine guns, became operational with 14th Fighter Group at Dow Field, Bangor, Maine in December 1947. Flight restrictions followed immediately, limiting maximum speed to Mach 0.8 due to control reversal, and limiting maximum acceleration to 5.5 g (54 m/s²) due to wrinkling of the fuselage skin. To compound the problem, parts shortages and maintenance difficulties earned the aircraft the nickname, "Mechanic's Nightmare".[1] On 24 May 1948, the entire F-84B fleet was grounded due to structural failures.

  

P-84Bs of the 48th Fighter Squadron, 14th Fighter Group, 1948.

A 1948 review of the entire F-84 program discovered that none of the F-84B or F-84C aircraft could be considered operational or capable of executing any aspect of their intended mission. The program was saved from cancellation because the F-84D, whose production was well underway, had satisfactorily addressed the major faults. A fly-off against the F-80 revealed that while the Shooting Star had a shorter takeoff roll, better low altitude climb rate and superior maneuverability, the F-84 could carry a greater bomb load, was faster, had better high altitude performance and greater range.[1] As a temporizing measure, the USAF in 1949 committed US$8 million to implement over 100 upgrades to all F-84Bs, most notably reinforcing the wings. Despite the resultant improvements, the F-84B was withdrawn from active duty by 1952.[1]

 

The F-84C featured a somewhat more reliable J35-A-13 engine and had some engineering refinements. Being virtually identical to the F-84B, the C model suffered from all of the same defects and underwent a similar structural upgrade program in 1949. All F-84Cs were withdrawn from active service by 1952.[1]

 

The structural improvements were factory-implemented in the F-84D, which entered service in 1949. Wings were covered with thicker aluminum skin, the fuel system was winterized and capable of using JP-4 fuel, and a more powerful J35-A-17D engine with 5,000 lbf (22.24 kN) was fitted. It was discovered that the untested wingtip fuel tanks contributed to wing structural failures by inducing excessive twisting during high-"g" maneuvers.[1] To correct this, small triangular fins were added to the outside of the tanks. The F-84D was phased out of USAF service in 1952 and left Air National Guard (ANG) service in 1957.[1]

 

The first effective and fully capable Thunderjet was the F-84E model which entered service in 1949. The aircraft featured the J35-A-17 engine, further wing reinforcement, a 12 in (305 mm) fuselage extension in front of the wings and 3 in (76 mm) extension aft of the wings to enlarge the cockpit and the avionics bay, an A-1C gunsight with APG-30 radar, and provision for an additional pair of 230 gal (870 L) fuel tanks to be carried on underwing pylons.[1] The latter increased the combat radius from 850 to 1,000 miles (740 to 870 nmi; 1,370 to 1,610 km).

 

One improvement to the original F-84 design was rocket racks that folded flush with the wing after the 5-inch HVAR rockets were fired, which reduced drag over the older fixed mounting racks. This innovation was adopted by other U.S. jet fighter-bombers.[3]

  

A Portuguese F-84 being loaded with ordnance in the 1960s, at Luanda Air Base, during the Portuguese Colonial War.

Despite the improvements, the in-service rates for the F-84E remained poor with less than half of the aircraft operational at any given time.[1] This was primarily due to a severe shortage of spares for the Allison engines. The expectation was that F-84Es would fly 25 hours per month, accumulating 100 hours between engine overhauls. The actual flight hours for Korean War and NATO deployments rapidly outpaced the supply and Allison's ability to manufacture new engines.[1] The F-84E was withdrawn from USAF service in 1956, lingering with ANG units until 1959.

 

The definitive straight-wing F-84 was the F-84G which entered service in 1951. The aircraft introduced a refueling boom receptacle in the left wing,[4] autopilot, Instrument Landing System, J35-A-29 engine with 5,560 lbf (24.73 kN) of thrust, a distinctive framed canopy (also retrofitted to earlier types), and the ability to carry a single Mark 7 nuclear bomb.[1] The F-84G was retired from USAF in the mid-1960s.

 

Starting in the early 1960s, the aircraft was deployed by the Força Aérea Portuguesa (FAP) during the Portuguese Colonial War in Africa. By 1972, all four operating F-84 aircraft were supplementing the FAP in Angola.[5]

 

Flying the Thunderjet

Typical of most early jets, the Thunderjet's takeoff performance left much to be desired. In hot Korean summers with a full combat load, the aircraft routinely required 10,000 ft (3,000 m) of runway for takeoff even with the help of RATO bottles (two or four of these were carried, each producing 1,000 lbf (4.4 kN) of thrust for 14 seconds).[1] All but the lead aircraft had their visibility obscured by the thick smoke from the rockets. Early F-84s had to be pulled off the ground at 160 mph (140 kn, 260 km/h) with the control stick held all the way back. Landings were made at a similar speed, for comparison the North American P-51 Mustang landed at approximately 120 mph (100 kn, 190 km/h). Despite the "hot" landing speeds, the Thunderjet was easy to fly on instruments and crosswinds did not present much of a problem.[6]

  

An F-84E launching rockets.

Thanks to the thick straight wing the Thunderjet rapidly reached its Mach 0.82 limitation at full throttle and low altitude. The aircraft had sufficient power to fly faster, but exceeding the Mach limit at low altitudes resulted in a violent pitch-up and structural failure causing the wings to break off.[6] Above 15,000 ft (4,600 m), the F-84 could be flown faster but at the expense of severe buffeting. However, the airspeed was sufficiently easy to control to make safe dive bombing from 10,000 ft (3,000 m) possible.[6] The top speed limitation proved troublesome against Soviet Mikoyan-Gurevich MiG-15s in Korea. Slower than the MiG, the F-84 was also unable to turn tightly with a maximum instantaneous-turn load of only 3 Gs followed by rapid loss of airspeed. One F-84E pilot credited with two MiG kills achieved his second victory by intentionally flying his aircraft into pitch-up.[6] The MiGs chasing him were unable to follow the violent maneuver and one crashed into the ground. Luckily for the F-84E pilot, the aircraft did not disintegrate but the airframe did suffer heavy warping. The F-84 was a stable gun platform and the computing gunsight aided in accurate gunnery and bombing. Pilots praised the aircraft for Republic's legendary ruggedness.[6]

 

Pilots nicknamed the Thunderjet "The Lead Sled".[2] It was also called "The Iron Crowbar", "a hole sucking air", "The Hog" ("The Groundhog"), and "The World's Fastest Tricycle", "Ground Loving Whore" as a testament to its long takeoff rolls.[2] F-84 lore stated that all aircraft were equipped with a "sniffer" device that, upon passing V2, would look for the dirt at the end of the runway. As soon as the device could smell the dirt, the controls would turn on and let the pilot fly off the ground. In the same vein, it was suggested a bag of dirt should be carried in the front landing gear well. Upon reaching V2, the pilot would dump the dirt under the wheels, fooling the sniffer device.[2]

 

Korean War

The Thunderjet had a distinguished record during the Korean War. Although the F-84B and F-84C could not be deployed because their J35 engines had a service life of only 40 hours, the F-84D and F-84E entered combat with 27th Fighter Escort Group on 7 December 1950.[1] The aircraft were initially tasked with escorting the B-29 Superfortress bombers. The first Thunderjet air-to-air victory was scored on 21 January 1951 at the cost of two F-84s.[2] The F-84 was a generation behind the swept-wing Soviet Mikoyan-Gurevich MiG-15 and outmatched, especially when the MiGs were flown by more-experienced pilots, and the MiG counter-air mission was soon given to the F-86 Sabre. Like its famous predecessor, the P-47, the F-84 switched to the low-level interdiction role at which it excelled.

