sorry me for such an old May's photo, but he is still not ready at all. that`s rather sad, yes.

but it's much easier for me to tell something about him than about Umi.

 

1. May is early spring. the most suitable feeling for him is inspire, awaking and beginning of somethin new.

2. he doesn't use his eyes as much as others use to. Not see - feel is his important idea.

3. he is magician as Umi.

4. Umi is May's elder brother

5. not realy about spending a lot of time with people

6. loves music a lot, but never sing or play it himself

7. looks too far weaker than he realy is

8. everyone who talked with him felt like everything is good. he's peaceful mind and quiet voice make people fell like they are in a safe place

9. remembers lots of different worlds and lifes

10. he is introvert and ways of his mind are often closed even for his brothers

 

sorry my english please, if there are a lot of mistakes here.

trying my best but still not good enough in writing a lot and grammar

+++ DISCLAIMER +++

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

  

Some background:

The Lockheed P-80 Shooting Star was the first jet fighter used operationally by the United States Army Air Forces (USAAF). Designed and built by Lockheed in 1943 and delivered just 143 days from the start of the design process, production models were flying, and two pre-production models did see very limited service in Italy just before the end of World War II.

 

Designed with straight wings, America's first successful turbojet-powered combat aircraft, it helped usher in the "jet age" in the USAF. The US Navy was also keen to enter the jet age, so several P-80A Shooting Stars were transferred beginning 29 June 1945, retaining their P-80 designations. At Naval Air Station Patuxent River, one Navy P-80 was modified with required add-ons, such as an arrester hook, and loaded aboard the aircraft carrier USS Franklin D. Roosevelt at Norfolk, Virginia, on 31 October 1946.

The following day the aircraft made four deck-run takeoffs and two catapult launches, with five arrested landings, flown by Marine Major Marion Carl. A second series of trials was held on 11 November. The tests were passably successful, but the P/F-80A C was not a very suitable carrier aircraft. Even with the arresting hook and the bridle attachment points it still lacked a lot desired for carrier operations: No wing fold (greatly hampering parking on the deck and below in the hangar deck, and elevator handling), not protected against the salt water environment, not optimized for low speed handling around the carrier, and perhaps most troublesome it did not have a structure robust enough for sustained carrier operations.

 

In parallel, the U.S. Navy had already begun procuring its own jet aircraft, but the slow pace of delivery was causing retention problems among pilots, particularly those of the Marines who were still flying Vought F4U Corsairs. To increase land-based jet-transition training in the late 1940s, 50 F-80Cs were transferred to the U.S. Navy from the U.S. Air Force in 1949 as jet trainers. Designated TO-1 by the Navy (changed to TV-1 in 1950), 25 were based at Naval Air Station North Island, California, with VF-52, and 16 assigned to the Marine Corps, equipping VMF-311 at Marine Corps Air Station El Toro. These aircraft were eventually sent to reserve units. The success of these aircraft led to the procurement by the Navy of 698 T-33 Shooting Stars (as the TO-2/TV-2) to provide a two-seat aircraft for the training role.

 

Concerning the single-seat fighter, the US Navy was by late 1948 impressed (or desperate) enough to order a navalized version of the F-80C, with an uprated J-33-A-35 engine, an ejection seat and fitted with 260 US gal (220 imp gal; 980 l) tiptanks. This became the F2V, which addressed many of the early carrier trial shortcomings. For instance, the wings were modified with folding hinges at about half the wings' span, and tanks in the outer wing panels were deleted. This structural weakness precluded the carriage of the F-80C's large tip tanks, though, so that smaller, integral tip tanks were added to the wing tips. Internal structure and landing gear were reinforced, externally recognizable through a slightly higher stance of the aircraft on the ground. An arrester hook was added under the rear fuselage as well as catapult launch cable hooks under the air intakes. For better low-speed handling the flaps could be lowered more strongly than on the F-80, and slats were added to the outer wing panels. In order to provide the pilot with a better field of view esp. during carrier landings, a bigger and taller teardrop canopy was fitted, with a raised position for the pilot. The armaments consisted of six 0.5" machine guns with 300 RPG, plus underwing hardpoints fo up to eight five inch HVARs or two 1.000 lb bombs, similar to the USAF's F-80C.

 

In 1951, immediately after the first F2V-1s had been delivered and sent to Korea, a second order for an upgraded variant was placed. Basically, the F2V-2 did not differ much from its predecessor, it was just outfitted with a slightly uprated J33-A-35A engine and the internal armament was changed to four 20mm Colt Mk. 12 cannon with 100 RPG in the nose. 32 F2V-2s were ordered, plus 12 additional F2V-2Ps, an unarmed photo reconnaissance version which had a similar camera nose as the RF-80. The standard equipment included a K-17 camera with a 6" lens and two split vertical K-22 cameras with 24" lenses. While the F2V-2P did not carry any offensive capability anymore, the underwing hardpoints were retained for photo flash cartridge dischargers, allowing a limited night photography capability.

 

USAF F-80Cs as well as USN F2Vs saw active combat service in the Korean War and were among the first aircraft to be involved in jet-versus-jet combat. They flew both air-to-air and air-to-ground sorties, claiming several aerial victories against North Korean Yak-9s and Il-10s. But despite initial claims of success, the speed of the straight-wing F-80s was inferior to the 668 mph (1.075 km/h) MiGs, and the heavier F2V fared even worse. A further problem of the F2Vs was their poor resistance against sea water-related aircraft wear. Even though Lockheed had tried to save the airframe and the internal systems from higher humidity and salt exposure, corrosion and electrical defects plagued the aircraft during its whole career, which was relatively short. The fighters were soon replaced by the more capable Grumman F9F Panther, and type that had been from the start been designed as a naval aircraft and was built by a company with more experience in this field of work.

 

When sufficient Sabres were in operation to counter the MiG-15s, the Shooting Stars flew exclusively ground-attack and photo reconnaissance missions. For the latter task, 20 surplus F2V-1s were modified in field workshops to F2V-1Ps. These were basically of the same technical standard as the F2V-2P, but retained the weaker engine. In fact, by the end of hostilities, the only Shooting Stars in USAF and USN service still flying in Korea were photo-reconnaissance variants. After the Korean War, the F2V fighters were quickly phased out, just the photo reconnaissance versions were still flying in reserve units, but were also soon replaced by Grumman Panthers and Douglas Banshee recce variants. By 1958, all F2Vs were already retired.

 

Lockheed's experience with the F2V was not futile, though. The USN's persisting need for a carrier-compatible trainer led to a further, more advanced design development of the P-80/T-33 family, which came into being with the Lockheed designation L-245 and USN designation T2V. Lockheed's demonstrator L-245 first flew on 16 December 1953 and production deliveries to the US Navy began in 1956.

Compared to the T-33/TV-2/F2V, the T2V was almost totally re-engineered and fully optimized for carrier landings and at-sea operations. This included a redesigned tail, naval standard avionics, a further strengthened undercarriage (with catapult fittings) and lower fuselage (with a retractable arrester hook), power-operated leading-edge flaps (to increase lift at low speeds) to allow carrier launches and recoveries, and an elevated rear (instructor's) seat for improved instructor vision, among other changes. The T2V eventually had a much higher ability to withstand sea water-related aircraft wear from higher humidity and salt exposure.

  

General characteristics:

Crew: 1

Length: 34 ft 5 in (10.49 m)

Wingspan: 40 ft 9 1/2 in (12,45 m) incl. tip tanks

Height: 11 ft 3 in (3.43 m)

Wing area: 234.8 sq ft (21.81 m²)

Aspect ratio: 6.37

Airfoil: NACA 65-213

Empty weight: 9,273 lb (4,210 kg)

Gross weight: 14,392 lb (6,534 kg)

Max takeoff weight: 17,280 lb (7,846 kg)

Zero-lift drag coefficient: 0.0134

Frontal area: 32 sq ft (3.0 m²)

 

Powerplant:

1× Allison J33-A-35A centrifugal compressor turbojet with 4,900 lbf (22 kN) dry thrust

and 6,100 lbf (27.2 kN) with water injection'Allison J33-A-24/24A turbojet,

 

Performance:

Maximum speed: 590 mph (950 km/h, 513 kn) at sea level

Maximum speed: Mach 0.75

Cruise speed: 439 mph (707 km/h, 381 kn)

Range: 825 mi (1,328 km, 717 nmi)

Ferry range: 1,380 mi (2,220 km, 1,200 nmi)

Service ceiling: 46,800 ft (14,300 m)

Rate of climb: 6,870 ft/min (34.9 m/s)

Time to altitude: 20,000 ft (6,100 m) in 5 minutes 30 seconds

Lift-to-drag: 17.7

Wing loading: 51.3 lb/sq ft (250 kg/m²

Thrust/weight: 0.364

0.435 with water injection.

 

Armament:

No cannons installed

Underwing hardpoints for up to 2× 1,000 lb (450 kg) bombs, but typically left empty or outfitted with photo flash

cartridge dispensers for night photography

  

The kit and its assembly:

This build is another submission the "In the Navy" group build at whatifmodellers.com in early 2020, and it was a spontaneous decision, following the discussions under a "F-80 in USN service" thread elsewhere in the forum (www.whatifmodellers.com/index.php?topic=33956.0).

 

I remembered that I had an Airfic F-80C in the stash, and the idea was born to build a kind of a missing link between the USN's purely land-based TO/TV-1 and the later, dedicated T2V-1 carrier-capable trainer.

I wanted the modified Shooting Star to stay close to the land-based original, but with some upgrades. These included foldable wings (hinted at with profiles on the upper wings surfaces, hiding the respective joints), a raised cockpit in the form of a new/bigger canopy (from a Hasegawa F9F Panther, with an added dorsal fairing) and a modified landing gear. For the latter, the main gear was taken over, but I raised the main legs by maybe 2mm - not much, but I wanted a rather stalky, Skyhawk-esque look that conveys the upgraded landing gear. For the same reason I replaced the front leg with a leftover donor piece from a Matchbox A-4M - it has a different construction and is also longer, so that the F2V now had a nose-up stance for a better angle of attack when launching from a carrier. I contemplated and actually tried a fin fillet, but found after hardware trials that this, together with the more bulbous canopy, totally ruined the F-80's elegant lines, so it went off again.

 

An extra of this conversion is the camera nose, taken from the Heller T-33/RT-33 kit, a straightforward mod because the same nose was also mounted onto the RF-80C photo recce variant of the Shooting Star. However, once again the challenges of body transplants on model kits should not be underestimated. While, in theory, the RT-33 nose should have been easy to graft onto the F-80 body, it was not. While the dorsal area would fit quite well, the lower shapes, esp. in front of the air intakes, differ considerably between the models. I assume that the Airfix F-80C is slightly too narrow/sleek at its front end. Integrating the different nose necessitated some serious PSR, and while the parts do not match as good as one might have suspected, the outcome looks fine and I am happy that I now have "something different", not just a standard fighter.

 

I also wanted to add wing tip tanks, but neither the early underwing tanks that come with the Airfix kit, nor the large tanks from the T-33 - I found them both to be too big for a carrier-borne aircraft. Finding suitable donor parts was not easy, though; initially I dug out a pair of leftover tip tanks from a Matchbox T-2 Buckeye. which are pretty slender, but they eventually looked too modern and streamlined for an aircraft from the early Fifties. I tried some further mods but eventually rejected them. The final choice became a pair of underwing drop tanks from a Hobby Boss MiG-15 that lost their fins.

  

Painting and markings:

Once more, a conservative approach. While the real TO/TV-1s of the US Navy retained their bare metal finish with black markings, I gave the T2V a classic all-blue livery, because I thought that it would suit the elegant lines of the F-80 well.

 

The F2V was painted overall in FS 35042 (from Modelmaster), later treated with a black ink wash and some post-shading. The interior surfaces of cockpit, air brakes and landing gear wells were painted with an individually mixed zinc chromate green, consisting of Humbrol 80 and 159 in a roughly 1:1 ratio. The silver wing leading edges were created with decal material, a more convenient solution than trying to mask and paint them. The landing gear struts and wheel discs were painted in aluminium (Humbrol 56).

 

Decals and markings were puzzled together. The "Stars and Bars" come from an Artmodel F8F Bearcat, as well as the "Navy" tag on the fuselage. The VC 61 markings come from a Hobby Boss F9F Panther, and I added some F-80/T-33-specific markings from various aftermarket sheets. The red highlights on nose and fin were done with paint (Revell 330), framed by thin white decal strips. The ranging radar was framed with similar material, just in silver.

 

Even though I considered opening the camera windows in the nose and glazing them, I left them closed, since a lot of lead had to be hidden inside for a proper stance. Instead, the windows were simply filled with black, clear paint, for a glossy finish. The rest of the aircraft was sealed with a mix of matt and semi-gloss Italeri acrylic varnish, which turned out duller than hoped for - but I left it that way.

  

A relatively simple project - or so I thought! The rhinoplasty was more complicated than expected, the wing tip tanks became a trial-and error odyssey and the different landing gear and the canopy were also not without trouble. The resulting fictional aircraft is very subtle, though - even more so through the standard USN livery, which suits the Shooting Star VERY well and might onlookers mislead to see a Fifties Banshee or a Panther. The F2V just blends right between these types.

From left to right: Lisa Guernsey, Deputy Director, Education Policy Program, New America, Director, Learning Technologies Project, New America;

 

Aleksander Dardeli, Senior Vice President, IREX;

 

An-Me Chung, Senior Fellow, Mozilla Foundation;

 

Alan Page, Government teacher, Oklahoma City Public Schools

Involved with Generation Citizen;

 

Patricia Hunt, Government teacher, Arlington County Public Schools, Involved with the News Literacy Project

I couldn't resist doing Knox too :)

 

1. Her parents are Walter and Miranda Fort they were highschool sweethearts <3

 

2. Knox and Walter sheild Miranda from a lot of what happens at RIOT. Miranda knows that, and she likes it that way.

 

3. Knox can't cook at all. That's because growing up she was never allowed in the kitchen, RIOT is Knox and Walter's territory, the kitchen is Miranda's.

 

4. Knox is uneasy around dogs. It's not that she doesn't like them, but she's never owned one and doesn't know how to read their body language.

 

5. For most of highschool she was in a 'boy' phase. She would only wear boy's clothes, taped down her breasts, dyed her hair black and wore heavy raccon eyed makeup, she did a complete 180 at the end of highschool and went super girly, she's evened out since.

 

6. Most RIOT agents get their sea creature nicknames after starting work, but Knox has been called the eel since she was tiny(ier) and visited her dad at work.

 

7. She is excellent at impressions.

 

8. Her bjd form has 18 peircings, her character has 19. I don't plan to give her the missing one.

 

9. She was born a redhead, but it faded to a strawberry blond quickly. Even when she has it her 'natural' color she bleaches it lighter.

 

10. She has spent time in a mental institution.

Doel is a little village.

This village will be erase of the world with the extention of the Schelde river.

Some artists paint the houses to show on the world this uncredible fact.

Doel never die.

 

Doel est un petit village qui va être rasée de la carte du monde par l'extension de l'Escaut

 

Doel

Belgium location map.svg

Doel

Administration

Pays Belgique Belgique

Région Flandre Région flamande

Communauté Flandre Communauté flamande

Province Drapeau de la province de Flandre-Occidentale Province de Flandre-Orientale

Arrondissement Saint-Nicolas

Commune Beveren

Géographie

Coordonnées 51°18′″N 04°15′″E / Erreur d’expression : opérateur / inattendu, Erreur d’expression : opérateur / inattendu

Superficie 25,61 km²

Population 359 hab. (31/12/2007)

Densité 14 hab./km²

Autres informations

Gentilé

Code postal 9130

Zone téléphonique 03

Localisation de Doel au sein de Beveren

Localisation de Doel au sein de Beveren

modifier Consultez la documentation du modèle

 

Doel (appelé Den Doel dans le parler local) est un village situé dans l’extrême nord-est de la province belge de Flandre-Orientale, dans les marais du pays de Waas, sur la rive gauche de l’Escaut, large en cet endroit de quelque 1500 mètres par marée haute, en face de Lillo-Fort. Aujourd’hui intégré dans l’entité de Beveren, Doel était jusqu’en 1977 une commune autonome, d’une superficie de 25,61 km², et d’une population de quelque 1300 habitants (1972). Outre le village lui-même, l’ancienne commune de Doel comprend les hameaux de Rapenburg, Saftinge et Ouden Doel, et bien sûr, une vaste étendue de marais asséchés.