  

A KB-29M tanker refueling an F-84E over Korea. F-84Es could only refuel the wingtip tanks separately.

 

F-84G-26-RE Thunderjet 51-16719 while assigned to the 3600th Air Demonstration Team (USAF Thunderbirds), 1954.

The F-84 flew a total of 86,408 missions, dropping 55,586 tons (50,427 metric tons) of bombs and 6,129 tons (5,560 metric tons) of napalm.[2] The USAF claimed F-84s were responsible for 60% of all ground targets destroyed in the war. Notable F-84 operations included the 1952 attack on the Sui-ho Dam. During the war, the F-84 became the first USAF fighter to utilize aerial refueling. In aerial combat, F-84 pilots were credited with eight MiG-15 kills against a Soviet-claimed loss of 64 aircraft. The total losses were 335 F-84D, E and G models.[2]

 

Portuguese Overseas War

In 1961, the Portuguese Air Force sent 25 of their remaining F-84G to Angola. There they formed the Esquadra 91 (91st Squadron), based at Luanda Air Base. From then on, the F-84s were engaged in the Angolan Theater of the Portuguese Overseas War, being mainly employed in air strike missions against the separatist guerrillas.

 

The last F-84 were kept operational in Angola until 1974.

 

Notable achievements

The F-84 was the first aircraft flown by the U.S. Air Force Thunderbirds, which operated F-84G Thunderjets from 1953 to 1955 and F-84F Thunderstreaks from 1955 to 1956. The F-84E was also flown by the Skyblazers team of United States Air Forces Europe (USAFE) from 1950 to 1955.[1]

On 7 September 1946, the second XP-84 prototype set a national speed record of 607.2 mph (527.6 kn, 977.2 km/h), slightly slower than the world record 612.2 mph (532.0 kn, 985.2 km/h) held by the British Gloster Meteor.[1]

On 22 September 1950, two EF-84Es, flown by David C. Schilling and Col. William Ritchie, flew across the North Atlantic from Great Britain to the United States. Ritchie's aircraft ran out of fuel over Newfoundland but the other successfully made the crossing which took ten hours two minutes and three aerial refuelings. The flight demonstrated that large numbers of fighters could be rapidly moved across the Atlantic.[1]

F-84G was the first fighter with built-in aerial refueling capability and the first single-seat aircraft capable of carrying a nuclear bomb.[1]

On 20 August 1953, 17 F-84Gs using aerial refueling flew from the United States to the United Kingdom. The 4,485-mile (3,900 nmi, 7,220 km) journey was the longest-ever nonstop flight by jet fighters.[1]

In 1955, an F-84G became the first aircraft to be zero-length launched from a trailer.[7]

By the mid-1960s, the F-84/F-84F was replaced by the F-100 Super Sabre and the RF-84F by the RF-101 Voodoo in USAF units, being relegated to duty in the Air National Guard. The last F-84F Thunderflash retired from the ANG in 1971. Three Hellenic Air Force RF-84Fs that were retired in 1991 were the last operational F-84s.

 

Costs

F-84BF-84CF-84DF-84EF-84GF-84FRF-84F

Airframe139,863139,863150,846562,715482,821

Engine41,65441,65441,488146,02795,320

Electronics7,1657,1654,7619,62321,576

Armament23,55923,55937,43341,71363,632

Ordnance2,7199,2524,529

Flyaway cost286,407 for the first 100

163,994 for the next 141147,699212,241212,241237,247769,300667,608

Cost per flying hour390

Maintenance cost per flying hour185185

Notes: The costs are in approximately 1950 United States dollars and have not been adjusted for inflation.[1]

 

Variants

Straight-wing variants

 

The XP-84A (foreground) and YP-84As

XP-84

The first two prototypes.

XP-84A

The third prototype with a more powerful J35-GE-15 engine. This airframe was subsequently modified with a pointed fairing over the intake and lateral NACA intakes were installed into the intake trunks.

YP-84A

Service test aircraft; 15 built.

P-84B (F-84B)

First production version, J35-A-15 engine; 226 built.

F-84C

Reverted to the more reliable J35-A-13 engine, improved fuel, hydraulic and electrical systems; 191 built.

F-84D

J35-A-17 engine, various structural improvements. The pitot tube was moved from the tail fin to the splitter in the air intake with fins added to the wingtip fuel tanks; 154 built.

 

F84 E&G Thunderjet French Air Force 1951–1955

EF-84D

Two F-84Ds, EF-84D 48-641 and EF-84D 48-661 were modified with coupling devices; 641 starboard wing, 661 port wing for "Tip-Tow Project MX106 Wing Coupling Experiments." An EB-29A 44-62093 was modified with coupling devices on both wings. Because of the difference in landing gear lengths, the three aircraft took off separately and couple/uncoupled in flight. The pilot of 641 was Major John M. Davis and the pilot of 661 was Major C.E. "Bud" Anderson.

"One of the more interesting experiments undertaken to extend the range of the early jets in order to give fighter protection to the piston-engine bombers, was the provision for inflight attachment/detachment of fighter to bomber via wingtip connections. One of the several programs during these experiments was done with a B-29 mother ship and two F-84D 'children', and was code named 'Tip Tow'. A number of flights were undertaken, with several successful cycles of attachment and detachment, using, first one, and then two F-84s. The pilots of the F-84s maintained manual control when attached, with roll axis maintained by elevator movement rather than aileron movement. Engines on the F-84s were shut down in order to save fuel during the 'tow' by the mother ship, and inflight engine restarts were successfully accomplished. The experiment ended in disaster during the first attempt to provide automatic flight control of the F-84s, when the electronics apparently malfunctioned. The left hand F-84 rolled onto the wing of the B-29, and the connected aircraft both crashed with loss of all on board personnel (Anderson had uncoupled so did not crash with the other two aircraft)."[8]

F-84E

J35-A-17D engine, Sperry AN/APG-30 radar-ranging gunsight, retractable attachments for RATO bottles, inboard wing hardpoints made "wet" to permit carrying an additional pair of 230 U.S. gal (870 L) fuel tanks. Most aircraft were retrofitted with F-84G-style reinforced canopies. The fuselage was stretched 15"; the canopy was lengthened 8", the canopy frame was lengthened 12" (accounting for another 4"), and a 3" splice panel was added aft of the canopy. The stretch was not done to enlarge the cockpit but rather to enable a larger fuel tank, provide additional space for equipment under the canopy behind the pilot's seat, and to improve aerodynamics. This can be distinguished from earlier models by the presence of two fuel vents on ventral rear fuselage, the added radar in the nose splitter, and the pitot tube was moved downward from mid-height in the splitter (as on the F-84D) to clear the radar installation. 843 built. F-84E 49-2031 was a test aircraft for air-to-air missiles. F-84E 50-1115 was a test aircraft for the FICON project.

EF-84E

Two F-84Es were converted into test prototypes, to test various methods of air-to-air refueling. EF-84E 49-2091 was used as a probe-and-drogue test aircraft. The probe was mid-span on the port wing. Production aircraft with probes (removable) had the probe fitted to the auxiliary wing tanks. EF-84E 49-2115 was used as a FICON test aircraft with a B-36 host. EF-84E 49-1225 and EF-84E 51-634 were test aircraft for the ZELMAL (Zero-length launch, Mat landing) experiments version for point defense, used the booster rocket from MGM-1 Matador cruise missile.

F-84G

Single-seat fighter-bomber capable of delivering the Mark 7 nuclear bomb using the LABS, J35-A-29 engine, autopilot, capable of inflight refueling using both the boom (receptacle in left wing leading edge) and drogue (probe fitted to wingtip fuel tanks), introduced the multi-framed canopy which was later retrofitted to earlier straight-winged F-84s. A total of 3,025 were built (1,936 for NATO under MDAP). The larger engine had a higher airflow at its take-off thrust than the intake had been designed for. This caused higher flow velocities, increased pressure losses and thrust loss. Commencing with block 20, auxiliary "suck-in" doors were added ahead of the wing leading edge to regain some of the thrust loss. At high engine rpm and low aircraft speeds, such as take-off, the spring-loaded doors were sucked open by the partial vacuum created in the duct. When the aircraft reached sufficient airspeed the ram pressure rise in the duct closed the auxiliary doors.[9] F-84G 51-1343 was modified with a periscope system to test the periscope installation proposed for the Republic XF-103.

F-84KX

Eighty ex-USAF F-84Bs converted into target drones for the United States Navy.

RF-84G

F-84G Thunderjets converted by France and Yugoslavia for recon duty with cameras in the ventral fuselage and modified auxiliary wing tanks.

YF-96A aka YF-84F aka YRF-84K

F-84E 49-2430 converted to swept wing configuration. The "first prototype" for the F-84F Thunderstreak. Canopy and ventral speed brake carried over from Thunderjet. Originally with a V-windscreen, later reverted to the standard Thunderjet flat windscreen. Modified by adding a fixed hook at the weapons bay and anhedral horizontal tailplane to enable FICON tests (trapeze capture) with GRB-36D mother ship. The airframe was capable of higher speeds than the Thunderjet engine could deliver. The YF-84F was a follow on with a larger engine and deepened fuselage.

YF-84F

F-84G 51-1344 converted to swept wing configuration. The "second prototype" for the F-84F Thunderstreak. Fuselage deepened by 7 inches (180 mm) to accommodate larger engine. Canopy and ventral speed brake carried over from Thunderjet, tail configuration same as YF-96A.

YF-84F aka YRF-84F

F-84G 51-1345 converted to swept wing configuration with a pointed nose and lateral intakes. This was a test airframe to evaluate the effects of moving the intakes to the wing roots. Like 1344, the fuselage was deepened by 7 inches (180 mm) to accommodate larger engine. Canopy and ventral speed brake carried over from Thunderjet, tail configuration same as YF-96A. For the swept wing versions of the F-84 series, see Republic F-84F Thunderstreak

Tip-Tow

See EF-84D above, did not become operational. See FICON project

Tom-Tom

Two RF-84K and B-36 wingtip coupling experiment, did not become operational. See FICON project

FICON

F-84E and GRB-36D trapeze system, became operational. See FICON project

Swept-wing variants

Main articles: Republic F-84F Thunderstreak and Republic XF-84H

YF-84F

Two swept-wing prototypes of the F-84F, initially designated YF-96A.

F-84F Thunderstreak

Swept wing version with Wright J65 engine.

RF-84F Thunderflash

Reconnaissance version of the F-84F, 715 built.

RF-84K FICON project

Reconnaissance version of the F model, 25 built to hang from the Consolidated B-36 Peacemaker.

XF-84H Thunderscreech

Experimental supersonic-turboprop version.

YF-84J

Two conversions with the General Electric J73 engine.

Operators

 

Republic F-84 Thunderjet in the Royal Military Museum at the Jubelpark, Brussels.

 

Imperial Iranian Air Force F-84G of the Golden Crown aerobatic team.

 

Republic F-84 Thunderjet at the en:Italian Air Force Museum, Vigna di Valle in 2012.

 

Royal Norwegian Air Force Republic F-84G Thunderjet.

 

Portuguese Air Force F-84 Thunderjet.

Belgium

Belgian Air Force operated 213 Republic F-84G from March 1952 until September 1957 and 21 Republic RF-84E

Denmark

Danish Air Force operated 240 Republic F-84G fromApril 1952 until January 1962 and 6 Republic F-84E[10]

France

French Air Force operated 335 F-84G from April 1952 until November 1956 and 46 Republic F-84E

Greece

Hellenic Air Force operated 234 Republic F-84G from March 1952 until June 1960. They equipped the 335, 336, 337, 338, 339 and 340 Squadrons (Μοίρα Δίωξης)

Iran Iran

Imperial Iranian Air Force operated 69 Republic F-84G from May 1957 until September 1961

Italy

Italian Air Force operated 256 Republic F-84G from March 1952 until May 1957[11][12]

Netherlands

Netherlands Air Force operated 166 Republic F-84G from April 1952 until December 1957 and 21 Republic RF-84E

Norway

Norwegian Air Force operated 208 Republic F-84G from June 1952 until Jun 1960 and 6 Republic F-84E from 1951 until 1956 and 35 Republic RF-84F from 1956 until 1970

Portugal

Portuguese Air Force operated 125 Republic F-84G from January 1953 until July 1974

Taiwan (Republic of China)

Republic of China Air Force operated 246 Republic F-84G from June 1953 until April 1964

Thailand

Royal Thai Air Force operated 31 Republic F-84G from November 1956 until 1963

Turkey

Turkish Air Force operated 489 Republic F-84G from March 1952 until June 1966

United States

United States Air Force operated 226 Republic F-84B, 191 Republic F-84C, 154 Republic F-84D, 743 Republic F-84E, 789 Republic F-84G