 

Depuis quelques décennies, le village se retrouve régulièrement projeté au centre de l’actualité belge, à double titre.

 

D’abord, il a été choisi, comme le village de Tihange dans la province de Liège, comme lieu d’implantation d’une des deux centrales nucléaires que compte la Belgique.

 

Ensuite, et plus récemment, il semble bien établi à présent que Doel doive s’ajouter à la liste des villages poldériens (si l’on nous permet ce néologisme) sacrifiés à l’expansion du port d’Anvers. En effet, l’évacuation totale de la bourgade, après expropriation de ses habitants, a été décidée en 1999 par l’autorité régionale flamande, pour faire place à de nouvelles installations portuaires. En dépit des résistances, et de la bataille juridique engagée par le comité d’action Doel 2020 (saisines du Conseil d’État, etc.), le sort de Doel paraît aujourd’hui scellé, et il faut craindre que les recours n’aient d’autre effet que d’en prolonger l’agonie. L’évacuation suit son cours, et à la date du 31 décembre 2006, Doel ne comptait déjà plus que 388 habitants.

Le nom de Doel (la combinaison oe se prononce comme un ou bref, API: /dul/) est attesté pour la première fois en 1267, sous la forme « De Doolen ». La signification précise demeure obscure; le terme pourrait être une référence à «dalen», vallées, au sens d’amas de sable creusés. Au Moyen Âge, les Doolen ont pu être des îlots au milieu de l’Escaut. Pour d’autres, Doel signifierait ‘digue, remblai, levée’. ‘Doel’ devint, après la domination française, la dénomination officielle.

 

La zone autour de Doel était à l’origine constituée de terres marécageuses et faisait partie d’une vaste étendue tourbeuse s’étirant d’est en ouest sur toute la Flandre zélandaise et le nord de la Flandre-Orientale. Au nord de Doel plus spécialement, dans ce qui est aujourd’hui le Verdronken Land van Saeftinghe, la couche de tourbe était particulièrement épaisse. À partir du XIIIe siècle, l’on procéda dans cette zone, qui au XIIIe siècle avait deux fois plus d’habitants que Doel, et qui hébergeait une abbaye cistercienne, à une exploitation intensive de la tourbe. Cette activité, fort lucrative, a induit une certaine prospérité dans la région.

 

L’extraction de tourbe dans la zone marécageuse eut pour effet d’abaisser le niveau du sol en de nombreux endroits et de rendre la zone vulnérable aux inondations. Dans le même temps, à partir du XIIe siècle, l’Escaut subissait de plus en plus l’emprise de la mer du Nord. Pour ces raisons, il advenait régulièrement à partir du XIVe siècle que Doel et les parties nord du Pays de Beveren fussent totalement inondées, déterminant la nécessité d’édifier des digues et d’aménager ainsi des polders.

 

Cependant, tout ce système, conjuguant poldérisation et extraction de tourbe, progressivement mis en place dans la région au cours du Moyen Âge, fut peu à peu anéanti, d’abord par une série d’inondations catastrophiques au XVIe siècle (dont la plus grave, en l’an 1570, connue sous le nom de Allerheiligenvloed, «marée de Toussaint», submergea entièrement, et à titre définitif, le marais de Saeftinghe), ensuite par les submersions, cette fois délibérément provoquées pour motifs stratégiques, durant la guerre de Quatre-Vingts Ans, notamment lors du siège d’Anvers par Alexandre Farnèse. La région était en effet alors le théâtre de combats dont l’enjeu était la maîtrise d’Anvers et de l’estuaire de l’Escaut. À cette même époque, elle fut pillée par deux fois, par des gueux (protestants) de Malines et par la soldatesque catholique royale. Les submersions volontaires ne purent empêcher Farnèse de prendre Anvers en 1585, mais les forces des États-généraux ayant réussi à s’emparer du fort de Liefkenshoek, sis au sud de Doel (et existant encore aujourd’hui), le village et le marais de Doel furent à partir de 1585 sous domination des États-généraux.

Le Hooghuis (1614).

Hooghuis : portique.

 

Lorsqu’arriva l’intermède de paix correspondant à la Trève de douze ans (1609-1621), la région entière n’était qu’une zone de désolation où marées et inondations de l’Escaut avaient libre carrière; tout était à refaire. Doel servait de point d’appui dans les opérations de guerre, et à la hauteur de l’actuel moulin se trouvait un fort abritant une garnison hollandaise. En 1614 fut accordée, par les États-Généraux de la République des Provinces-Unies, l’autorisation d’endiguer et d’assécher toute l’étendue autour de Doel. Cette décision signe l’acte de naissance de la bourgade de Doel sous sa forme actuelle, car, outre l’aménagement du marais, fut aussi commencé la construction, planifiée sur carte, du village. La disposition en damier des rues détermina une urbanisation géométrique, fort rare en ces latitudes. Les parcelles carrées ainsi formées furent ensuite bâties systématiquement, de telle façon qu’aucun jardin ne fût visible depuis la rue; ces jardins étaient (et sont encore) accessibles par d’étroits corridors aménagés entre les maisons et clos par des portillons, qu’autrefois on verrouillait pour la nuit.

 

Doel et le marais de Doel ont longtemps formé, de fait, une façon d’île, délimitée par l’Escaut d’une part, par des criques et des vasières d’autre part. Le marais de Doel s’étendait sur 1090 ha. La digue nord du marais de Doel, digue subsistant encore aujourd’hui, est la limite qui sépare le marais initial d’avec les marais aménagés ultérieurement, et permet de situer en partie les contours de cette ancienne île. Jusqu’au XVIIe siècle, Doel n’était en pratique guère accessible autrement qu’en bateau. Quant au marais de Saeftinghe, on renonça à l’endiguer, ce marais demeurant ainsi un verdronken land, une zone inondable au gré des marées; à l’heure actuelle, c’est une réserve ornithologique.

 

Au plan ecclésiastique, Doel dépendait de la paroisse de Kieldrecht et ne devint une paroisse autonome qu’en 1792. Cette même année, Doel fut attribué à l’empereur d’Autriche et vint à faire partie définitivement des Pays-Bas du Sud.

 

Lors des événements qui entourèrent l’indépendance belge en 1830, Doel subit le contrecoup de la bataille d’Anvers. En décembre 1832, les Belges, aidés de troupes françaises, réussirent à contraindre les Hollandais à céder Anvers, mais, après avoir investi le polder de Doel, ne purent cependant déloger les troupes hollandaises des forts de Liefkenshoek et de Lillo. Une garnison hollandaise continua donc d’occuper le fort de Liefkenshoek, et cela jusqu’à la signature d’un traité en 1839. Doel devint ensuite une commune autonome.

 

À partir de 1843 et jusqu’en 1945, Doel fut le siège du service de quarantaine chargé de contrôler les navires se rendant à Anvers. Le marais s’agrandit du polder Prosper (Prosperpolder, 1051 ha de terres arables), et, quelques décennies plus tard, du polder Hedwige (300 ha). À la fin du XIXe siècle, les deux tiers environ de la population doeloise vivaient de l’agriculture, et un tiers avait la pêche pour moyen de subsistance ; d’autre part, une sucrerie occupait une quarantaine de travailleurs.

 

Doel fut libérée en 1944 par des soldats britanniques et polonais. Le village eut cependant encore à souffrir des meurtrières bombes volantes V1, dont 68 tombèrent sur son territoire — 59 V1 et 9 V2 —, faisant 13 morts et détruisant totalement ou partiellement 35 maisons.

 

En 1975, Doel fusionna avec quelques communes environnantes pour constituer l’entité de Beveren.

 

Dans la bourgade, les rues sont disposées en damier, phénomène à peu près unique en Belgique : le plan se compose de trois rues parallèles à la digue, et de quatre autres rues qui les croisent à la perpendiculaire. Cette disposition remonte à la décision, prise au début du XVIIe siècle après les inondations stratégiques, de procéder à une poldérisation et un remembrement des terres autour de Doel, et est demeurée inchangée depuis.

 

* L’agglomération comprend plusieurs fermes et maisons bourgeoises. L’immeuble le plus ancien est le Hooghuis (litt. maison haute, classé monument historique), achevé de bâtir en 1614, dans le style renaissance flamand, avec monumental encadrement de porte en style baroque. L’intérieur n’est pas sans intérêt, avec ses plafonds en chêne et deux monumentales cheminées baroques du XVIIe siècle. L’édifice était au XVIIe siècle le siège de l’administration du polder, mais a aussi été le manoir appartenant à de riches bourgeois anversois; le Hooghuis est ainsi associé au nom de Rubens, cette demeure ayant été probablement la propriété de Jan Brandt, père d’Isabelle Brandt, la première épouse du peintre, et, ultérieurement, de Jan Van Broeckhoven de Bergeyck, qu’Hélène Fourment épousa en secondes noces, après le décès de Rubens.

* Le moulin, classé monument historique depuis 1946, est encastré dans la digue de l’Escaut. Il date du milieu du XVIIe siècle et figure parmi les plus anciens moulins en brique que compte la Flandre. Hors d’usage depuis 1927, le moulin est aujourd’hui aménagé en café-restaurant.

* L’église paroissiale, dédiée à Notre-Dame de l’Assomption, fut édifiée en style néoclassique entre 1851 et 1854 selon les plans de Lodewijk Roelandt, architecte municipal de Gand. Le mobilier cependant comprend des œuvres d’art plus anciennes, telles que des statues du sculpteur anversois H. F. Verbruggen (XVIIe siècle) et de E. A. Nijs (XVIIIe siècle). L’orgue est classé monument depuis 1980. L’église, endommagée suite à affaissements, fut entièrement restaurée entre 1996 et 1998. Les couches solides du sous-sol se situent à Doel à environ 11 mètres de profondeur, alors que les palées destinées à soutenir l’édifice ne s’enfoncent en terre que de 7 mètres. Cela explique pourquoi l’église penche assez fortement aujourd'hui, son clocher en particulier.

* Au nord du village, au-delà de la centrale nucléaire, à la hauteur du hameau Ouden Doel, se situent le long de l’Escaut les dernières vasières saumâtres que compte la Belgique. Ces vasières abritent le petit port de Prosperpolder et la réserve naturelle Schor Ouden Doel (51 ha).

* Doel possède un port de plaisance, constitué d’un unique bassin à marée, et un embarcadère où vient accoster le bac de Lillo-Fort, lequel effectue la traversée de l’Escaut tous les week-ends de mars à septembre.

* Doel attire de nombreux excursionnistes, en particulier pendant la période estivale. Un événement singulier est la Scheldewijding (bénédiction rituelle de l’Escaut), qui a lieu début août chaque année depuis 1975. Les festivités commencent par une messe célébrée en plein air. Ensuite, le collège des échevins (=adjoints au maire) se rend conjointement avec les conseillers communaux à un bateau amarré, en vue de la mise à l’eau d’une couronne de fleurs en commémoration des victimes de la mer et du fleuve. L’après-midi, après un spectacle naval sur l’Escaut, un cortège folklorique se met en branle, réunissant, en provenance des villages environnants, nombre de groupes et d’associations avec leurs géants et leurs sociétés musicales. Une marche aux flambeaux clôture la journée.

* En l’an 2000, une cogue (type de navire de commerce hauturier, naviguant au Moyen Âge entre les différents ports de la ligue hanséatique, en mer du Nord et en mer Baltique) a été mise au jour lors des travaux de terrassement en vue de la construction du bassin Deurganckdok. L’épave trouvée à Doel était enfouie à une profondeur entre -7 et -5m sous le niveau de la mer, dans un ancien bras ensablé de l’Escaut, connu sous le nom de Deurganck (= passage, cf. allem. Durchgang), qui autrefois communiquait directement avec le fleuve ; pour des raisons inconnues, la cogue vint échouer dans ce bras en 1404. La cogue de Doel (ainsi qu’il est désormais convenu de l’appeler) mesure environ 21m de long et 7m de large; sa hauteur conservée est de 2,5m environ. L’analyse dendrochronologique a permis d’établir que le chêne qui a fourni le bois du vaisseau a été abattu en Westphalie pendant l’hiver 1325-1326, ce qui fait de cette cogue une des plus grandes, des mieux préservées et des plus anciennes d’Europe. Une fois terminés les travaux de remise en état, la cogue sera (probablement) exposée dans le musée de la navigation de Baasrode, non loin de la ville de Termonde ; mais une maquette est d'ores et déjà visible au bezoekerscentrum (sorte d'écomusée), ouvert depuis septembre 2007 au fort de Liefkenshoek. Une deuxième cogue découverte au même endroit, mais moins bien conservée, date de 1328.

 

Les premiers projets d’expansion du port d’Anvers sur la rive gauche de l’Escaut datent de 1963 et prévoyaient que l’ensemble des polders du pays de Waas ainsi que Doel disparussent pour faire place à des bassins et à des terrains industriels. En 1968, une interdiction de construire entra en vigueur dans le village. Suite à la récession économique des années 70, ces plans d’expansion furent revus à la baisse, et l’on vit apparaître sur le plan de secteur (=plan d’occupation du sol) de 1978 la ligne dite De Bondtlijn (d’après le sénateur Ferdinand De Bondt), ligne qui allait d’est en ouest, et qui, passant tout juste au sud de Doel, limitait la zone d’extension portuaire à la partie sud des polders. L’interdiction de construire fut donc levée cette même année. Dans la première moitié des années 80 fut réalisé, au sud de Doel, le bassin Doeldok, lequel cependant n'a jamais été utilisé.

 

L’implantation industrielle moderne la plus ancienne à Doel fut la centrale nucléaire, à 1 km au nord du village, dont la construction fut entamée en 1969. Elle héberge quatre réacteurs (Doel I, mis en service en 1974, Doel II en 1975, Doel III en 1982, et Doel IV en 1985), ainsi que deux tours de refroidissement d’environ 170 mètres de hauteur.

 

En 1995 furent rendus publics les projets d’extension de l’Administration des voies navigables et des affaires maritimes (Administratie Waterwegen en Zeewezen) de l’autorité flamande, lesquels projets prévoyaient l’aménagement, un peu au sud de Doel, d’un nouveau bassin pour conteneurs, dénommé Deurganckdok. Dans la perspective de la réalisation de ce bassin, l’on se mit à s’interroger sur la vivabilité de Doel, et dans les années qui suivirent une lutte acharnée s’engagea avec comme enjeu la survie du village. En 1997 fut constitué le comité d’action Doel 2020, et des personnalités connues en Flandre, telles que l’ancien sénateur Ferdinand De Bondt, le cinéaste Frank Van Passel, et les trois prêtres Luc Versteylen (fondateur du parti vert flamand Agalev), Phil Bosmans (écrivain) et Karel Van Isacker (historien) s’associèrent au mouvement de protestation. Une prise de décision opaque et des bévues juridiques donnèrent lieu à de grands retards dans la construction du Deurganckdok et entretinrent pendant de longues années un état d’incertitude quant à l’avenir de Doel. Les habitants étaient divisés en, d’une part, ceux qui souhaitaient y rester et, d’autre part, ceux qui au contraire avaient fait choix de lutter pour obtenir un règlement d’expropriation clair et équitable. Le 1er juin 1999, le gouvernement flamand décida, après une modification provisoire du plan de secteur intervenue en 1998, que Doel devait disparaître de ce plan de secteur au titre de zone de résidence, toujours au motif de l’invivabilité du village, qualificatif récusé par les opposants.

 

Après le changement de gouvernement de la région flamande en 1999, une étude fut effectuée, sur insistance du parti vert Agalev, concernant la vivabilité de Doel après l’achèvement du nouveau bassin Deurganckdok. Cette étude cependant ne remit pas en cause la modification du plan de secteur, ni la décision déjà prise de faire disparaître Doel à terme.

 

Le 30 juillet 2002, le Conseil d’État suspendit la mise à exécution du plan de secteur tel que modifié, c'est-à-dire comportant notamment la requalification de Doel comme zone industrielle. C’est donc le plan de secteur de 1978, qui classe Doel comme zone résidentielle, qui garde force de droit. Toutefois, en vertu du Décret d’urgence (Nooddecreet) ou Décret de validation, adopté le 14 décembre 2001 au parlement flamand, le gouvernement flamand est habilité à délivrer, en vue de la construction du Deurganckdok, des permis de bâtir et à les faire sanctionner par le parlement. L’on escomptait pouvoir par cette voie contourner le plan de secteur. Le Nooddecreet était la réaction du gouvernement flamand face à la suspension des travaux du Deurganckdok imposé par un arrêté du Conseil d’État ; des comités d’action avaient en effet mis au jour des vices de procédure entachant les modifications apportées au plan de secteur. Le Nooddecreet, compte tenu qu’il interférait dans les procédures en cours, et tendait à contourner partiellement la protection juridique des citoyens, est considéré par beaucoup comme contraire aux principes de l’État de droit.

 

En octobre 1999 fut néanmoins engagée la construction du Deurganckdok, lequel fut inauguré en juillet 2005. Dès le printemps 1999 étaient venus à être connus d’autres projets encore, prévoyant notamment un deuxième grand bassin à conteneurs, le controversé Saeftinghedok (cf. ci-dessous), qui serait creusé à l’emplacement même de la petite agglomération. La mise en œuvre de ces projets reste cependant incertaine. Une décision à ce sujet est attendue au plus tôt en 2007.

 

Un nouveau « plan stratégique », que la Région flamande et les autorités portuaires anversoises ont achevé de mettre au point en 2007, devrait être approuvé bientôt. Le plan prévoit de requalifier en zone portuaire toute la zone située au nord d’une ligne Kieldrecht-Kallo (et donc englobant Doel), jusqu’à la frontière néerlandaise. La construction d’un nouveau bassin à marée, le Saeftinghedok, serait alors possible, moyennant la poursuite des expropriations.

 

Partisans et détracteurs s’opposent à propos de l’opportunité de ce bassin. Celui-ci a un fervent défenseur en la personne de Marc Van Peel, depuis fin 2006 échevin (=adjoint au maire) aux affaires portuaires de la municipalité d’Anvers. Selon M. Van Peel, l’extension du port d’Anvers est une nécessité, compte tenu, d’une part, de la croissance prévisible du trafic de conteneurs, lequel est passé, en 2007, de 7 à 8 millions d’ÉVP, et d’autre part, de ce que le port d’Anvers sera apte, dès 2008, grâce aux travaux d’approfondissement de l’estuaire qui ont été réalisés, à accueillir des porte-conteneurs d’une capacité jusqu’à 12.500 ÉVP. Si cette croissance se poursuit à ce même rythme, on peut prévoir que le Deurganckdok sera parvenu à saturation aux alentours de 2012. Or, les seules possibilités d’expansion se trouvent sur la rive gauche, dans les marais de Doel.

 

Les opposants au projet vont valoir, étude récente de la Ocean Shipping Consultants à l’appui, que la conteneurisation des marchandises pourrait atteindre bientôt son plafond, et que la croissance prévisible du trafic pourrait être moindre dans les dix années à venir que dans les années récentes. Par ailleurs, à l’heure actuelle, le Deurganckdok est loin d’avoir épuisé toute sa capacité, et il apparaît de surcroît que le rendement, exprimé en ÉVP par hectare, se situe, au port d’Anvers, avec un chiffre de 18.000 seulement, très en deçà de ce qu’il est à Rotterdam ou à Hambourg, où l’on atteint les 30.000 ÉVP par hectare. Dès lors, au lieu d’un supposé manque de capacité, ce serait plutôt d’une grande réserve de capacité (resp. d'une surcapacité, si le Saeftinghedok devait être construit) qu’il pourrait être question, de sorte que moyennant certaines améliorations techniques, et éventuellement un allongement du Deurganckdok, il devrait être possible de faire face à l’augmentation du trafic conteneurs, et ce, selon les calculs du parti écologiste Groen!, au moins jusqu'en 2027.

 

Dès 1999, les habitants qui le désiraient pouvaient se faire exproprier. Les maisons expropriées passaient aux mains de la Maatschappij voor Grond- en Industrialisatiebeleid van het Linkerscheldeoevergebied (Société de gestion foncière et d’industrialisation de la Rive gauche de l’Escaut, en abrégé Maatschappij Linkeroever), cependant les habitants expropriés bénéficiaient d’un droit d’habitation, garanti initialement jusqu’au 1er janvier 2007. Fin 2006, l’administration fit savoir aux habitants que le droit d’habitation serait prorogé de manière provisoire.

 

En même temps fut nommé en 1999 un médiateur social, chargé de mettre à exécution le plan d’accompagnement social et d’assister les habitants qui quittent le village volontairement. Le 31 décembre 2003, ce plan social vint à son terme. Cette manière de procéder a permis de rendre exsangue, en seulement quelques années et sans coup férir, une grande partie du village: le 1er mai 2003 ne vivaient plus dans le centre de Doel que 214 des 645 habitants qui étaient inscrits au 20 janvier 1998. Le chiffre de population réel dans le centre s’élevait toutefois, au 1er mai 2003, à 301. Le 1er septembre 2003, l’école communale fut fermée après constatation que seuls 8 élèves s’y étaient inscrits.

 

Depuis lors, si le nombre d’habitants officiel a poursuivi sa baisse (plus que 202 en mars 2006), le nombre réel s’est progressivement accru. Cela s’explique, pour petite partie, par l’arrivée de nouveaux locataires dans certaines maisons expropriées, et pour majeure partie par le fait que des squatteurs avaient occupé les immeubles vacants (les estimations se situent entre 150 et 200). Cet état de choses fut longtemps toléré par la Société propriétaire des maisons vacantes et par la municipalité de Beveren.

 

Début 2006, les médias se sont de nouveau intéressés à Doel en raison du grand nombre de squatteurs. Cela concourut à répandre dans le public l’idée que Doel s’était dans une certaine mesure muée en une zone de non-droit, où l’on pouvait sans problème s’approprier un logement vacant, ce qui, à son tour, eut pour effet d’attirer de nouveaux squatteurs et de provoquer une vague de cambriolages. Le 22 mars 2006, le bourgmestre (=maire) de Beveren annonça que les contrôles de police seraient intensifiés à Doel et que la tolérance zéro serait dorénavant en vigueur et toute activité illégale réprimée. Certains squatteurs cependant demandent à régulariser leur situation.

 

Début septembre 2007, le tribunal des référés de Termonde a interdit la démolition de logements à Doel. La Maatschappij Linkeroever avait demandé quarante permis de démolition, dont une vingtaine avaient été accordés entre-temps. Le gouvernement flamand souhaite que 125 immeubles au total — soit environ une moitié des maisons du village —, déjà acquis par l’autorité flamande, aient disparu d’ici fin 2007 ; cela du reste rejoint sa décision de mettre un terme final au droit d’habitation (woonrecht) en 2009 : toutes les maisons qui viendraient ainsi à se trouver vacantes seraient ensuite démolies. Cependant, quelques habitants de Doel, soutenus en cela par le comité d’action Doel 2020, avaient saisi le tribunal de Termonde afin d’empêcher les démolitions. Sur le plan d’occupation du sol, Doel reste classé en zone d’habitation, le nouveau plan de secteur qui requalifiait Doel en zone industrielle ayant en effet quelques années auparavant été suspendu par le Conseil d’État. Le président du tribunal a jugé que les travaux de démolition seraient dommageables aux habitants restés sur place et dépasseraient les limites de la simple incommodation.

 

Par ailleurs, et dans le même temps, une délégation des habitants de Doel s’est rendue au Parlement européen à Bruxelles pour protester contre la démolition programmée de 125 logements. La délégation a remis une requête à la Commission des pétitions du Parlement européen.

 

Source wikipédia

+++ DISCLAIMER +++

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

  

Some background:

The TIE/LN starfighter, or TIE/line starfighter, simply known as the TIE Fighter or T/F, was the standard Imperial starfighter seen in massive numbers throughout most of the Galactic Civil War and onward.

The TIE Fighter was manufactured by Sienar Fleet Systems and led to several upgraded TIE models such as TIE/sa bomber, TIE/IN interceptor, TIE/D Defender, TIE/D automated starfighter, and many more.

 

The original TIEs were designed to attack in large numbers, overwhelming the enemy craft. The Imperials used so many that they came to be considered symbols of the Empire and its might. They were also very cheap to produce, reflecting the Imperial philosophy of quantity over quality.

 

However, a disadvantage of the fighter was its lack of deflector shields. In combat, pilots had to rely on the TIE/LN's maneuverability to avoid damage. The cockpit did incorporate crash webbing, a repulsorlift antigravity field, and a high-g shock seat to help protect the pilot, however these did next to nothing to help protect against enemy blaster fire.

 

Due to the lack of life-support systems, each TIE pilot had a fully sealed flight suit superior to their Rebel counterparts. The absence of a hyperdrive also rendered the light fighter totally dependent on carrier ships when deployed in enemy systems. TIE/LNs also lacked landing gear, another mass-reducing measure. While the ships were structurally capable of "sitting" on their wings, they were not designed to land or disembark their pilots without special support. On Imperial ships, TIEs were launched from racks in the hangar bays.

 

The high success rate of more advanced Rebel starfighters against standard Imperial TIE Fighters resulted in a mounting cost of replacing destroyed fighters and their pilots. That, combined with the realization that the inclusion of a hyperdrive would allow the fleet to be more flexible, caused the Imperial Navy to rethink its doctrine of using swarms of cheap craft instead of fewer high-quality ones, leading to the introduction of the TIE Advanced x1 and its successor, the TIE Avenger. The following TIE/D Defender as well as the heavy TIE Escort Fighter (or TIE/E) were touted as the next "logical advance" of the TIE Series—representing a shift in starfighter design from previous, expendable TIE models towards fast, well armed and protected designs, capable of hyperspace travel and long-term crew teams which gained experience and capabilities over time.

 

The TIE/E Escort, was a high-performance TIE Series starfighter developed for the Imperial Navy by Sienar Fleet Systems and it was introduced into service shortly before the Battle of Endor. It was a much heavier counterpart to the agile and TIE/D fighter, and more of an attack ship or even a light bomber than a true dogfighter. Its role were independent long range operations, and in order to reduce the work load and boost morale a crew of two was introduced (a pilot and a dedicated weapon systems officer/WSO). The primary duty profile included attack and escort task, but also reconnoiter missions. The TIE/E shared the general layout with the contemporary TIE/D fighter, but the cockpit section as well as the central power unit were much bigger, and the ship was considerably heavier.

 

The crew enjoyed – compared with previous TIE fighter designs – a spacious and now fully pressurized cockpit, so that no pressurized suits had to be worn anymore. The crew members sat in tandem under a large, clear canopy. The pilot in front had a very good field of view, while the WSO sat behind him, in a higher, staggered position with only a limited field of view. Both work stations had separate entries, though, and places could not be switched in flight: the pilot mounted the cockpit through a hatch on port side, while the WSO entered the rear compartment through a roof hatch.

 

In a departure from the design of previous TIE models, instead of two parallel wings to either side of the pilot module, the TIE Escort had three quadanium steel solar array wings mounted symmetrically around an aft section, which contained an I-s4d solar ionization reactor to store and convert solar energy collected from the wing panels. The inclusion of a third wing provided additional solar power to increase the ship's range and the ship's energy management system was designed to allow weapons and shields to be charged with minimum loss of power to the propulsion system.

 

Although it was based on the standard twin ion engine design, the TIE/E’s propulsion system was upgraded to the entirely new, powerful P-sz9.8 triple ion engine. This allowed the TIE/E a maximum acceleration of 4,220 G or 21 MGLT/s and a top speed of 144 MGLT, or 1,680 km/h in an atmosphere — almost 40 percent faster than a former standard TIE Fighter. With tractor beam recharge power (see below) redirected to the engines, the top speed could be increased to 180 MGLT in a dash.

In addition to the main thrusters located in the aft section, the TIE Escort's triple wing design allowed for three arrays of maneuvering jets and it featured an advanced F-s5x flight avionics system to process the pilot's instructions. Production models received a class 2, ND9 hyperdrive motivator, modified from the version developed for the TIE Avenger. The TIE/E also carried a Sienar N-s6 Navcon navigation computer with a ten-jump memory.

 

Special equipment included a small tractor beam projector, originally developed for the TIE Avenger, which could be easily fitted to the voluminous TIE Escort. Models produced by Ysanne Isard's production facility regularly carried such tractor beams and the technology found other uses, such as towing other damaged starfighters until they could achieve the required velocity to enter hyperspace. The tractor beam had limited range and could only be used for a short time before stopping to recharge, but it added new tactics, too. For instance, the beam allowed the TIE/E crews to temporarily inhibit the mobility of enemy fighters, making it easier to target them with the ship's other weapon systems, or prevent enemies from clear shots.

 

The TIE Escort’s weapons systems were primarily designed to engage bigger ships and armored or shielded targets, like armed freighters frequently used by the Alliance. Thanks to its complex weapon and sensor suite, it could also engage multiple enemy fighters at once. The sensors also allowed an effective attack of ground targets, so that atmospheric bombing was a potential mission for the TIE/E, too.

.

The TIE Escort Fighter carried a formidable array of weaponry in two modular weapon bays that were mounted alongside the lower cabin. In standard configuration, the TIE/E had two L-s9.3 laser cannons and two NK-3 ion cannons. The laser and ion cannons could be set to fire separately or, if concentrated power was required, to fire-linked in either pairs or as a quartet.

The ship also featured two M-g-2 general-purpose warhead launchers, each of which could be equipped with a standard load of three proton torpedoes or four concussion missiles. Depending on the mission profile, the ship could be fitted with alternative warheads such as proton rockets, proton bombs, or magnetic pulse warheads.

Additionally, external stores could be carried under the fuselage, which included a conformal sensor pallet for reconnaissance missions or a cargo bay with a capacity for 500 kg (1.100 lb).

 

The ship's defenses were provided by a pair of forward and rear projecting Novaldex deflector shield generators—another advantage over former standard TIE models. The shields were designed to recharge more rapidly than in previous Imperial fighters and were nearly as powerful as those found on capital ships, so that the TIE/E could engage other ships head-on with a very high survivability. The fighters were not equipped with particle shields, though, relying on the reinforced titanium hull to absorb impacts from matter. Its hull and wings were among the strongest of any TIE series Starfighter yet.

 

The advanced starfighter attracted the attention of several other factions, and the Empire struggled to prevent the spread of the technology. The ship's high cost, together with political factors, kept it from achieving widespread use in the Empire, though, and units were assigned only to the most elite crews.

 

The TIE/E played a central role in the Empire's campaign against rogue Grand Admiral Demetrius Zaarin, and mixed Defender and Escort units participated in several other battles, including the Battle of Endor. The TIE Escort continued to see limited use by the Imperial Remnant up to at least 44 ABY, and was involved in numerous conflicts, including the Yuuzhan Vong War..

  

The kit and its assembly:

Another group build contribution, this time to the Science Fiction GB at whatifmodelers.com during summer 2017. Originally, this one started as an attempt to build a vintage MPC TIE Interceptor kit which I had bought and half-heartedly started to build probably 20 years ago. But I did not have the right mojo (probably, The Force was not strong enough…?), so the kit ended up in a dark corner and some parts were donated to other projects.