Yugoslavia

Yugoslavian Air Force operated 231 Republic (R)F-84G from June 1953 until July 1974

Major USAF operational F-84 units

 

Republic F-84E-15-RE Thunderjet Serial 49-2338 of the 136th Fighter-Bomber Wing, Korea

10th Tactical Reconnaissance Wing: RF-84F (1955–1958)

12th Fighter Escort Wing/Group: F-84E/G/F (1950–1957;1962–1964)

14th Fighter Wing/Group: P/F-84B (1947–1949)

15th Tactical Fighter Wing: F-84F (1962–1964)

20th Fighter Bomber Wing/Group: F-84B/C/D/E/F/G (1958–1959)

27th Fighter Escort Wing/Group: F-84E/G/F (1950–1958)

31st Fighter Escort Wing/Group: F-84C/E/F (1948–1950; 1951–1957)

49th Fighter Bomber Wing/Group: F-84E/G (1951–1953)

58th Fighter Bomber Group: F-84E/G (1952–1954)

66th Tactical Reconnaissance Wing: RF-84F (1955–1959)

67th Tactical Reconnaissance Wing: (15th & 45th TRS5) RF-84F/K (1955–1958)

71st Strategic Reconnaissance Wing: RF-84F/K (1955–1956)

81st Fighter Bomber Wing/Group: F-84F (1954–1959)

136th Fighter Bomber Wing/Group F-84E (1951–1952) @ K2, also J-13

312th Fighter Bomber Group: F-84E/G (1954–1955)

363rd Tactical Reconnaissance Wing: RF-84F (1954–1958)

366th Fighter Bomber Wing/Tactical Fighter Wing: F-84E,F (1954–1958;1962–1965)

401st Fighter Bomber Wing/Tactical Fighter Wing: F-84F (1957)

405th Fighter Bomber Wing/Tactical Fighter Wing: F-84F (1953–1956)

407th Strategic Fighter Wing: F-84F (1954–1957)

474th Fighter Bomber Wing: F-84D/E/G (1952–1953)

506th Strategic Fighter Wing: F-84F (1953–1957)

508th Strategic Fighter Wing: F-84F (1952–1956)

3540th Combat Crew Training Wing: F-84E (1952–1953)

3600th Combat Crew Training Wing: F-84D/E/G/F (1952–1957)

Redesignated 4510th CCTW with F-84D/F (1958)

3645th Combat Crew Training Wing: F-84E/G (1953–1957)

4925th Test Group (Atomic): F-84E/F/G (1950–1963)

Royal Netherlands Air Force operational F-84 units

JVS-2 (Jacht Vlieger School): RF-84E (1953)

306 Squadron: F-84G (1953–1954) / RF-84E (1954-1957)

311 Squadron: RF-84E (1951-1952) / F-84G (1952-1956)

312 Squadron: RF-84E (1951-1954) / F-84G (1952-1956)

313 Squadron: RF-84E (1953-1954) / F-84G (1953-1956)

314 Squadron: F-84G (1952-1956)

315 Squadron: F-84G (1952-1956)

Aircraft on display

 

A F-84 during Zero-length launch testing

Croatia

F-84G

10676 Ex-USAF – Rijeka Airport, Omišalj.[13]

Denmark

F-84G

51-9966/KR-A – Aalborg Defence and Garrison Museum, Aalborg[14]

51-10622/KU-U – Aalborg Defence and Garrison Museum[14]

A-777/SY-H – Danmarks Tekniske Museum, Helsingør[15]

KP-X – Danish Collection of Vintage Aircraft, Skjern[16]

RF-84F

C-581 – Flyvestation Karup Historiske Forening Museet, Karup[17]

C-264 – Danish Collection of Vintage Aircraft, Skjern[16]

Netherlands

F-84G

K-171 – Nationaal Militair Museum, Soesterberg.[18]

Norway

F-84G

51-10161 – Flyhistorisk Museum, Sola, Stavanger Airport, Sola, near Stavanger.[19]

51-11209 – Forsvarets flysamling Gardermoen, Oslo Airport, Gardermoen near Oslo.[20]

52-2912 - Ørland Main Air Station

52-8465 – Royal Norwegian Air Force Museum, Bodø[21]

 

Portugal

F-84G

5131 – Museu do Ar, Sintra Air Base, Sintra.[22]

5201 - Military and Technical Training Center of the Air Force, Ota (Alenquer).[23]

 

Serbia

F-84G

10501 – Ex-USAF 52-2936, c/n 3050-1855B Museum of Aviation, Nikola Tesla Airport, Belgrade.[24][verification needed]

10525 – Ex-USAF 52-2939, c/n 3050-1858B Museum of Aviation, Nikola Tesla Airport, Belgrade.[25][verification needed]

10530 – Ex-USAF 52-8435, c/n 3250-2260B Museum of Aviation, Nikola Tesla Airport, Belgrade.[26][verification needed]

Slovenia

F-84G

10642 Ex-USAF 52-2910, c/n 3050-1829B – Pivka Military History Park, Pivka.[27]

Thailand

 

F-84G at the Royal Thai Air Force Museum

F-84G

51-10582 Ex-USAF and retired Royal Thai Air Force fighter in Royal Thai Air Force Museum

Turkey

 

110572 F-84G at Atatürk Airport.

F-84G

10572 – Istanbul Aviation Museum.

19953 – Atatürk Airport, İstanbul.

RF-84F

1901 – Istanbul Aviation Museum.

1917 – Istanbul Aviation Museum.

United States

YP-84A

45-59494 – Discovery Park of America, Union City, Tennessee. Formerly at Octave Chanute Aerospace Museum at the former Chanute Air Force Base in Rantoul, Illinois.[28][29]

F-84B

45-59504 – Cradle of Aviation Museum in Garden City, New York.[30]

45-59556 – Planes of Fame Museum in Chino, California.[31]

46-0666 – Mid-Atlantic Air Museum in Reading, Pennsylvania.[32]

F-84C

47-1433 – Pima Air and Space Museum, adjacent to Davis-Monthan Air Force Base in Tucson, Arizona.[33]

47-1486 – Goldwater Air National Guard Base, Sky Harbor International Airport in Phoenix, Arizona.[34]

47-1498 – EAA Airventure Museum in Oshkosh, Wisconsin.[35]

47-1513 – Kansas Aviation Museum at McConnell Air Force Base in Wichita, Kansas.[36]

47-1530 – Cannon Air Force Base, New Mexico.[37]

47-1562 – Pueblo Weisbrod Aircraft Museum in Pueblo, Colorado.[38]

47-1595 – March Field Air Museum at March Air Reserve Base (former March Air Force Base) in Riverside, California.[39]