 

The sun collectors were still intact, though, and in the meantime I had the idea of reviving the kit’s remains, and convert it into (what I thought was) a fictional TIE Fighter variant with three solar panels. For this plan I got myself another TIE Interceptor kit, and stashed it away, too. Mojo was still missing, though.

 

Well, then came the SF GB and I took it as an occasion to finally tackle the build. But when I prepared for the build I found out that my intended design (over the years) more or less actually existed in the Star Wars universe: the TIE/D Defender! I could have built it with the parts and hand and some improvisation, but the design similarity bugged me. Well, instead of a poor copy of something that was more or less clearly defined, I rather decided to create something more individual, yet plausible, from the parts at hand.

 

The model was to stay a TIE design, though, in order to use as much donor material from the MPC kits as possible. Doing some legwork, I settled for a heavy fighter – bigger than the TIE Interceptor and the TIE/D fighter, a two-seater.

Working out the basic concept and layout took some time and evolved gradually. The creative spark for the TIE/E eventually came through a Revell “Obi Wan’s Jedi Starfighter” snap fit kit in my pile – actually a prize from a former GB participation at phoxim.de (Thanks a lot, Wolfgang!), and rather a toy than a true model kit.

 

The Jedi Fighter was in so far handy as it carries some TIE Fighter design traits, like the pilot capsule and the characteristic spider web windscreen. Anyway, it’s 1:32, much bigger than the TIE Interceptor’s roundabout 1:50 scale – but knowing that I’d never build the Jedi Starfighter OOB I used it as a donor bank, and from this starting point things started to evolve gradually.

 

Work started with the cockpit section, taken from the Jedi Starfighter kit. The two TIE Interceptor cockpit tubs were then mounted inside, staggered, and the gaps to the walls filled with putty. A pretty messy task, and once the shapes had been carved out some triangular tiles were added to the surfaces – a detail I found depicted in SW screenshots and some TIE Fighter models.

 

Another issue became the crew – even though I had two MPC TIE Interceptors and, theorectically, two pilot figures, only one of them could be found and the second crewman had to be improvised. I normally do not build 1:48 scale things, but I was lucky (and happy) to find an SF driver figure, left over from a small Dougram hoovercraft kit (from Takara, as a Revell “Robotech” reboxing). This driver is a tad bigger than the 1:50 TIE pilot, but I went with it because I did not want to invest money and time in alternatives. In order to justify the size difference I decided to paint the Dougram driver as a Chiss, based on the expanded SW universe (with blue skin and hair, and glowing red eyes). Not certain if this makes sense during the Battle of Endor timeframe, but it adds some color to the project – and the cockpit would not be visible in much detail since it would be finished fully closed.

 

Reason behind the closed canopy is basically the poor fit of the clear part. OOB, this is intended as an action toy – but also the canopy’s considerable size in 1:50 would prevent its original opening mechanism.

Additional braces on the rel. large window panels were created with self-adhesive tape and later painted over.

 

The rear fuselage section and the solar panel pylons were scratched. The reactor behind the cockpit section is actually a plastic adapter for water hoses, found in a local DIY market. It was slightly modified, attached to the cockpit “egg” and both parts blended with putty. The tail opening was closed with a hatch from the OOB TIE Interceptor – an incidental but perfect match in size and style.

 

The three pylons are also lucky finds: actually, these are SF wargaming/tabletop props and would normally be low walls or barriers, made from resin. For my build, they were more or less halved and trimmed. Tilted by 90°, they are attached to the hull with iron wire stabilizers, and later blended to the hull with putty, too.

 

Once the cockpit was done, things moved more swiftly. The surface of the hull was decorated with many small bits and pieces, including thin styrene sheet and profiles, steel and iron wire in various strengths, and there are even 1:72 tank tracks hidden somewhere, as well as protective caps from syringes (main guns and under the rear fuselage). It’s amazing how much stuff you can add to such a model – but IMHO it’s vital in order to create some structure and to emulate the (early) Star Wars look.

  

Painting and markings:

The less spectacular part of the project, even though still a lot of work because of the sheer size of the model’s surface. Since the whole thing is fictional, I tried to stay true to the Imperial designs from Episode IV-VI and gave the TIE/E a simple, all-light grey livery. All basic painting was done with rattle cans.

Work started with a basic coat of grey primer. On top of that, an initial coat of RAL 7036 Platingrau was added, esp. to the lower surfaces and recesses, for a rough shading effect. Then, the actual overall tone, RAL 7047, called “Telegrau 4”, one of Deutsche Telekom’s corporate tones, was added - mostly sprayed from abone and the sides onto the model. Fuselage and panels were painted separately, overall assembly was one of the final steps.

 

The solar panels were to stand out from the grey rest of the model, and I painted them with Revell Acrylic “Iron Metallic” (91) first, and later applied a rather rich wash with black ink , making sure the color settled well into the many small cells. The effect is pretty good, and the contrast was slightly enhanced through a dry-brushing treatment.

 

Only a few legible stencils were added all around the hull (most from the scrap box or from mecha sheets), the Galactic Empire Seal were inkjet-printed at home, as well as some tactical markings on the flanks, puzzled together from single digits in "Aurebash", one of the Imperial SW languages/fonts.

For some variety and color highlights, dozens of small, round and colorful markings were die-punched from silver, yellow, orange, red and blue decal sheet and were placed all over the hull - together with the large panels they blur into the the overall appearance, though. The hatches received thin red linings, also made from generic decals strips.

 

The cockpit interior was a bit challenging, though. Good TIE Fighter cockpit interior pictures are hard to find, but they suggest a dark grey tone. More confusingly, the MPC instructions call for a “Dark Green” cockpit? Well, I did not like the all-grey option, since the spaceship is already monochrome grey on the outside.

 

As a compromise I eventually used Tamiya XF-65 "Field Grey". The interior recieved a black ink in and dry-brushing treatment, and some instruments ansd screens were created with black decal material and glossy black paint; some neon paint was used for sci-fi-esque conmtraol lamps everywhere - I did not pay too much intention on the interior, since the cockpit would stay closed, and the thick clear material blurs everything inside.

Following this rationale, the crew was also painted in arather minimal fashion - both wear a dark grey uniform, only the Chiss pilot stands aout with his light blue skin and the flourescent red eyes.

 

After an overall black ink wash the model received a dry brusing treatment with FS 36492 and FS 36495, for a weathered and battle-worn look. After all, the "Vehement" would not survive the Ballte of Endor, but who knows what became of TIE/E "801"'s mixed crew...?

Finally, the kit was sealed with matt acrylic varnish, and some final cosmetic corrections made.

 

The display is a DIY creation, too, made from a 6x6" piece of wood, it's edges covered with edgebonder, a steel wire as holder, and finally the display was paited with semi-matt black acrylic paint from the rattle can.

  

A complex build, and the TIE/E more or less evolved along the way, with only the overall layout in mind. Work took a month, but I think it was worth the effort. This fantasy creation looks pretty plausible and blends well into the vast canonical TIE Fighter family - and I am happy that I finally could finish this mummy project, including the surplus Jedi Starfighter kit which now also find a very good use!

 

An epic one, and far outside my standard comfort zone. But a wothwhile build!

 

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

+++ DISCLAIMER +++

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

  

Some background:

The Vickers Vanguard was a British short/medium-range turboprop airliner introduced in 1959 by Vickers-Armstrongs, a development of their successful Viscount design with considerably more internal room. The Vanguard was introduced just before the first of the large jet-powered airliners, and was largely ignored by the market. Only 44 were built and the Vanguard entered service in late 1960.

 

Even though the Vanguard could match the early passenger jets on short distances, the type was quickly relegated to other roles: In 1966, Air Canada removed all the seats in CF-TKK and refitted the aircraft for pure cargo work, in which role it could carry 42,000 lb (19,050 kg) of freight. Known by the airline as the "Cargoliner," it was the only such conversion, but survived to be the last Canadian Vanguard to be retired in December 1972.

BEA operated nine Vanguards modified to the V953C "Merchantman" all-cargo layout from 1969. A large forward cargo door measuring 139 by 80 inches (350 by 200 cm) was incorporated. The Merchantmen continued in service with BA until late 1979.

 

Beyond civil use, the most noteworthy military operator was Thailand, with an anti-submarine and maritime surveillance aircraft conversion for the Royal Thai Navy, the SeaGuard MR.1. The need for aerial maritime patrol with proprietary aircraft was first formulated during the withdrawal of United States forces from Thailand in the mid Seventies, when the Thai Air Force assumed use of the installations at Takhli and Nakhon Ratchasima (Korat).

Inspired by similar conversions, e. g. the Canadian CP-107 Argus derived from the Bristol Britannia airliner and the highly successful Douglas P-3 derived from the L-188 Electra, the Thai "SeaGuard MR.1" fleet was created from three former Canadian airliners (ex Air Canada), converted by Canadair in Montreal.

 

Work started in 1977, and the former airliner underwent considerable modifications. The SeaGuard MR.1's core system became an AN/APS-115 radar, a development of the earlier, analogue AN/APS-80A used in American aircraft like the P-3A .The AN/APS-115 was state of the art technology and the first attempt of digitization by providing digital input into the onboard digital combat system. The system was able to achieve a resolution of 1.5 ft and the typical range against a submarine periscope is 15.5 nautical miles. Since the 42" rotating search antenna necessitated a relatively large fairing. A draggy, ventral position (e. g. like the P-2 or Il-38) was ruled out, for aerodynamic and structural reasons, as well as for space for an internal weapon bay (see below), so that a characteristic "duck bill" radome was added to the SeaGuard's nose.

 

The SeaGuard MR.1 was also equipped with a magnetic anomaly detector (MAD) in an extended fiber glass tail stinger, far from other electronics and ferrous metals on the aircraft. The MAD enabled the aircraft's crew (a typical crew numbered roughly 9 members) to detect the magnetic anomaly of a submarine in the Earth's magnetic field. The limited range of this instrument required the aircraft to be near the submarine at low altitude, so that it could primarily be used for pinpointing the location of a submarine immediately prior to a torpedo or depth bomb attack.

 

Streamlined fairings under the outer wings carried extra fuel and a searchlight (starboard) as well as a missile guidance antenna and a 'sniffer' (port) that could detect exhaust fumes and particles from diesel submarines.

 

Ordnance was to be carried in a single internal bomb bay under the forward fuselage, which was structurally beefed up for the rougher conditions over sea and prolonged low altitude operations. Special care was also given to the structure's protection against the naval environment, too. An additional fuel tank was installed in the wing root section and, while the rear section carried a trim fuel tank, avionics and other, lighter mission equipment.

The 28 ft 4 in (8,64 m) long bay could house conventional Mark 50 torpedoes or Mark 46 torpedoes as well as mines and depth charges. Active and passive sonobuoys could also be carried in the bay, and there were also two vertical ejection shafts with pressure locks in the aft fuselage from which single sonobuoys or other sensor carriers could be manually dropped, e. g. for weather research. Additional underwing stations under the inner and outer wings could carry additional armament and equipment.

 

The first or a total of three SeaGuard conversions for the Thai Navy was delivered in early 1978, and the trio became fully operational in early 1979, serving in both military and civil duties, e. g. in offshore SAR and pollution control missions.

 

The Thai SeaGuard MR.1s were kept longer in service than expected. Originally, they were scheduled to serve until 1990, to be replaced by three ex USN P-3A ordered in 1989, but deliveries were delayed because of financial problems and government changes in Thailand, so that the old and well-worn SeaGuards had to soldier on.

 

In late 1993 the Orions destined for Thailand finally arrived at the NADEP at NAS Jacksonville, where the aircraft were modified to meet RTN requirements, two aircraft were modified to P-3T standard (mainly based on the TAC/NAV Mod version), the third was originally delivered as a UP-3T in late 1995, but was later modified to VP-3T standard with a strengthened floor, passenger seats and a limited SENTAC station enabling the aircraft to perform light surveillance duties. The last flight of a Royal Thai Navy SeaGuard MR.1 took place on October 3rd 1995, and all three aircraft were subsequently scrapped.

 

General characteristics:

Crew: 11

Length incl. MAD tail boom: 143 ft 5in (43.77 m)

Wingspan: 118 ft 7 in (36.10 m)

Height: 34 ft 11 in (10.60 m)

Wing area: 1,527 ft2 (142 m2)

Empty weight: 82,500 lb (37,421 kg)

Loaded weight: 141,000 lb (63,977 kg)

 

Powerplant:

4× Rolls-Royce Tyne RTy.11 Mk 512 turboprop, 5,545 hp (4,700 shp, 4,135 kW) each

 

Performance:

Maximum speed: 425 mph (684 km/h, 367 kn)

Cruise speed at altitude: 378 mph (610 km/h, 328 kn)

Patrol speed: 195 mph (315 km/h, 170 kn)

Range: 4,039 mi (6,500 km; 3,510 nmi) with 3,500 kg (7,709 lb) payload,

maximum fuel and reserves for one hour.

2,299 mi (3,700 km (2,010 nmi) with 5,448 kg (12.000 lb) maximum payload,

at 84 - 85% of maximum continuous power.

Combat radius: 1,546 mi (2,490 km, 1,346 nmi), three hours on-station at 1,500 feet

Endurance: 10 hours

Service ceiling: 28,300 ft[1] (8,625 m)

Wing loading: 92 lb/ft2 (450 kg/m2)

Power/mass: 0.16 hp/lb (0.26 kW/kg)

 

Armament:

Bomb bay with eight internal weapon stations

Six hardpoints under the outer wings for 127 mm (5.0 in) HVARs or missiles like the AGM-12 Bullpup,

AGM-62 Walleye or Martel ASM, or sensor and air sampling pods

Four more hardpoints under the inner wings for gravity bombs of up to 1.000 lb (454 kg) caliber,

various sea mines and depth charges, torpedoes or inflatable life rafts for rescue missions.

Total internal and external ordnance capacity of 12,000 lb (5.448 kg)

  

The kit and its assembly:

Another contribution to the 2016 “In the Navy” Group Build at whatifmodelers.com, and a build outside the usual comfort zone. This time, I wanted to build a whiffy maritime patrol aircraft, based on a classic post-WWII airliner, since there were and are many benchmarks (e.g. the Lockheed P-3, based on the Aurora, the Canadian CP-140 Argus, based on the Bristol Britannia, or the Il-38, based on the Il-18).

 

I found the Airfix Vickers Vanguard as potential basis – and there had actually been a maritime patrol proposal for the RAF. At least one respective whif kit had been built – and there’s even a kit conversion set available.

 

Anyway, I wanted a personal conversion, and the modifications are actually rather modest:

- Closure of many windows

- Implantation of a nose radome from a VEB Plasticart 1:100 Tu-20/95

- Adapted nose landing gear

- An MAD boom, made from heated, thick OOB sprue

- Underwing pods with a starboard search light (modified MiG 15 slipper tanks)

- A cockpit compartment w/o interior was added, primarily to block sight into the fuselage

- Several small radomes, antennae fairings and strakes were added along the upper and lower hull

- Propellers received a metal axis

- A bomb bay was simulated with engravings and semi-circular fairings, simulating door hinges

- External ordnance could have been added, but I resisted and kept the aircraft clean

- The clear styrene windows were omitted, later to be filled with ClearFix

 

While these mods appear rather simple, getting this vintage Airfix kit together turned out to be a real fight. No part actually matched another, lots of trimming and putty everywhere were necessary. Raised (even though very fine) panel lines, classic flash (not much, but annoying) and some sinkholes were included, too, as well as rather massive trailing edges. To make things worse, the fuselage halves turned out to be somewhat warped: the seam along the fuselage was canted inwards and the windscreen did not fit at all. O.K., it’s an old kit, but not an easy build, despite the limited number of parts.

  

Painting and markings:

This part turned out to be a true challenge. A self-evident option would have been an RAF aircraft, e .g. in Extra Sea Grey/Sky, white + grey (early Nimrod style), Hemp + Barley Grey or Medium Sea Grey, the latter two with low viz markings. But I found this option to be too obvious – and I wanted something flashy, and exotic.

 

Tedious legwork eventually revealed the Royal Thai Navy as potential operator, as well as several authentic livery options. The most pleasing (to me) was the flying boat’s (HU-16 and CL-215) design: overall dark blue with a white fuselage upper half and bright, orange-red wingtips and a fuselage band.

 

This design was simply adapted to the low-winged Vanguard airliner. The basic dark blue is Humbrol 104 (Oxford Blue), while the upper fuselage was painted first in a very light grey and off-white from the rattle can (which reacted with each other and yielded a mottled finish…). The rest was painted with brushes and lots of masking tape.

The orange wing tips and the fuselage band were created with decal sheet (TL Modellbau), in order to avoid the further trouble of masking and creating an opaque paint film. Black trim was added through generic decal stripes.

 

After basic painting was finished some panel shading/highlighting with pure white, Lufthansa Blau (Revell 350, RAL 5013) and dayglow orange was added for a more lively impression.

 

The Thai Navy route was further backed by several 1:144 decal sets from Siam Scale, a company from Thailand that offers a range of aftermarket decals for the country’s air force and navy vehicles.

 

Finally, the kit was sealed with a not-too-matt acrylic varnish, and as final step the fuselage windows were filled with Humbrol’s ClearFix, because this method was IMHO cleaner than the OOB clear styrene windows and the hustle of masking them, together with the risk of losing one or more in the painting process into the fuselage...

  

After all, and including many troubles, a pretty aircraft, even though the build as well as the paint job was more of a fight. I know why I do not like 1:144 scale as well as airliners either, and combining both turned out to be just as unnerving as expected… And with the duck bill radome, it’s probably the ugliest Vickers Vanguard ever imagined.

This seemingly bucolic November scene belies the fact that we are barely over a mile from Chicago's central business district (known as the "Loop"). The roll sign and twin yellow marker lights indicate that this is a northbound Red Line train heading into the subway portal that will lead to the State Street subway through the Loop.

 

The open space through which the train is traveling was once occupied almost entirely by railroad tracks. The Santa Fe main line, and the Chicago & Western Indiana main line to Dearborn Station were here, and were used by passenger trains of the C&WI, Santa Fe, Grand Trunk Western, Wabash, Chicago & Eastern Illinois, Monon, and Erie until Dearborn was closed with the coming of Amtrak in 1971.

 

The old railroad right-of-way laid fallow for a couple decades until CTA pushed through its new Orange Line service in the early Nineties to serve Midway Airport. In a major realignment of services that took place the day the Orange Line opened in 1993, CTA swapped endpoints for a handful of services. The trackage seen here was built as part of that realignment: It serves as the connector for trains to to travel from the route that operated in the median strip of the Dan Ryan Expressway into the State Street subway.

 

The ramp in the background is the connection was previously used (1969-1993) by Dan Ryan trains to access the South Side elevated tracks and in turn the Loop "L"; it is currently non-revenue trackage. The bridge leading across the frame in the background was new in 1993, and connects the "L" tracks with the then-new Orange Line.

 

The "DR1/539" sign marks the location of a "phantom signal" – in other words, a trackside block boundary without a wayside signal. Most of CTA's network is equipped with automatic train control and cab signals, and hence wayside signals only exist at interlockings and in their approaches.

My true 2024 Flickr year.

 

Consider yourself tagged if you see this.

 

Thanks for all the support.

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

..

wearandcheer.com/top-20-facts-about-love/

Facts

1.Love is unadulterated, love is hurting, love is charming and love is shocking. Factual love is awe-inspiring. Our life depends on it and it frequently seems like our earth would stop spiraling if love didn’t exist. Love is something we endeavor for and something we grieve for the loss o...

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You must like it and share it with your friends.

CREW

Fact Community Transport NX57 FZC

 

Iveco Daily

 

Ely

 

July 2015

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

It seems a lifetime ago, but in fact was just four weeks gone, that Jools came up to meet with me in Godmanchester before going to see Mum in Papworth.

 

I chose Godmanchester because a contact/friend on GWUK had published shots from there, and it looked interesting, and was a ten minute drive from the hospital.

 

The spire of St Mary can be seen from almost everywhere in the town, drawing me in like a flame to a moth. And thankfully it was open.

 

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My children both had their birthdays the same weekend, and announced plans to invite all their friends from around the country to spend the weekend and to go out together, fifty or so of them, some of them staying over. They'd have a party in the back garden first, my son DJing. They are good children, generally trustworthy, and their mother promised to keep an eye on them. Smiling, nodding, I reached for the Holiday Inn Express website and booked myself a Saturday night at Huntingdon Holiday Inn. Two days of exploring the churches of south-west Cambridgeshire were in prospect.

 

The plan for Day One was to circumnavigate Grafham Water, the great reservoir created to serve Cambridge and Peterborough in the 1960s, taking in all the churches along the way. The slight crimp in the plan is that, to retain the rural nature of the area and to stop traffic cutting between A1 and A14, there is no road running to the north of Grafham Water other than the A14, although using the OS Landranger map I was able to piece together what I thought would be enough bridleways, byways and permissive cycle tracks to achieve this object. During the day I would visit thirteen new churches, all of which were open except for two, and they had keyholder notices.

 

It was a really hot day, and I didn't want to overstretch myself, so I made a leisurely start from Ipswich arriving in Huntingdon at about half past ten. Huntingdon is a small town really, barely 30,000 people, and it is separated by the Ouse from the older town of Godmanchester, pronounced god-m'n-chester, my first port of call. Indeed, Godmanchester is Cambridgeshire's oldest town, a major Roman settlement where Ermine Street crossed the road from Colchester to Chester. In Roman times it was the third biggest place in the east of England after Colchester and Lincoln, and was there long before Peterborough, Huntingdon and Cambridge were a twinkle in the celestial milkman's eye.

 

The Ouse and its water meadows are wide enough to make Huntingdon and Godmanchester seem separate places. For a town of less than 10,000 people it is really grand, with lots of 18th Century buildings and a delightful setting along the Ouse with islands and a park.

 

It was already shaping up into a bright, warm summer day as I reached the huge church, one of the biggest in the county, and typical in style of the Ouse valley. The spire is a familiar sight from the A14 rising above the mill on the river below. The nave south aisle you step into is alone bigger than many churches. A wide, gloomy interior, with acres of Kempe glass leavened somewhat by a good, big Burne-Jones window in the south aisle. Very urban, but with plenty of evidence of the borough's importance up until the 18th Century, at which time it was of equal size with neighbouring Huntingdon. But the Industrial Revolution changed all that. All very impressive, but not a place to gladden the heart.

 

And so, I headed south.

 

www.flickr.com/photos/norfolkodyssey/sets/72157653449416853/

 

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Godmundcestre (xi cent.), Gutmuncetre, Gudmencestre, Gumencestre, Guncestre (xii cent.), Gumecestre, Gurmundcestre (xiii cent.), Godmanchester (xiv cent.).

 

The parish and borough of Godmanchester, (fn. 1) which are co-terminous, contain 4,832 acres of land and 75 acres of land covered by water. The River Ouse forms the northern boundary and divides Godmanchester from the borough of Huntingdon. The land near to the river is liable to floods, but the ground rises gradually to the south, where it is mostly arable. The population is chiefly occupied in agriculture, and in 1921 numbered 2,035 persons. In the 17th century Godmanchester was described as 'a very great county Toune, and of as great name for tillage; situate in an open ground, of a light mould, and bending to ye sun.' (fn. 2) In 1604 the borough charter tells of like conditions, and especially exempted the store horses and others employed in agriculture from the king's service. (fn. 3) The inhabitants boasted that they had formerly received kings on their progress with a pageant of nine score ploughs, (fn. 4) but in the royal progresses to and from Scotland in 1633 the borough apparently only presented Charles I and his queen with pieces of plate. (fn. 5) Later records mention feasts at the election of town officials, (fn. 6) but in the 16th century the bailiffs contributed from the town funds to many entertainments, such as bear-baiting, visits of players and of the Lord of Misrule from Offord Cluny. (fn. 7)

 

Of other industries besides agriculture, coal porterage on the Ouse was formerly an important business, and in the last century a tan-yard, jute factory, iron foundry and brick works existed, and basket-making was also carried on. (fn. 8) At the present day a stocking factory at the bridge provides a considerable amount of work, and there is also a flour mill.

 

There is a railway station near Huntingdon Bridge which is a junction for the London Midland and Scottish Railway and the London and North Eastern Railway.

 

The parish was inclosed by private Act of Parliament in 1803, (fn. 9) and the award is in the possession of the Corporation. Preserved at the Court Hall, (fn. 10) is a remarkable series of records, dating from the charter of King John in 1212 to the present day. These materials were used by Robert Fox, one of the bailiffs of the borough in 1831–2, in his History of Godmanchester. (fn. 11) Other natives of Godmanchester who may be mentioned are William of Godmanchester, who was elected Abbot of Ramsey in 1267, (fn. 12) and Stephen Marshall, the Parliamentarian divine and one of the authors of Smectymnuus, (fn. 13) published in 1641.

 

The town seems to have arisen on the site of a Roman settlement here, which has already been described. (fn. 14) Its lay-out, however, has apparently been changed to suit the later requirements of a market town. Ermine Street, the Roman road from London to the north, and the Roman roads from Sandy and the south and from Cambridge, which joined it, stop abruptly at the points where they touch what is supposed to be the site of the Roman town, and their place is taken by a road which almost circuits the medieval town and so links them up. It was customary in most medieval market towns to arrange the lay-out of the streets so as to compel the traffic to pass through the market place and pay toll. It would appear that Godmanchester was laid out in this way as a market town, although there is little evidence of an early market here. The road from St. Neots to Huntingdon enters the town by West Street towards the south end of what was intended for the market place and passes that from Cambridge towards the north end, by East Street. In the same way the traffic to and from London and the north is carried by the road on the west side of the town, through the same place.

 

Entering the town from Huntingdon on the north, after crossing Huntingdon Bridge, which has already been described, (fn. 15) the road passes over a causeway which was apparently of ancient construction, as we find that in 1279 its repair was charged on a meadow in the tenure of the prior of St. Mary's, Huntingdon. (fn. 16) In 1331 it was rebuilt (fn. 17) and in 1433 it appears that the road was carried over a series of small bridges. (fn. 18) The causeway was again rebuilt in 1637 by Robert Cooke as a thank-offering for his escape from drowning in a flood here. A stone in the parapet of the southern of the two bridges, each of eight arches, of which the causeway is composed, bears an inscription copied from an earlier one, 'Robertus Cooke ex aquis emersus hoc viatoribus sacrum D.D. 1637.' The bridges underwent repairs in 1767 and were rebuilt in 1784. The causeway (fn. 19) now forms a fine wide approach to the town, with many half-timbered houses of the 17th century and later, on either side. At the north-west corner of East Street stood the vicarage, a 17th-century house, lately demolished; adjoining it on the east side is Church Lane, leading to St. Mary's Church. A little to the east on the south side of East Street is a range of three picturesque half-timber houses with overhanging upper story and an overhanging gable at the west end. The western of the two original chimney stacks bears the date 1611 and the eastern 1613. Over a fireplace in the east room on the first floor are painted the Stuart royal arms with the initials I.R. for James I. There are other 17th-century houses in East Street. Opposite to East Street in the Causeway is the New Court or Town Hall, built in 1844, at which time this part of the Causeway was raised 2 ft. The Town Hall was largely rebuilt in 1899. (fn. 20) Queen Elizabeth's Grammar School, a brick building with tiled roof, built about 1560, faces the new Court Hall. It originally consisted of a hall and two-storied porch, bearing above the window of the upper story the inscription 'Eliz. Reg. hujus scholae fundatrix,' over which is a sundial bearing the words 'Sibi Aliisque.' It was restored in 1851 and some buildings were added on the north side. Near the school was the 'cage' for the temporary safeguarding of prisoners, which was built in 1687. The governors of the school, however, complained that the position was 'very inconvenient and unapt,' and so the overseers were ordered to build it near the Court Hall Yard. (fn. 21) In the main street, probably opposite St. Ann's Lane, was a cross called St. Ann's Cross, mentioned in 1526 (fn. 22) and 1545, (fn. 23) and may have existed as early as 1279; tenants of Godmanchester are described as 'ad crucem.' (fn. 24) The road south to old Court Hall was then apparently called Post Street and later Silver Street. Pinfold Lane, which goes off eastward, is referred to in 1539. (fn. 25) In it are the almshouses erected in 1738 by Mrs. Barbary Manser for four dwellings and rebuilt in 1859 for two dwellings. In West Street are some 17th-century half-timber houses, and on the outskirts of the town is a timber and plaster house, formerly the 'Shepherd and Dog' Inn, which bears the date 1593 in the south-west gable. The upper story formerly projected, but has been underbuilt in brick. Further west on the opposite side is Belle Isle House, a 17th-century half-timber house. Returning to the main street, the house at the northeast corner of the island site has an overhanging upper story. Near this spot stood the Horse Shoe Inn in Post Street, (fn. 26) where much of the business of the town was transacted. Southward is Old Courthall, called from the place where the Court Hall, which was pulled down in 1844, formerly stood at the junction of Silver Street and the old bridle road running to Toseland. (fn. 27) At first apparently the hall was only a covered inclosure (fn. 28) in which the view of frankpledge was held, the courts and council meetings or 'parvis' being frequently held in private houses, a custom which persisted even after the Court House was built in 1508. (fn. 29) The Court House was apparently a half-timber building with overhanging gables, and around the walls in the hall were oak benches for the bailiffs. (fn. 30) Near the hall was the 'Pondefolde,' before the gates of the prior of Merton, which may be identified with the town pound, from which Pinfold Lane possibly took its name. Here the king had the right to impound the cattle distrained at the hundred court. (fn. 31) In Old Courthall are two 17th-century inns, the Queen Victoria Inn, a timber and plaster house with overhanging upper story, and the Red Lion Inn, a brick house. Corpus Christi Lane no doubt takes its name from the gild of that name which existed in the town in the 15th century. Here and in Duck End are some 17th-century cottages.

 

Ermine Street, which is not on the site of the original street of that name, comprises some interesting 17th-century houses, particularly Tudor House, of timber and plaster, at the north end of the street. It bears the date 1600 in the south gable and 1603 on the doorway. There are also two other good timber and plaster houses of a later date in the street. On the Cambridge Road is a 16th-century half-timber house, and also a brick house with a stone panel bearing the date 1714. On the west side of the London Road, on the outskirts of the town, is Porch Farm, a 16th-century house which takes its name from a picturesque wooden porch with brick base added at the end of the century; on the opposite side of the road is Lookers Farm, a 17th-century house with a good chimney stack.

 

MANOR

 

¶The manor of GODMANCHESTER was held by Edward the Confessor as 14 hides. (fn. 32) It was valued at £40 a year, which was a sum which it paid in 1086 to William the Conqueror, who succeeded to it as crown land. (fn. 33) Thus, as ancient demesne of the crown, it acquired certain privileges and obligations. (fn. 34) Before Michaelmas, 1190, (fn. 35) Richard I granted Godmanchester to David Earl of Huntingdon, at the increased farm of £50 to hold at the king's pleasure. (fn. 36) In 1194 a new grant in fee was made to the earl and his heirs. (fn. 37) The manor appears to have been in King John's hands in 1199, (fn. 38) but in the same year a new charter was obtained by the earl, (fn. 39) who held it in 1210–12 by the service of one knight's fee. (fn. 40) It again came into the king's hands in 1212, perhaps the most important date in the history of Godmanchester, for in that year King John granted the manor to 'the men of Godmanchester' to hold at the fee-farm rent of £120 a year. (fn. 41) Subsequent grants of the manor by Henry III in 1217 to Faulkes de Breauté, (fn. 42) in 1224 to the Master of the Templars for a debt, (fn. 43) and in 1236 to Eleanor of Provence as part of her dower, (fn. 44) were presumably grants of the rent only. In 1267 the fee-farm rent was granted to Edmund Earl of Lancaster, the king's second son, to hold by military service. (fn. 45) Queen Eleanor, as a widow, unsuccessfully sued her son in 1278 for the manor. (fn. 46) The possession of the rent was also complicated by the claims of Margaret Countess of Derby, one of the eventual co-heiresses of David of Huntingdon. (fn. 47) She seems to have obtained a grant of the manor from Edward I, and a similar grant was made by Edmund for her life at the annual rent of 12d. (fn. 48) Many of her receipts to the town for the fee-farm rent are still in existence. (fn. 49) On her death it reverted to the earls of Lancaster and the manor formed part of the Duchy of Lancaster, finally merging in the crown on the accession of Henry IV. (fn. 50) In 1662, Charles II granted the annual fee-farm rent to Edward Earl of Sandwich, (fn. 51) and it is still paid by the borough to the present Earl of Sandwich.