F-84E

 

F-84E at the USAF Museum

49-2155 – Yanks Air Museum in Chino, California.[40]

49-2285 – Texas Military Forces Museum in Austin, Texas.[41]

49-2348 – American Airpower Museum in East Farmingdale, New York.[42]

50-1143 – National Museum of the United States Air Force at Wright-Patterson Air Force Base in Dayton, Ohio. It was obtained from Robins Air Force Base, Georgia, in October 1963.[43]

51-0604 – Museum of Aviation at Robins Air Force Base, Georgia.[44]

F-84G

51-0791 – Springfield Air National Guard Base, Springfield, Ohio.[45]

51-11126 - under restoration to airworthiness by a Vulcan Warbirds Inc. for the Flying Heritage Collection in Seattle, Washington.[46][47]

52-3242 – Hill Aerospace Museum, Hill Air Force Base, Utah.[48]

52-8365 - under restoration to airworthiness by a private owner in Edmonds, Washington.[49][50]

Specifications (F-84G Thunderjet)

 

Line drawing of F-84C

Data from Encyclopedia of US Air Force Aircraft and Missile Systems[1]

 

General characteristics

 

Crew: one

Length: 38 ft 1 in (11.60 m)

Wingspan: 36 ft 5 in (11.10 m)

Height: 12 ft 7 in (3.84 m)

Wing area: 260 ft² (24 m²)

Empty weight: 11,470 lb (5,200 kg)

Loaded weight: 18,080 lb (8,200 kg)

Max. takeoff weight: 23,340 lb (10,590 kg)

Powerplant: 1 × Allison J35-A-29 turbojet, 5,560 lbf (24.7 kN)

Performance

 

Maximum speed: 622 mph (540 kn, 1,000 km/h,Mach .81)

Cruise speed: 475 mph (413 kn, 770 km/h)

Range: 1,000 mi (870 nmi, 1,600 km) combat

Ferry range: 2,000 mi (1,700 nmi, 3,200 km) with external tanks

Service ceiling: 40,500 ft (12,350 m)

Rate of climb: 3,765 ft/min (19.1 m/s)

Wing loading: 70 lb/ft² (342 kg/m²)

Thrust/weight: 0.31 lbf/lb

Armament

6 × .50 in (12.7 mm) M3 Browning machine guns, 300 rpg

Up to 4,450 lb (2,020 kg) of rockets and bombs, including 1 × Mark 7 nuclear bomb

Avionics

A-1CM or A-4 gunsight with APG-30 or MK-18 ranging radar

 

F-84F Thunderstreak

Republic XF-91 Thunderceptor

XF-84H Thunderscreech

Aircraft of comparable role, configuration and era

 

Dassault Ouragan

de Havilland Venom

Gloster Meteor

Grumman F9F Cougar

Grumman F9F Panther

McDonnell XF-85 Goblin

My art project to execute on my first bronze casting of one of my SecondLife virtual 3D mesh art sculpture "SHATTERED" has finally come to a successful conclusion this past week.

 

Not only is this my first but it is also a FIRST for SecondLife - the 1st time a 3D mesh created sculpture was ever transformed into a real life bronze casting.

 

This special milestone was further honored with the CEO of Linden Lab (owners of SecondLife) stepped up to be the first of 10 customers to pre-order one of my 13 casting limited edition bronze! Ebbe said he will put it on display at the LL head office as soon as he receives it.

 

Each Bronze cast weighs 1.5lbs and is solid bronze

 

What you are seeing are close up photos of one of the 13 3.5" tall solid bronze casts... as well as photo of all 13 bronze cast editions surrounding the initial 3D printed plastic prototype that inspired the casting.

Executed with a Rapidograph, in high school.

The Manor "Northern King" is executed at a high level, a bit medieval modern. There is ONLY a HOUSE, WITHOUT a TERRACE. The house has about 20 rooms, including a hall, living rooms, bedrooms, bathrooms. And there is also a secret room without windows. Two towers - one round, the other with the transition to the courtyard from the side. On the back there is a small balcony on the second floor. Windows have two materials on the glasses - so you can change their color and glow separately from each side (using the editing window). Most walls have a white texture - so you can make any paint color in your rooms, or hang your wallpaper.

 

marketplace.secondlife.com/p/The-Manor-Northern-King/1444...

 

The Divino Rostro (an easel painting executed in Spain depicting the legendary Veronica clad in gold, holding a white veil on which is imprinted Christ's face) inside the Penafrancia Basilica ready for the traslacion procession (September 12, 2008).

 

The Divino Rostro's inclusion in the Traslacion procession for the Nuestra Senora de Penafrancia can be traced back to the 18th Century when cholera "colera morbo" spread to Bicol. Casimiro Herrero, then Bishop of Caceres, in a letter dated August 26, 1882, ordered that the votive Mass "Ad Vitendam Mortalitate" be celebrated throughout the diocese. The vicar Pedro dela Torre, a native of Osa de la Vega in Spain, suggested to Herrero to enshrine an image of the Divino Rostro (a copy of the image which was enshrined in the parish of Osa de la Vega in Spain where inhabitants turn to for protection when the cholera epidemic struck Spain in 1834, 1853 and 1855) in the Naga Metropolitan Cathedral for the duration of the epidemic. The bishop agreed to the vicar's suggestion. On 26 August, the image of the Nuestra Senora de Penafrancia and the Divino Rostro were enshrined in the cathedral. Since then the two images were inseparable and were carried aloft to the Penafrancia procession.

The photo is executed in technique «LightGraphic » or «The painting of light», that assumes illumination of model by small light sources in darkness on long endurance.

Thus, all lightcloth (composition) - is one Photo Exposition, is embodied on a matrix of the camera in one click of a shutter.

 

The sketches very often executed in such a way further are drawn in the graphic editor as it would be on a canvas a brush. Plug-ins and filters are not used.

Lord Krishna playing his Flute.

A formation in executing the nearly extinct Gotipua Dance at our Durga Puja Cultural Festival of 2013 - of South Madras Cultural Association, Chennai, India.

  

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Copyright © learning.photography.

All rights reserved. All images contained in this Photostream remain the property of learning.photography and is protected by applicable Copyright Law. Any images from this Photostream may not be reproduced, copied, or used in any way without my written permission.

 

Thanks for your Visit, Comments, Favs and Awards !

 

No private group or multiple group invites please !

 

Those who have not uploaded any photograph yet, or have uploaded a very few photographs, should not mark me Contacts or comment on my photo. I may block them.

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Gotipua is a traditional dance form in the state of Orissa, India, and the precursor of Odissi classical dance. It has been performed in Orissa for centuries by young boys, who dress as women to praise Jagannath and Krishna. The dance is executed by a group of boys who perform acrobatic figures inspired by the life of Radha and Krishna. The boys begin to learn the dance at an early age until adolescence, when their androgynous appearance changes. In the Oriya language Gotipua, means "single boy" (goti-pua). Raghurajpur, Orissa (near Puri) is an historic village known for its Gotipua dance troupes.