 

The charter of 1212 had transferred all the manorial rights at Godmanchester to the men of the manor to hold from the king and his heirs. (fn. 52) The privileges attached to the manor are not specified, but David Earl of Huntingdon had sac and soc, toll and theam and infangenthief, (fn. 53) and these, with possibly further rights, were exercised by the men of Godmanchester. The grant made the town, what is somewhat rare, a self-governing manor or liberty. It did not become a borough, and except the right of self-government, and the custom of borough-English, had none of the usually accepted marks of a borough. The charter was confirmed by Edward I, Edward III, Richard II, Henry IV, Henry V, Henry VI, Edward IV, Henry VII, Henry VIII, Edward VI, Mary and Elizabeth. (fn. 54) Richard II, however, added a definite list of the privileges enjoyed by the men of Godmanchester. In 1381 he recognised that they and their predecessors in virtue of the charter of 1212 had the chattels of felons and fugitives and waifs and strays, (fn. 55) but in his charter of 1392 they were to have chattels of felons, fugitives, suicides, outlaws and those who renounce the realm of England, infangenthief, outfangenthief, and all forfeitures within the manor, both from residents and foreigners. (fn. 56) He also expressly confirmed their privilege as tenants of ancient demesne, of freedom from toll and similar dues throughout the kingdom. (fn. 57)

 

The earlier development of the manor from pre-Conquest days, which enabled the men of Godmanchester to obtain a grant of self-government, is unfortunately obscure. We learn little from the Domesday Survey (1086) as to the status of the inhabitants, but it seems probable that the 80 villiens and 16 bordars of Godmanchester, there recorded, (fn. 58) had been a community of free sokemen, holding their lands for a rent payable to the king; indeed in 1279 the tenants of Godmanchester all claimed to be and were accepted as free sokemen, with no bondmen among them. (fn. 59) The pre-Conquest organisation seems to have persisted to some extent during the 12th century, when payments to the sheriff are entered on the Pipe Rolls as due from the commonalty (communis) of Godmanchester. (fn. 60) As already pointed out, the payment of £40 from the manor in 1066 represented the amount received by the king, and it is possible that each holding was already assessed to pay its share of this sum annually. Such a practice was certainly established after 1212, and in 1279 over 500 tenements were assessed for payment of the fee-farm rent, generally at the rate of 8d. an acre. (fn. 61) The system i still in existence, each acre now paying 1d. towards the rent.

 

The most important result of the grant of the manor was that the king's officers ceased to hold the courts, though the phrases 'the King's manor' or in Elizabeth's reign 'the Queen's court' remained in use. (fn. 62) In 1286 the two town bailiffs claimed on behalf of themselves and the commonalty of the town to have gallows and to hold the view of frankpledge freely, but it was proved that they paid an annual fine of 20s. to the sheriff for the privilege. (fn. 63) In the 15th century the Duchy court decreed that this payment should no longer be made to the sheriff. (fn. 64) The bailiffs also held the usual three-weeks court of the manor, which was peculiarly important on the ancient demesne of the crown. The court rolls are preserved at Godmanchester from 1271; at first no distinction is made in the headings of the rolls between the two courts, the view only being distinguished by the presence of the 12 jurors. (fn. 65) By 1324, however, the roll of the view was kept separately, (fn. 66) though the regular series of rolls does not begin until the reign of Edward III.

 

The privileges of the liberty of Godmanchester oelonged to the tenants of holdings assessed to the payment of the fee-farm rent, their sons, daughters and widows. (fn. 67) Sons were admitted on reaching the age of twenty, daughters at sixteen. (fn. 68) Foreigners, or those living outside the manor, were also admitted to the freedom of the town at the three-weeks court, by the consent of the commonalty, on payment of a fine and the taking of an oath. (fn. 69) Sureties were required during the 15th century, but the custom disappeared in the reign of Henry VII. (fn. 70) All tenants were bound to be present at the view of frankpledge, and they elected the twelve jurors for the year, but it is not clear whether the tenants or all admitted to the freedom made this election. (fn. 71) Besides the ordinary business of the view, the bailiffs and jurors declared the customs or by-laws of the manor and acted as a town council. The earliest enrolled declaration is in 1278–9, (fn. 72) but in 1324 the commonalty empowered the two bailiffs and the jurors to draw up a custumal which should be accepted by all. The result represents the codification of ancient usage rather than the introduction of new rules. (fn. 73)

 

A second edition of the custumal was made in 1465, and later additions of the following century have been added on the same roll. (fn. 74) In 1324, for administrative purposes, the town was divided into four quarters or wards named after the chief streets of Godmanchester. The government consisted of two bailiffs, elected for one year by the twelve jurors. The bailiffs were chosen one year from Post Street and Erning (Arning) Street and in the alternate year from West Street and East Street. The elections of all officers took place in the court held next before the Nativity of the Blessed Virgin. All rolls were given into the custody of four keepers of the common chest. The complete list of other officials is not given, but mention is made of the collectors of the fee-farm rents and the chief warden of the mills. All officials were to render account of their year of office to the two bailiffs and the jurors. (fn. 75) The rolls of the coroners of Godmanchester exist for the reign of Edward II, so that they must have been functioning in 1324, although their election is not recorded till 1482. (fn. 76) In the 15th century, the election of the officers is regularly recorded in the court books of the threeweeks court. The officials then consisted of the two bailiffs, two constables, eight collectors of the farm, two from each street, two churchwardens, four collectors of amerciaments of the view, the collectors of the aletoll, the warden of the water and the subbailiff. (fn. 77) In 1484, the record shows that three jurors of the leet were elected from each street; (fn. 78) in 1485, the warden of the swans appears, (fn. 79) and in 1486 the bellman. (fn. 80) The clerk of the court is mentioned in 1376, (fn. 81) but no election is shown till 1497, (fn. 82) and it was probably a permanent and not an annual office. The business at the three weeks court consisted of the admission of freemen, landsuits and the surrenders of land, peculiar to manors of the ancient demesne, and civil cases where the damages claimed were under 40s. (fn. 83) In 1592 it was ordained by the bailiffs and jurors that in future cases in this court should be heard by the two bailiffs, three of the twelve suitors at the court on the day of trial and three or four ex-bailiffs. (fn. 84) Appeals from the manorial court were made to the Chancellor of the Duchy of Lancaster and were heard in the court of the Duchy. (fn. 85) All land in Godmanchester, except the original endowment of the church, (fn. 86) was, and still is, held in socage of the ancient demesne of the crown. (fn. 87) The tenure was never merged, as elsewhere, in copyhold, although in the 16th century land is occasionally described as held by copy of court roll. (fn. 88) Every tenement when it changed hands was surrendered in court into the hands of the bailiffs, who gave seisin to the incoming tenant on payment of a fine or gersom. (fn. 89) This procedure is still followed, but the surrenders are not made in court, but only to the mayor of the borough and, under the Law of Property (Amendment) Act of 1924, this very rare survival of socage of the ancient demesne is disappearing. Each tenement when it is surrendered to the mayor passes to the incoming tenant as ordinary freehold property. All land suits were heard in the three-weeks court; (fn. 90) the cases were begun by the king's little writ of right close. The first writ appears on a 13th-century court roll (fn. 91) and the actual writs are generally attached to the roll on which the case was recorded. (fn. 92) A writ was brought into the Court of Pleas as late as 1805. (fn. 93) The procedure closely followed that of the royal courts in freehold suits. In the early cases in the 13th and 14th centuries, an assize was held with twenty-four jurors, (fn. 94) but later fines and recoveries 'according to the custom of the manor' were more common. (fn. 95) The town was very jealous of its rights, and there were many complaints in the Duchy Courts that tenants had been impleaded in the common law or other royal courts instead of the manorial court. (fn. 96) Except in the use of the little writ of right close, the Godmanchester tenure approximated to free socage and all the terms of a freehold tenure were used: a daughter was given her land in free marriage; (fn. 97) a widow obtained her dower; (fn. 98) no servile services were paid and the land was held for suit of court and a money rent, without even the boonwork often due from freehold land. (fn. 99) From the customal of 1324, it appears that a tenant could assign, sell or bequeath his land by will, saving only the right of the widow to her dower. (fn. 100) This right of the widow persists at the present day, so that a man still cannot sell his land without his wife's consent. The only other restriction in 1324 was the rule forbidding the sale of land to a foreigner or an ecclesiastic. (fn. 101) Land still descends by the rule of Borough English to the youngest son of the first wife, unless testamentary dispositions have been made bequeathing it differently. (fn. 102)

 

BOROUGH

 

Godmanchester remained a selfgoverning manor for nearly 400 years, but in the 16th century the town was increasingly prosperous and the townspeople wished for the privileges of incorporation. In their documents the use of such terms as corporation and burgess crept in, (fn. 103) and during a lawsuit in 1569 it was claimed that Godmanchester was 'an ancient borough time out of mind.' (fn. 104) The town used a common seal, (fn. 105) but legally they were not incorporated and when, in 1585, a newly admitted tenant, named Richard Fairpoint, defied the authority of the bailiffs and commonalty, he threatened to sue the bailiffs, officials, and chief inhabitants one by one. (fn. 106)

 

A charter of incorporation was obtained from James I in 1604, and Godmanchester became a free borough, under the name of 'the Bailiffs, Assistants and Commonalty of the borough of Gumecestre, alias Godmanchester.' (fn. 107) The government of the town, however, was but slightly altered, the Common Council being formed of two Bailiffs and twelve Assistants, who replaced the jurors of the view of frankpledge in matters of town legislation. The first officials were appointed by King James, but the bailiffs after a year of office were in the future to be elected in the Court next before the Nativity of the Virgin Mary by the existing bailiffs and assistants. The assistants were appointed for life and were replaced from the burgesses of the borough by election by the bailiffs and remaining assistants. (fn. 108) It may be noticed that the new constitution was less democratic and placed the power of election in the hands of the Common Council instead of the tenants and freemen. Even the jurors of the leet were in 1615 to be impanelled by the bailiffs. (fn. 109) Other officials under the new charter were the steward, (fn. 110) recorder and town clerk. The borough and manor were granted to the corporation to hold as previously at a fee-farm rent of £120 of lawful English money. (fn. 111)

 

During the Commonwealth, preliminaries were begun for obtaining a new charter, but nothing was actually done. (fn. 112)

 

In 1684, the charter of James I was surrendered to Charles II, but it was not restored before his death (fn. 113) and the following year James II granted a new charter. (fn. 114) The differences in it were small and, after the Revolution of 1688, all corporations were ordered to resume their former charters (fn. 115) and the corporation acted under the charter of 1604 until the Municipal Corporations Act of 1835. (fn. 116)

 

The lesser officials, though not named in the charter, were unchanged after the incorporation of the borough and the jurisdiction of the courts remained the same, though they became the courts of the bailiffs, assistants and commonalty instead of the courts of the King. (fn. 117) The manorial court became known as the Court of Pleas. (fn. 118)

 

A new edition of the by-laws was promulgated in 1615, repeating the main provisions of the older custumals of 1324 and 1465 and later enactments. Considerable additions had been made in the regulations of common rights; the most important, enacted in 1607, provided that only tenements constituted or divided before 28 September 1601 should have the right of common attached to them. (fn. 119) In consequence of these common rights, the freedom of the borough became of considerable value, and large sums were paid by foreigners for admission. (fn. 120) The curious custom by which a freeman gave a bucket and two scoops on admission is mentioned in 1635. (fn. 121) Afterwards the gift was commuted for money, but the system of purchasing the freedom of the borough came to an end in 1875, and the last payment instead of the bucket and scoops was made in 1876. (fn. 122) Now the freedom is an hereditary right and freemen only sign the roll on admission.

 

In 1835 the old constitution was swept away under the Municipal Corporations Act; a mayor and 4 aldermen and 12 councillors replaced the two bailiffs and assistants and the franchise was vested in the ratepayers. (fn. 123) The Court of Pleas had been growing of less and less importance, a few cases of debts and surrenders of land being its only business, but it continued as the mayor's court till 1847. (fn. 124) Special courts, however, were held for surrenders and giving seisin of land, (fn. 125) but latterly these have taken place in the mayor's presence only. The business of the court leet is now confined entirely to the stocking of the commons. It is held once a year by the mayor, when the 'grass-hirers' are appointed for the year, but the twelve jurors are no longer impanelled. (fn. 126) The limitation of the enjoyment of common rights to freemen tenants of commonable houses has led to a good deal of litigation, while the gradual exclusion of the freemen from the government of the borough has brought about outbreaks of discontent on their part. (fn. 127)

 

The seal of the borough is circular, 15/8 in. in diameter, with the device of a fleur de lis, possibly in reference to the dedication of the Parish Church, with the legend 'Commune Sigillum Gumecestre.' It seems to be of 13th century date. The mace is of silver of excellent design and bears the date 1745. The mayoral chain is of gold with enamel medallions, given by different donors since 1896.

 

For parliamentary purposes the borough was united to Huntingdon, which sent two members to Parliament. In 1867 the representation was reduced to one member and in 1885 it was merged into the county constituency.

 

No right to hold a market appears to have been granted to Godmanchester, but it seems probable that a market was held at the Horseshoe corner. In the bailiffs' accounts for 1533, there is an item paid for crying a cow and two stray horses in the market, (fn. 128) and in 1615 it certainly was the custom to bring fish to the 'Common Market' on Fridays. (fn. 129)

 

A fair on Easter Tuesday and the following Wednesday was granted by James I in the charter of 1604, together with a court of pie-powder. (fn. 130) It developed into an important horse and cattle fair held in the streets of the town near the old Court Hall. The cattle and sheep disappeared by 1870 after the rinderpest outbreak of the previous years, (fn. 131) but the horse fair continued till Easter 1914. It had been lessening in importance for some years and has never revived since the war. The charter of James II granted a second fair on the Tuesday after the Feast of SS. Simon and Jude, but the right to hold it ceased after the resumption of the old charter in 1688. (fn. 132) The court of pie-powder was held during the 17th century, (fn. 133) but it certainly was no longer held in 1834. (fn. 134)

 

¶The control of the waters of the Ouse has always been a matter of great importance to the town of Godmanchester. In the 13th century, the obstructions in the river put up by the Abbot of Ramsey, the Prior of Huntingdon and Reginald de Grey as lords of the mills respectively at Houghton, Hartford and Hemingford Grey led to complaints on the part of Huntingdon and not of Godmanchester, (fn. 135) but in the 15th century the latter town suffered severely by the continual flooding of its meadows. A series of complaints were made to the Court of the Duchy of Lancaster by the bailiffs and commonalty (fn. 136) and finally in 1524 the right to control the floodgates at Houghton and Hemingford was transferred from the Duchy authorities to the men of Godmanchester. (fn. 137) This right still exists and has been safeguarded in the various schemes for the improvement of the Ouse navigation, begun by Arnold Spencer in 1638. (fn. 138) It was finally confirmed to the borough in a judgment of the House of Lords in 1897 against Mr. Simpson, who had in 1893 acquired by purchase the entire rights of navigation granted to Spencer, and in the following year began an action against the corporation to prevent them from opening the sluice gates at Godmanchester, Hemingford and Houghton in times of flood. (fn. 139)

 

In 1279, the bailiffs of Godmanchester claimed that the town held a free fishery by the grant of King John and that they formerly had the right, as appurtenant to the manor, of fishing from Hayle to Swiftiswere, but were prevented by the Bishop of Lincoln and others from doing so. (fn. 140) The right to the free fishery continued, and from the borough custumal drawn up in 1615, it appears that the 'common fishers' of the town were bound to bring their fish to the common market at the Horseshoe corner every Friday and whenever they had fish to sell, on pain of a fine of 6s. 8d. (fn. 141).