 

To transform into graceful feminine dancers the boys do not cut their hair, instead styling it in a knot and weaving garlands of flowers into it. They make up their faces with mixed white and red powder. Kajal (black eyeliner) is broadly applied around the eyes to give them an elongated look. The bindi usually round, is applied to the forehead, surrounded with a pattern made from sandalwood. Traditional paintings adorn the face, which are unique to each dance school.

 

The costume has evolved over time. The traditional dress is a Kanchula, a brightly coloured blouse with shiny decorations. An apron-like, embroidered silk cloth (nibibandha) is tied around the waist like a ruffle and worn around the legs. Some dancers still adhere to tradition by wearing a pattasari: a piece of thin fabric about 4 metres (13 ft 1 in) long, worn tightly with equal lengths of material on both sides and a knot on the navel. However, this traditional dress is often replaced by a newly designed cloth which is easier to put on.

 

Dancers wear specially designed, beaded jewelry: necklaces, bracelets, armbands and ear ornaments. Nose-piercing jewelry has been replaced with a painted motif. Ankle bells are worn, to accentuate the beats tapped out by the feet. The palms of the hands and soles of the feet are painted with a red liquid known as alta. The costume, jewelry and bells are considered sacred.

 

Long ago, the temples in Orissa had female dancers known as devadasi (or mahari), who were devoted to Jagannath, which gave rise to Mahari dance. Sculptures of dancers on bas-reliefs in temples in Orissa (and the Konark Sun and Jagannath Temples in Puri) demonstrate this ancient tradition. With the decline of mahari dancers around the 16th century during the reign of Rama Chandra Dev (who founded the Bhoi dynasty), boy dancers in Orissa continued the tradition. Gotipua dance is in the Odissi style, but their technique, costumes and presentation differ from those of the mahari; the singing is done by the dancers. Present-day Odissi dance has been influenced by Gotipua dance. Most masters of Odissi dance (such as Kelucharan Mohapatra, from Raghurajpur) were Gotipua dancers in their youth.

 

Odissi dance is a combination of tandava (vigorous, masculine) and lasya (graceful, feminine) dances. It has two basic postures: tribhangi (in which the body is held with bends at the head, torso and knees) and chouka (a square-like stance, symbolizing Jagannath). Fluidity in the upper torso is characteristic of Odissi dance, which is often compared to the gentle sea waves which caress the Orissa beaches.

 

Each year, the Guru Kelucharan Mohapatra Odissi Research Centre organizes the Gotipua Dance Festival in Bhubaneswar.

 

Source : en.wikipedia.org/wiki/Gotipua

The Representative of Humanity (1922), a nine-meter high wood sculpture executed as a joint project with the sculptor Edith Maryon. This was intended to be placed in the first Goetheanum. It shows a central human figure, the "Representative of Humanity," holding a balance between opposing tendencies of expansion and contraction personified as the beings of Lucifer and Ahriman. It was intended to show, in conscious contrast to Michelangelo's Last Judgment, Christ as mute and impersonal such that the beings that approach him must judge themselves. The sculpture is now on permanent display at the Goetheanum.

 

Rudolf Joseph Lorenz Steiner (27 or 25 February 1861– 30 March 1925) was an Austrian occultist, social reformer, architect, esotericist,and claimed clairvoyant. Steiner gained initial recognition at the end of the nineteenth century as a literary critic and published works including The Philosophy of Freedom. At the beginning of the twentieth century he founded an esoteric spiritual movement, anthroposophy, with roots in German idealist philosophy and theosophy. His ideas are largely pseudoscientific. He was also prone to pseudohistory.

 

In the first, more philosophically oriented phase of this movement, Steiner attempted to find a synthesis between science and spirituality. His philosophical work of these years, which he termed "spiritual science", sought to apply what he saw as the clarity of thinking characteristic of Western philosophy to spiritual questions, differentiating this approach from what he considered to be vaguer approaches to mysticism. In a second phase, beginning around 1907, he began working collaboratively in a variety of artistic media, including drama, dance and architecture, culminating in the building of the Goetheanum, a cultural centre to house all the arts. In the third phase of his work, beginning after World War I, Steiner worked on various ostensibly applied projects, including Waldorf education,biodynamic agriculture, and anthroposophical medicine.

 

Steiner advocated a form of ethical individualism, to which he later brought a more explicitly spiritual approach. He based his epistemology on Johann Wolfgang Goethe's world view, in which "thinking…is no more and no less an organ of perception than the eye or ear. Just as the eye perceives colours and the ear sounds, so thinking perceives ideas." A consistent thread that runs through his work is the goal of demonstrating that there are no limits to human knowledge.

 

Steiner first began speaking publicly about spiritual experiences and phenomena in his 1899 lectures to the Theosophical Society. By 1901 he had begun to write about spiritual topics, initially in the form of discussions of historical figures such as the mystics of the Middle Ages. By 1904 he was expressing his own understanding of these themes in his essays and books, while continuing to refer to a wide variety of historical sources.

 

A world of spiritual perception is discussed in a number of writings which I have published since this book appeared. The Philosophy of Freedom forms the philosophical basis for these later writings. For it tries to show that the experience of thinking, rightly understood, is in fact an experience of spirit.

(Steiner, Philosophy of Freedom, Consequences of Monism)

Steiner aimed to apply his training in mathematics, science, and philosophy to produce rigorous, verifiable presentations of those experiences. He believed that through freely chosen ethical disciplines and meditative training, anyone could develop the ability to experience the spiritual world, including the higher nature of oneself and others. Steiner believed that such discipline and training would help a person to become a more moral, creative and free individual – free in the sense of being capable of actions motivated solely by love. His philosophical ideas were affected by Franz Brentano, with whom he had studied, as well as by Fichte, Hegel, Schelling, and Goethe's phenomenological approach to science.

 

Steiner used the word Geisteswissenschaft (from Geist = mind or spirit, Wissenschaft = science), a term originally coined by Wilhelm Dilthey as a descriptor of the humanities, in a novel way, to describe a systematic ("scientific") approach to spirituality. Steiner used the term Geisteswissenschaft, generally translated into English as "spiritual science," to describe a discipline treating the spirit as something actual and real, starting from the premise that it is possible for human beings to penetrate behind what is sense-perceptible. He proposed that psychology, history, and the humanities generally were based on the direct grasp of an ideal reality, and required close attention to the particular period and culture which provided the distinctive character of religious qualities in the course of the evolution of consciousness. In contrast to William James' pragmatic approach to religious and psychic experience, which emphasized its idiosyncratic character, Steiner focused on ways such experience can be rendered more intelligible and integrated into human life.