 

In 1086 three water-mills were attached to the manor of Godmanchester, rendering 100s. yearly to the king. (fn. 142) The mills passed with the manor (q.v.) to the men of Godmanchester and in 1279 they paid 15s. a year to the fee-farm rent and a holm containing 8 acres was attached to them. (fn. 143) At the close of the 15th century they were let on lease, and this system seems to have been continued by the corporation until 1884. (fn. 144) At that time no tenant could be found. The corporation applied for leave to sell the property, but opposition was made on the ground that the freemen had the right to have their corn ground freely on the grist stone. No sale took place and the old mill stood derelict (fn. 145) and has been finally pulled down since 1926. A windmill is mentioned in 1599, when it was sold by Robert Green to Oliver Cromwell, alias Williams. (fn. 146)

 

CHURCH

 

The Church of ST. MARY consists of a chancel (44 ft. by 20 ft.) with organ chamber and two vestries on the north side, nave (72 ft. by 27 ft.), north aisle (15 ft. wide), south aisle (19 ft. wide), west tower and spire (19 ft. by 17½ ft.) and north and south porches. The walls are of stone and pebble rubble with stone dressings, except the tower, which is of ashlar. The roof coverings are of lead.

 

¶The church is mentioned in the Domesday Survey (1086) but, except for a few stones in the walling, nothing of this early building remains. The church seems to have been rebuilt about the middle of the 13th century, and of this period are the chancel, the west wall of the nave, and small parts of the west walls of the aisles. About 1340 a north vestry was added to the chancel, and at the end of this century and extending into the next a further reconstruction took place, beginning at the west end of the aisles and embracing the arcades, clearstory and porches, and the raising and altering of the chancel. The tower and spire, being ruinous, were taken down and rebuilt in 1623. The upper part of the south porch was rebuilt probably in 1669. The roofs and parapets were repaired early in the 19th century; the church was generally restored in 1853, the vestry rebuilt and the organ chamber and choir vestry added in 1860. A general restoration took place in 1885, and the chancel was restored in 1912.

 

The 13th-century chancel, reconstructed and raised c. 1510, (fn. 147) has an east window of three modern lancets. The north wall has a 15th-century two-light window, a 14th-century doorway to the clergy vestry, a 13th-century doorway (visible in the choir vestry), and a modern arch to the organ chamber. The south wall has three 15th-century windows of two-lights, the western set within an earlier opening, and a 15th-century doorway.

 

The chancel arch is two centred and of two chamfered orders resting on similar responds; most of the stones are of the 13th century, but the arch has been reconstructed and raised, c. 1490, (fn. 148) cutting into the sills of two 13th-century lancets in the gable above, the splays of which still retain some original painted decoration. Under it is a modern; screen. The low-pitched roof is practically all modern; the jack-legs rest on modern shafts and corbels.

 

The organ chamber and the two vestries on the north are modern, but in the east wall of the former is a reset 15th-century two-light window doubtless from the north wall of the chancel; and the vestry has a 14th-century single-light window reset.

 

The nave arcades, c. 1500, are of five bays, with two-centred arches of two moulded orders supported by narrow piers formed by the continuation downward of the outer orders of the arch between two attached shafts with moulded capitals and bases. The contemporary clearstory has five two-light windows on each side. The contemporary roof is of low pitch, has moulded beams, jack-legs and braces, but has been much restored.

 

The north aisle, c. 1500, has a five-light transomed east window with remains of niches in the splays, which now opens into the organ chamber; (fn. 149) at the extreme south end is a broken piscina. The north wall has four three-light transomed windows, and a reset 13th-century doorway, above which is a blocked doorway opening into a chamber over the porch. The west wall has a four-light transomed window, to the south of which is the splay of an earlier window. The pent roof has plain beams and curved braces, and the jack-legs are supported on carved corbels.

 

The south aisle, c. 1500, has in the east wall a fivelight transomed window, and a blocked doorway to the rood staircase. The south wall has three threelight windows and a two-light window, all transomed, a doorway with a moulded arch and jamb-shafts flanked on the outside by two niches, and a squareheaded doorway to the stairs leading to the chamber over the porch. The west wall has a four-light transomed window, to the north of which is the jamb and splay of an earlier window. The stairs to the rood loft were in a circular turret outside the wall at the north-east corner, now used as a smoke flue. The roof is similar to that of the north aisle.

 

The west tower, built in 1623, (fn. 150) has a 13th-century tower arch of three chamfered orders supported on semi-octagonal responds with carved stiff-leaf capitals and moulded bases. The west doorway has a moulded two-centred arch on sunk chamfered jambs and moulded imposts; (fn. 151) above it is a sunk panel with a shield bearing a fleur de lis and a scroll inscribed 'BVRGVS GVMECESTRE,' and above this another panel with date '1623.' Still higher are a pair of twolight windows with semicircular heads. In the next stage the north and south walls have each a two-light; and the belfry has coupled two-light windows with transoms. The tower has buttresses square at the angles, and is finished with an embattled parapet with pinnacles at the angles and a large fleur-de-lis on the central merlons. Behind the parapet rises an octagonal spire with three tiers of lights all on the cardinal faces; the top is 151 ft. 3 in. above the ground. The whole of the details are strongly tinged with Renaissance feeling, but a successful attempt has been made to harmonize with the architecture of the church.

 

The 15th-century north porch has a moulded two-centred arch on jambs with engaged shafts; the side walls have each a two-light window. Single-light windows in the east and west walls light the chamber above, and there is now a modern single-light window in the north wall. There is a small chamber over this porch, but the present roof and parapets are modern.

 

The 15th-century south porch has a four-centred outer archway with lily-pot at the apex of the label; on each side of it are large niches. Each side wall has two two-light windows. The chamber above, which is of later date, has a small single-light window in each of the outer walls, and a beam in the roof is dated 1669.

 

The 13th-century font (fn. 152) is an irregular octagon with crude carved heads projecting from the diagonal faces; the stem and base are modern.

 

There are eight bells, inscribed (1) Intactum sileo percute dulce cano: T. Osborn, Downham, fecit, 1794; (2) and (3) T. Osborn, founder, 1794; (4) Thomas Osborn, fecit. Our voices shall with joyful sound. Make hills and valleys eccho round. 1794; (5) T. Osborn, fecit, 1794; (6) J. Taylor & Co., Founders, Loughborough, 1870. F. T. Mc.Dougall, D.C.L., Vicar. P. E. Tillard, Henry Quince, Churchwardens; (7) T. Osborn, founder, 1794; (8) Revd. Castle Sherard, Rector, (fn. 153) Jno. Martin, Robt. Waller, Bailiffs, Jno. Scott, Richd. Miles, Ch. Wardens, T. Osborn, fecit: 1794. A sanctus bell seems to have remained as late as 1763. (fn. 154) Osborn had cast the whole peal of eight in 1794, using the metal of an earlier set of five; (fn. 155) the old fourth bell had been cast in 1710, by a shepherd at the Angel Inn in Godmanchester. (fn. 156) The bells were rehung and the 6th bell recast in 1870; it apparently had no inscription on it.

 

The 15th-century chancel stalls have shaped divisions with carved elbows, poppy heads and misericords, and panelled and traceried fronts. The carvings on the misericords include a falcon displayed, a dog with collar and resting on a cushion, a fleur-de-lis on a shield, a hare in the midst of a sun-in-splendour, (fn. 157) an ape, a wyvern, a fox and goose, the letters W.S. on a shield, (fn. 158) a cat and mouse; on the elbows a jester, angels, crowned heads, &c.; on the poppy heads two owls back to back, four birds, wyverns, etc.

 

Some of the fronts and backs of the modern seating and some of the bench ends have 15th-century tracery inserted in them.

 

In the nave is a chained oak poor-box, circular, bound with metal, and with a painted inscription. (fn. 159)

 

On one of the south buttresses of the chancel is a late 13th-century carved wheel-dial; and on the gable of the south porch is a small dial inscribed 'G. 1623. W.S.'

 

Lying loose in the porch is a portion of a 12th-century circular stone shaft with scale ornament.

 

On the floor of the nave is an early 16th-century brass figure of a civilian, with indents for two wives, two groups of children, and inscription panel; and in the chancel is the indent of an inscription plate.

 

There are the following monuments: In the chancel, to the Rev. Geoffrey Hawkins, Rector of Higham Gobion, Beds, d. 1727 (son of Geoffrey Hawkins, Rector of Chesterton, Hunts), Mary, his wife, d. 1750, and Hannah Worley, widow, d. 1771; Martha (Maylam) wife of George Rowley, d. 1765; John Hawkins, d. 1806; the Rev. Charles Gray, Vicar, d. 1854; and windows to the Rev. Charles Gray, Vicar, 1854; the Rev. W. P. E. Lathbury, Vicar, d. 1855; the Rev. John Hartley Richardson, curate, d. 1863; and the Rev. Henry Hart Chamberlain [d. 1899]. In the nave to Elizabeth (Meadows) wife of Edward Martin, d. 1805, and Edward Martin, d. 1853; Robert Hicks, d. 1825, Mary, widow of Rev. S. Hicks, Rector of Wrestlingworth, Beds, d. 1805, John Hicks, d. 1827, and Mary widow of Robert, d. 1862; floor slabs to Alured Clarke, d. 1744, Ann, his widow, d. 1755, and John Clarke, d. 1745; William Mehew, d. 1772, and Ann his wife, d. 1793; William Mehew, d. 1792; and Richard Miles, d. 1834. In the north aisle, to Alured Clarke, d. 1744, and family; Jos. Bull, d. 1764, Ann his wife, d. 1780, and Elizabeth their daughter, d. 1791; Thomas Townsend, d. 1792, Martha his wife, d. 1789, John, their son, d. 1799, and Ann, widow of John, d. 1817, James Stratton, d. 1800, son-in-law of Tho. Townsend, Ann his wife, d. 1835, Ann their daughter, d. 1826, George Turney her husband, d. 1825, and George Turney their son, d. 1835; John Chapman, d. 1858, and Edward Theodore, his son, d. 1859, Mary Chapman, widow of John, d. 1899; War Memorial 1914–18; and windows to Bishop Francis Thomas McDougall, Vicar, erected 1903; Frederick Robert Beart, d. 1905; Emma Frances Amelia Baumgartner, d. 1911. In the south aisle, to Thomas Betts, d. 1696, and Elizabeth his wife, d. 1700; Edward Martin, d. 1799, Alice his relict, d. 1801, and Harriet their infant daughter, d. 1788; John Martin, d. 1822, and Mary his wife, d. 1854; Henry Percy Tillard, d. 1858; John Thomas Baumgartner, d. 1874; Algernon Tillard, d. 1887; Francis Bonham Tillard, d. 1903, Helen wife of General Robert Julian Baumgartner, d. 1911; Mary Emily (Tillard) wife of Col. I. F. R. Thompson, d. 1915, and Lt.-Col. Ivan Frank Ross Thompson, d. 1917; Allen Victor Herbert, d. 1918; floor slabs to Thomas Bentley, d. 1709; John Martin, d. 1752; Elizabeth daughter of Samuel and Elizabeth Fox, d. 1755; Jane, relict of John Martin, d. 1789; and windows to two children of J. T. and P. Baumgartner, d. 1827 and 1844; Phoebe, wife of John Lancaster, d. 1833; John Thomas Baumgartner, d. 1874; Philipa Julia (Baumgartner) wife of Philip Tillard, d. 1885; Philip Tillard, d. 1887; the Rev. Preston John Williams, Vicar, erected 1894; General Robert Julian Baumgartner, d. 1895. In the tower, windows to Edward Martin, d. 1835, and Elizabeth his wife, d. . . . .; and William Beart, d. 1852. In the south porch to the wife and children of the Rev. H. H. Chamberlain.

 

The registers are as follows: (i) Baptisms, 23 Dec. 1604 to 3 Jan. 1642–3; marriages, 3 Jan. 1603–4 to 30 Aug. 1653, and 6 March 1742–3 to 8 Sept. 1754; burials, 1 Feb. 1604–5 to Dec. 1647, and 1653; (ii) baptisms, 30 Sept. 1653 to 5 Aug. 1660, and three entries in 1669, 1671 and 1674; marriages, 9 Jan. 1653–4 to 16 April 1718; burials, 3 Oct. 1653 to 14 May 1717; (iii) marriages, 13 April 1718 to 11 Jan. 1753; burials, 31 March 1718 to 24 Dec. 1751; (iv) baptisms and burials, 20 Oct. 1754 to 22 April 1798; (v) the official marriage book, 1 Aug. 1754 to 5 Nov. 1783; (vi) the same, 10 Nov. 1783 to 28 Feb. 1811; (vii) baptisms and burials, 13 Jan. 1798 to 30 Dec. 1812; (viii) the official marriage book, 6 March 1811 to 25 Oct. 1812. The first two books are in considerable disorder and apparently several years are missing, and the second book is much damaged by damp. The first book has been rebound and the second requires similar treatment.

 

The church plate consists of: A silver cup of Elizabethan date, no date letter; a silver gilt cup and cover paten, hall-marked for 1559–60; a silver plate engraved 'Benedicamus Patrem et filium cum spiritu,' and inscribed 'To the Glory of God and the use of St. Mary's Church, Godmanchester, 1848. E. I. W. dedit,' hall-marked for 1846–7; a silver alms-dish, engraved 'hilarem datorem diligit Deus,' and inscribed as last, hall-marked for 1847–8; a plated dish and flagon, the latter inscribed 'The gift of Charles Gray, M.A., Vicar, to the Parish Church of Godmanchester, A.D. 1834.'