 

Steiner proposed that an understanding of reincarnation and karma was necessary to understand psychology[81] and that the form of external nature would be more comprehensible as a result of insight into the course of karma in the evolution of humanity. Beginning in 1910, he described aspects of karma relating to health, natural phenomena and free will, taking the position that a person is not bound by his or her karma, but can transcend this through actively taking hold of one's own nature and destiny. In an extensive series of lectures from February to September 1924, Steiner presented further research on successive reincarnations of various individuals and described the techniques he used for karma research.

 

In his earliest works, Steiner already spoke of the "natural and spiritual worlds" as a unity. From 1900 on, he began lecturing about concrete details of the spiritual world(s), culminating in the publication in 1904 of the first of several systematic presentations, his Theosophy: An Introduction to the Spiritual Processes in Human Life and in the Cosmos. As a starting point for the book Steiner took a quotation from Goethe, describing the method of natural scientific observation,[136] while in the Preface he made clear that the line of thought taken in this book led to the same goal as that in his earlier work, The Philosophy of Freedom.

 

In the years 1903–1908 Steiner maintained the magazine Lucifer-Gnosis and published in it essays on topics such as initiation, reincarnation and karma, and knowledge of the supernatural world. Some of these were later collected and published as books, such as How to Know Higher Worlds (1904–5) and Cosmic Memory. The book An Outline of Esoteric Science was published in 1910. Important themes include:

 

the human being as body, soul and spirit;

the path of spiritual development;

spiritual influences on world-evolution and history; and

reincarnation and karma.

Steiner emphasized that there is an objective natural and spiritual world that can be known, and that perceptions of the spiritual world and incorporeal beings are, under conditions of training comparable to that required for the natural sciences, including self-discipline, replicable by multiple observers. It is on this basis that spiritual science is possible, with radically different epistemological foundations than those of natural science. He believed that natural science was correct in its methods but one-sided for exclusively focusing on sensory phenomena, while mysticism was vague in its methods, though seeking to explore the inner and spiritual life. Anthroposophy was meant to apply the systematic methods of the former to the content of the latter.

 

For Steiner, the cosmos is permeated and continually transformed by the creative activity of non-physical processes and spiritual beings. For the human being to become conscious of the objective reality of these processes and beings, it is necessary to creatively enact and reenact, within, their creative activity. Thus objective spiritual knowledge always entails creative inner activity. Steiner articulated three stages of any creative deed:[73]: Pt II, Chapter 1 

 

Moral intuition: the ability to discover or, preferably, develop valid ethical principles;

Moral imagination: the imaginative transformation of such principles into a concrete intention applicable to the particular situation (situational ethics); and

Moral technique: the realization of the intended transformation, depending on a mastery of practical skills.

Steiner termed his work from this period onwards Anthroposophy. He emphasized that the spiritual path he articulated builds upon and supports individual freedom and independent judgment; for the results of spiritual research to be appropriately presented in a modern context they must be in a form accessible to logical understanding, so that those who do not have access to the spiritual experiences underlying anthroposophical research can make independent evaluations of the latter's results. Spiritual training is to support what Steiner considered the overall purpose of human evolution, the development of the mutually interdependent qualities of love and freedom.

 

Goethean science is not science, but pseudoscience. According to Dan Dugan, Steiner was a champion of the following pseudoscientific claims:

 

wrong color theory;

obtuse criticism of the theory of relativity;

weird ideas about motions of the planets;

supporting vitalism;

doubting germ theory;

weird approach to physiological systems;

"the heart is not a pump".

In his commentaries on Goethe's scientific works, written between 1884 and 1897, Steiner presented Goethe's approach to science as essentially phenomenological in nature, rather than theory- or model-based. He developed this conception further in several books, The Theory of Knowledge Implicit in Goethe's World-Conception (1886) and Goethe's Conception of the World (1897), particularly emphasizing the transformation in Goethe's approach from the physical sciences, where experiment played the primary role, to plant biology, where both accurate perception and imagination were required to find the biological archetypes (Urpflanze). He postulated that Goethe had sought, but been unable to fully find, the further transformation in scientific thinking necessary to properly interpret and understand the animal kingdom. Steiner emphasized the role of evolutionary thinking in Goethe's discovery of the intermaxillary bone in human beings; Goethe expected human anatomy to be an evolutionary transformation of animal anatomy. Steiner defended Goethe's qualitative description of color as arising synthetically from the polarity of light and darkness, in contrast to Newton's particle-based and analytic conception.

 

Particular organic forms can be evolved only from universal types, and every organic entity we experience must coincide with some one of these derivative forms of the type. Here the evolutionary method must replace the method of proof. We aim not to show that external conditions act upon one another in a certain way and thereby bring about a definite result, but that a particular form has developed under definite external conditions out of the type. This is the radical difference between inorganic and organic science.

 

— Rudolf Steiner, The Theory of Knowledge Implicit in Goethe's World Conception, Chapter XVI, "Organic Nature"

  

en.wikipedia.org/wiki/Rudolf_Steiner

 

Rudolf Steiner developed exercises aimed at cultivating new cognitive faculties he believed would be appropriate to contemporary individual and cultural development. According to Steiner's view of history, in earlier periods people were capable of direct spiritual perceptions, or clairvoyance, but not yet of rational thought; more recently, rationality has been developed at the cost of spiritual perception, leading to the alienation characteristic of modernity. Steiner proposed that humanity now has the task of synthesizing the rational and contemplative/spiritual components of cognition, whereby spiritual perception would be awakened through intensifying thinking. He considered this relevant not only to personal development, but as a foundation for advanced scientific research

 

Moral background of spiritual development[edit]

A central principle of Steiner's proposed path to spiritual development is that self-development - inner transformation - is a necessary part of the spiritual path: "for every step in spiritual perception, three steps are to be taken in moral development." According to the spiritual philosophy Steiner founded, anthroposophy, moral development: reveals the extent to which a person has achieved control over his or her inner life;

ensures that he or she lives in harmony with the surrounding natural and social world;

correlates with his or her progress in spiritual development, the fruits of which are given in spiritual perception; and

guarantees the capacity to distinguish between true perceptions and illusions, or to distinguish in any perception between the influence of subjective elements and objective realities.

Meditative path.

Steiner described three stages of meditative progress: imaginative cognition, inspiration and intuition.

 

In imaginative cognition, the meditant aims to achieve thinking independent of sensory perception through concentration on either visual forms of symbolic significance never encountered in the sensory world (e.g. a black cross with a circle of seven red roses superimposed upon it), metamorphoses (e.g. the growth cycle of a plant from seed to mature flower), or mantric verses spoken aloud or silently (e.g. verses for each week of the year intended to connect the meditant with the rhythms of nature).

In inspiration, the meditant seeks to eliminate all consciously chosen meditative content to open a receptive space in which objective spiritual content (impressions stemming from objective spiritual beings) may be encountered. The meditative activity established in inspirative cognition is set forth without concrete content.

The stage of intuition is achieved through practicing exercises of will (e.g. reviewing the sequence of the day's events in reverse order). At this stage, the meditant seeks unity with the creative forces of the cosmos without any loss of his or her individualized consciousness.

This sequence of meditative stages has the ultimate goal of the meditant experiencing his or her own karma and previous incarnations, as well as the "Akashic record" of historical events.

 

Preliminary requirements for embarking on a spiritual training[edit]

Steiner believed that in order for a spiritual training to bear "healthy fruits," a person would have to attend to the following:

 

Striving to develop a healthy body and soul.

Feeling connected with all of existence; to recognize oneself in everything, and everything in oneself; not to judge others without standing in their shoes.

Recognizing that one's thoughts and feelings have as significant an influence as one's deeds, and that work on one's inner life is as important as work on one's outer life.

Recognizing that the true essence of a human being does not lie in the person's outer appearance, but rather in the inner nature, in the soul and spiritual existence of this person.

Finding the genuine balance between having an open heart for the demands of the outer world and maintaining inner strength and "unshakeable endurance."

The ability to be true to a decision once made, even in the face of daunting adversity, until one comes to the conclusion that it was or is made in error.

Developing thankfulness for everything that meets us, and that universal love which allows the world to reveal itself fully to oneself.

Supplementary exercises

Steiner suggested that certain exercises should accompany all meditational practices as a measure of protection against possible negative influences caused by the meditation in the life of the individual. These six exercises, meant to foster positive soul qualities, are:

 

Practice self-control over one's thinking. For example: for a period of time -at least five minutes- contemplate any object and concentrate one's thoughts exclusively on this object. (A pencil or a paper clip might do.)

Exercise willpower by choosing any free deed, i.e. one that nothing is influencing you to do, and choose a regular time of day or day of the week to practice this. (E.g. water plants at the same time each day.)

Practice equanimity: foster calm emotional responses.

Try to see positive aspects in everything and to make the best out of every situation.

Practice being open to new experiences and ideas, never letting expectations based upon the past close your mind to the lessons of the moment.

Find a harmonious, balanced relationship between the above five qualities, practicing each regularly and becoming able to move dynamically between them.

The initial three exercises are intended to enable a person to attain self-discipline in thinking, willing and feeling.[1] The second group of three involve cultivating attitudes toward the world.

 

Individual exercises

 

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Exercises developed in anthroposophy include:

 

Review of the day. Each evening, going backwards through the day recalling its events, its sequential unfolding (experienced here reversed in time), the people one has met, etc.

Experiencing the year's unfolding. Exercises Steiner suggested here include:[citation needed]

Drawing the same plant or tree or landscape over the course of a year.

Meditating the sequence of 52 mantric verses that Steiner wrote to deepen one's experience of the course of the seasons and the year and to bring the inner life of the soul into dialogue with nature, the Soul Calendar.

 

en.wikipedia.org/wiki/Rudolf_Steiner%27s_exercises_for_sp...

Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art venues. The term gained popularity during the graffiti art boom of the early 1980s and continues to be applied to subsequent incarnations. Stencil graffiti, wheatpasted poster art or sticker art, and street installation or sculpture are common forms of modern street art. Video projection, yarn bombing and Lock On sculpture became popularized at the turn of the 21st century.

The terms "urban art", "guerrilla art", "post-graffiti" and "neo-graffiti" are also sometimes used when referring to artwork created in these contexts.[1] Traditional spray-painted graffiti artwork itself is often included in this category, excluding territorial graffiti or pure vandalism.

Street art is often motivated by a preference on the part of the artist to communicate directly with the public at large, free from perceived confines of the formal art world.[2] Street artists sometimes present socially relevant content infused with esthetic value, to attract attention to a cause or as a form of "art provocation".[3]

Street artists often travel between countries to spread their designs. Some artists have gained cult-followings, media and art world attention, and have gone on to work commercially in the styles which made their work known on the streets.

Leading off the hallway just outside Mrs. Weatherly's boudoir into a private inner courtyard is a door featuring two beautifully executed stained glass panels and a lunette above. The lunette features at bird in a foliate frame, surrounded by losenges of stained glass, whilst the late Victorian era door panels feature four panes of flowers and two panes of birds, all hand painted and expertly coloured in glass.

 

Built in High Victorian style in 1878 for successful gold miner Robert Wright, Billilla mansion was originally a thirteen room mansion erected on seven and a half acres of land.

 

When economic boom turned to bust in the 1880s, the property was purchased in 1888 by wealthy New South Wales pastoralist William Weatherly who named it Billilla after his land holdings and established a home there for his wife Jeannie and their children Violet, Gladys and Lionel.

 

The house was substantially altered by architect Walter Richmond Butler in 1907, extending the house beyond its original thirteen rooms and adding the Art Nouveau façade seen today.

 

After William Weatherly's death in 1914, his wife, who was much younger, remained living there until her own death in 1933. She bequeathed the property to her daughter, Violet, who maintained the home with reduced staff until her own death in 1972.

 

The property was purchased in 1973 by the Bayside Council who subsequently used Billilla as a historical house with guided tours, a wedding and events venue, a school and finally in 2009 as an artist's precinct in the property's outbuildings. Billilla is a beautiful heritage property retaining many of its original features thanks to its long private ownership still incorporating a stately formal garden and the magnificent historic house.

 

Billilla, at 26 Halifax Street, Brighton, is one of Melbourne’s few remaining significant homesteads, built on land which had originally been owned by Nicholas Were. The house has a mixture of architectural styles, featuring a Victorian design with Art Nouveau features and has exquisite formal gardens, which retain much of their original Nineteenth Century layout.

 

Billilla retains many original Victorian elements and a number of outbuildings still stand to the rear of the property including the butler’s quarters, dairy, meat house, stable garden store and coach house.

 

Billilla was opened to the general public as part of the Melbourne Open House weekend 2022.

 

Billilla was used as a backdrop in the 1980 Australian Channel 10 miniseries adaptation of Sumner Locke Elliott's "Water Under the Bridge". It was used at the Sydney harbourside home of Luigi, Honor and Carrie Mazzini.

An F-35A takes off on a test flight as an F-15E of 389th Fighter Squadron taxis at Mountain Home AFB, Idaho, Feb 17, 2016. Six operational test and evaluation F-35s and more than 85 Airmen of the 31st TES travelled to Mountain Home AFB to conduct the first simulated deployment test of the F-35A, specifically to execute three key initial operational capability mission sets: suppression of enemy air defenses, close air support and air interdiction. (U.S. Air Force photo by J.M. Eddins Jr.)