 

ADVOWSON

 

The Church of St. Mary (fn. 160) is stated to have been given with 3 hides of land by King Edgar (c. 969) to the monks of Ramsey, (fn. 161) but it was no longer in their possession at the time of the Domesday Survey (fn. 162) and they never seem to have laid claim to it. In 1086 a church and priest were attached to the manor (fn. 163) and remained in royal possession until Stephen gave the church to Merton Priory in Surrey. (fn. 164) In 1284, the endowment of the church consisted of 48 acres of land and also 15 acres of meadow held by the Prior of Merton in commutation for all tithes of hay. (fn. 165) He held other lands, but these were assessed to the fee-farm rent and were not spiritualities. (fn. 166) After the Dissolution of the Monasteries, the rectory was granted in 1542 to the dean and chapter of Westminster (fn. 167) and except during the reign of Mary and the Commonwealth they have owned it ever since. (fn. 168) It has been held by a succession of lessees and in a lease of 1640 the dean and chapter stipulated for entertainment for two days and two nights for themselves or their officers at the lessee's expense. (fn. 169)

 

Between 1209 and 1219 the vicarage was instituted and two houses, land and meadow, as well as the vicarial tithes were assigned to it. (fn. 170) The advowson of the vicarage has always been held with the rectory, (fn. 171) although the first recorded presentation by the dean and chapter of Westminster was not till 1599. (fn. 172) A custumal of the vicar's tithing was drawn up in 1599 in great detail and is specially interesting in showing the payments made from parishioners who were not landholders. (fn. 173) In the 17th century the vicarage was too poor to support a suitable vicar for the town and consequently in 1655 the Town Council decided to purchase a house called the Star, next to the vicarage, which was ruinous. (fn. 174) The Star was finally annexed to the vicarage when the dean and chapter had recovered the patronage after the Restoration. (fn. 175) The purchase of the Star is an illustration of control of church affairs by the governing body both before and after Godmanchester became a borough. In 1532 the town officials appointed an organist and the expenses incurred over his engagement were charged to the bailiffs' account. (fn. 176) In the reign of Henry VI the two churchwardens appear amongst the elected officials of the town (fn. 177) and they accounted to the bailiffs and jurors. (fn. 178) Throughout the 16th, 17th, and 18th centuries the churchwardens' accounts were presented to the Town Council, although in the 18th century protest was apparently made against the practice. In 1712 a churchwarden, apparently not a freeman of the borough, brought the matter into the spiritual courts to the great indignation of the Council, who decreed that he was never to be admitted to the freedom and also indemnified his successors against any damages they might incur during the trial. (fn. 179) In 1824, the Common Council enacted a careful table of precedence for its members in the corporation pews in the chancel. (fn. 180)

 

CHANTRIES

 

The Chantry of the Blessed Mary (fn. 181) or Roode's Chantry, (fn. 182) in the parish church, was in existence in 1297 (fn. 183) and possibly earlier, since in 1279 Martin the chaplain was a town tenant of 4½ acres of land and some meadow, though his benefice is not named. (fn. 184) In 1307, Roger de Strateshill, probably the chaplain of the chantry, wished to endow it with 31 acres of land and 4 acres of meadow to provide a daily celebration of mass, but difficulties appear to have arisen with John Dalderby, Bishop of Lincoln (1300–1329). (fn. 185) The matter was taken up by the town, and at the request of Henry Roode, apparently one of the bailiffs, licence was obtained from the king in 1316 for Roger de Strateshill's gift. (fn. 186) Further gifts of land are recorded (fn. 187) and each incumbent was seemingly given seisin for his life by the bailiffs, 'who reserved the right to annul the grant, thus avoiding any grant of the lands in mortmain. (fn. 188) The chantry was thus especially associated with the town and the chaplain was bound to pray, in English, at the daily mass 'for the good state, welfare and prosperity of the Bayliffs of this town, and all the Comynalty of the same, fundars of this Chauntre.' (fn. 189) At the time of the dissolution of the chantries, the chaplain both provided assistance to the vicar and was also master of a grammar school. (fn. 190) The possessions of the chantry, together with those of the Gilds of Corpus Christi (q.v.) and the Holy Trinity (q.v.) were seized by the crown and in 1553 were leased to John Shepherd and others of the royal household for twenty-one years at an annual rent of £35 16s. 10d. (fn. 191) The fee-farm rents of £5 15s. 5d. due to the bailiffs of Godmanchester were paid by the crown until 1592, (fn. 192) when Elizabeth, in a new lease to Peter Proby, remitted the fee-farm rent and a charge of 4s. payable to the poor and received a lower rent from the lessee. (fn. 193) Soon after the grant of the charter of 1604, the borough unsuccessfully attempted to recover the chantry lands and were involved in lawsuits in the Duchy courts and considerable expenses, (fn. 194) the issue being complicated by the grant in fee, in 1606–7 by James I, of the disputed lands to Edward Newport. (fn. 195) In 1657, they were held by Robert Barnard, (fn. 196) but it seems possible that they were seized by the Commissioners for the sale of fee-farm rents during the Protectorate, (fn. 197) since at some subsequent date they were attached to the Rectory on whose 'lessee the old crown rent of £30 per annum is charged as an annuity in augmentation of the vicarage as also with the sum of £5 19s. 5d. to the annual fee-farm rent of the town.' (fn. 198)

 

The Gild of Corpus Christi is first mentioned in 1366, (fn. 199) and the fraternity was an established body in 1396. (fn. 200) It consisted of brothers and sisters governed by two wardens. (fn. 201) A later benefactor was John Copegray, chaplain of the gild and vicar of Alconbury (1463–69). (fn. 202) After the dissolution of the chantries, the endowments, which amounted in 1536 to £11 7s. 4d. a year, (fn. 203) passed with those of Roode's Chantry (q.v.). The name is still preserved in Corpus Christi Lane.

 

The Gild of the Holy Trinity was founded before 1279, when William, chaplain of the Trinity, held 1½ acre of land. (fn. 204) It was governed by two wardens (fn. 205) and is mentioned in wills of Godmanchester inhabitants, (fn. 206) but its endowments were small and at its dissolution amounted to only £3 4s. 9d. a year. (fn. 207) Edmund Archpole was then chaplain of both Corpus Christi (q.v.) and Holy Trinity Gilds, (fn. 208) but there does not seem to have been any formal amalgamation of the gilds. The lands of the gild followed the descent of those of Roode's chantry (q.v.).

 

Little is known of the origin of the Gild of St. John the Baptist, (fn. 209) but it was founded before 1359, when William Balle seems to have been the chaplain. (fn. 210) Possibly the gild had a separate chapel, since 'land next to the chapel' are mentioned at the same date. (fn. 211) The fraternity appears in the town rentals until 1549, (fn. 212) but all trace of it is afterwards lost and its lands do not appear in the certificate of chantry lands at the dissolution of the chantries. Nine acres of land formed the endowment of certain lights and lamps in the church, and they were valued at 22s. 2d. a year after deducting the fee-farm rent. (fn. 213) In 1553, obit lands appear in the lease of chantry lands to John Shepherd and to later tenants (fn. 214) and a payment of 1s. 10½d. a year to the bellman was chargeable on the chantry lands. (fn. 215)

 

At the present time there is a Particular Baptist Chapel, founded in 1815, and the Union Chapel, built in 1844, to replace an older chapel. (fn. 216)

 

CHARITIES

 

The following charities are regulated by a scheme of the Charity Commissioners dated 12 February 1926:—

 

Christopher Fisher in 1674 gave a piece of land containing 2 a. and 3 r. in Reed Meadow, and John Dryden by a declaration of trust dated 17 Dec. 1708 gave the sum of £200 which was laid out in the purchase of 24 a. 1 r. 20 p. of land, the rents to be applied in apprenticing poor children of the parish. The endowment of the charities now consists of £1,578 8s. 9d., 2½ per cent. Consols and various other sums of stock with the Official Trustees, the whole producing about £60 annually in dividends which are applied in apprenticing.

 

John Banks by will dated 19 November 1707 charged his lands and hereditaments in Dunton with a yearly payment of £12 to be applied for apprenticing and for the poor. The endowment now consists of a rentcharge of £12 per annum issuing out of Millow Hall Farm, Dunton, £21 1s. 5 per cent. War Stock and £25 4 per cent. Victory Bonds with the Official Trustees. £5, part of the rentcharge, is applied for the benefit of the poor and the residue £7 is applied for apprenticing.

 

Note.—Under clause 19 of the above-mentioned scheme the trustees are empowered to apply that part of the income applicable for apprenticing and not required for that purpose in assisting poor persons in the case of Banks's charity and in assisting poor boys for their advancement in life in the case of Fisher's and Dryden's charities.

 

Fishbourne's Charity. This charity consists of a rentcharge of 10s. per annum issuing out of hereditaments at Hartford. The rent is distributed by the mayor to four poor widows not in receipt of parish relief.

 

Anonymous Charity for Poor founded in 1727. The endowment of this charity consists of a rentcharge of 3s. 4d. per annum charged upon or issuing out of hereditaments in Post Street. This sum is distributed in bread amongst the poor of the parish.

 

Grainger's Gift. Robert Grainger by will dated 10 October 1578 charged his mansion-house in Godmanchester with one comb of wheat to be made into bread and distributed among the poor. The value of one comb of wheat is now charged upon property in Godmanchester now in the occupation of Mr. W. F. Beart and distributed to the poor of the parish in bread.

 

¶The charity known as the Rectory Charge was founded by deed dated 27 January 1443 for the benefit of the poor of the parish. The endowment consists of four quarters of wheat and three quarters of barley charged on the Rectory Farm, Godmanchester. Under the provisions of the above-mentioned scheme the vicar and the mayor (ex-officio trustees) and six representative trustees appointed by the Borough Council, were appointed the trustees of the charities.

 

Almshouses. These consist of four almshouses in East Chadleigh Lane, Godmanchester, built with money given in 1723 by Mr. Dryden, together with two small almshouses in Penfold Lane (known as Manser's Charity) formerly four houses but converted into two. There are no endowments in connection with these almshouses, which are kept in repair at the parish expense.

 

www.british-history.ac.uk/vch/hunts/vol2/pp286-296

Case Study 113 : Warning, these are the raw, bare unusual occurrences as originally chronicled. Some names, times, places and some facts have been, of course, altered.

Name: Angelica D circa 192__

Subject: an unscrupulous light-fingered body thief

Event: Posh Wedding Reception

Place: Upstate New York

Time: Warm early Autumn Saturday

 

Angie Being Receptive

Story line:

 

Angie had heard about the affair, a wedding, from a list of prospective functions provided by a discreetly paid contact. It was being given for the only daughter of a wealthy politician (as if there were any non-wealthy ones!) Angie had happily invited herself to the affair, carefully dressing up in her best for the special occasion!

 

**

Wedding receptions were by far Angie’s favorite hunting grounds. During the season there could be anywhere from upwards of 20 high end affaires every weekend in the bigger cities, and always 2 or 3 in even the smallest of towns.

Wedding s were usually easy pickings: free food, drink and entertainment, and seldom worn jewelry made for a ready-made mix for Angie to ply her trade. For Angelica D. was a uniquely skilled pickpocket, specializing in the removal for profit of the expensive jewelry worn by the (usually be -gowned) women and young ladies’ who hauntingly dwelt in societies upper crust!

So Weddings, by their nature, were the desirable choice for Angie. One only had to avoid the Bride, her Bridesmaids, and their court, which were usually the major focus of any security present. However, there were plenty of opportunities to be had by employing her special bag of tricks on the outlaying fringe.

Angie had arrived early at the mammoth facility, to scout out the establishment and to scope out who was wearing what. Used to these affairs either being feast or famine, she could quickly tell that in this one there was cooking up a devouring banquet.

**

After Angie had entered the mammoth reception room it did not take her long to spy her first plump prospect, nicely loaded with possibilities. It was a lady, bearing a haughty look, who had been making a b-line through the crowd as way was parted for her. She was wearing a luxuriously long rusty coloured sable fur coat that hid most of her long crimson -red satin gown. What Jewels were visible, ears, fingers and wrist, were all flashing with pricy fire. In tow she held the hand of a young girl, obviously her daughter, wearing actual makeup, which, along with her fetching gown and brite jewelry, made her appear far older than she was. A handsome man , looking like the actor William Powell in a tux, followed behind the pair, husband and father, Angie presumed. She shadowed the little family as they swished their way to a corner table, conveniently located by a rear exit, for a better look over. Her fingers had started with an all too familiar tingle as she took it all in.

**

The husband helped his wife out of the sable, laying it carefully along a bench against the wall. Angie was not disappointed. A silver necklace of large matched diamonds gracefully encircled her throat. A dazzling blood ruby and diamond brooch held up the center of her gown, positioned just below the bust line. Brooches, like this one, were worth a lot once fenced, but its placement required a little more dexterity and skill than she was willing to risk. In actuality, Angie had only attempted twice before to take a brooch pinned to a gown in this fashion. She had only been successful one of those times, only to find out it was a pretty piece of paste.( Years later, as Angie’s talents became more polished, relieving ladies of their dangling brooches, like this blood ruby, became her specialty.. the Eds.) Angie’s eyes moved on. The rest of the snooty lady’s jewels matched her necklace. Long earrings, free clipped, dangling brightly from her earlobe s. A pair of wide ruby bracelets clasped tightly home around elegant red elbow length satin gloves, sparkled devastatingly, matching her brooch. Her long fingers were home to a pair of ruby and diamond rings and a third ring set with a gold band and a vulgarly large solitaire diamond.

**

Angie’s attention turned to the daughter, whom had been helped by her Father , squirming, from the chocolate coloured satin cape that she had been wearing. The youngster, all of about 10, was wearing a cream coloured long puffy sleeved dress with a brown satin sash encircling her waist that matched her Cape. The young lady possessed impossible large bright eyes. The only thing that held more shine than those doe like eyes had been the antique rhinestone diamond necklace that fell dripping ever so invitingly down the front of the precious little imp’s rich glossy gown. The rest of her matching rhinestones (obviously belonging to the child’s mother) consisted of an engaging display of a bracelet, pair of dangling, screwed on clasp earrings, and matching rings encircling a chubby finger one on each hand. It all gleamed brightly, invitingly from her svelte girlish figure. A large round pin held her sash up in place; it sparkled with what looked like a ring consisting of one caret diamonds, as unlikely as it was they could be real.

**

The two females of the family presented a pretty package indeed. Not one to pass up an invite that alluring, Angie walked by , with the pretext of heading to a back exit behind the table the little family had staked, just so she could get a closer peek.

**

Angie’s practiced eye took in a wealth of information during the few seconds it took her to walk up and pass the group, so involved with themselves they never even looked her way. Her attention focused upon the young mother first scoping head to toe.

**

Angie scrutinized the brooch; it was definitely worth the effort. In her mind’s eye, Angie envisioned the mother as a stumbling drunk “bumping into” Angie. Fingers whisking along the slippery lustrously softness of the gown, as the lady was steadied. Angie would accept the women apologies and the pair would part their ways, Angie from the young mother, and the magnificent brooch from the rich satiny red gown. But then the mother raised her head, looking up past Angie, towards a commotion being made behind her. Typical Angie thought, she doesn’t recognize me, so I don’t exist, like some sort of servant. But it was as she caught the young mother in full profile that she realized this lady looked strikingly similar to another woman who had been wearing an expensive dress of teal charmeuse that Angie had had been having a long conversation with, while relieving the woman’s finger of a costly diamond sapphire ring. It had happened only just last weekend at a formal function, and Angie figured she may have not recognized her in passing, but may if Angie were to use one of her approaches again with the intent of taking some of her jewelry, he memory may be jarred, and she may remember her missing ring. This was why Angie only allowed herself to ply her trade for no more than a month in any given place per year. This was from a lesson she had learned early on in her career. And so, for that reason alone, Angie decided to, at least temporarily, abandon any designs she had on the young mother’s brooch, allowing her devious intentions to evaporate from her mind like smoke on the wind. There were plenty more fish in the sea she told herself.

**

Angie still allowed herself a quick appraisal of the squirming 10 year old. She admired the glossy dress of slippery satin that her mother had conveniently dressed her daughter up in, as it fell spilling down to her black open toed shoes. Angie’s fingers started to tingle; this was a perfect tickling gown. Angie liked to think of any long dress or gown that swept down to a females heels as a” tickling gown”. All it took was a strategically placed foot timed with a well place nudge to send the chosen victim tumbling. During the ensuing diversion, Angie would use her long subtle fingers to swiftly probe along the gowned figure, tickling she like to call it due to the tingling sensation of the usually rich material of the victim’s attire. In this fashion, a pre-targeted piece of valuable jewelry could then be easily acquired, no matter what its placement had been on the unfortunate female. If only the chatty youngster had something on better than rhinestones. It was a crying shame to have a child that young dolled up like an adult, but not wearing adult jewels.

**

Angie continued to walk past, unseen, and went out the door. She found herself in a large serenity garden of roses and shrubs, surrounded by a 10 foot high well-trimmed hedge. The sort of garden one usually found in those days around upscale Churches. The only exit was a gate leading onto the parking lot on the side of the church. Here was positioned a solitary, lonely guard in a neat little guard hut. In the opposite, far corner was a statue of Cupid, arrow drawn, standing above a display of blooming moss roses at the end opposite to the gate. There was always potential in places like these.

**

Angie had started to walk over to the Cupid statue when she heard the exit door open. Turning, she saw the young girl, whose mother’s brooch Angie had been scoping out, looking out the door. She snuck through, running out alone, silky tickling gown swishing out behind her. Her heart leapt to her throat as she watched the girls rhinestones sparkle radiantly. She actually turned to head towards the path the unsuspecting child was running up, flexing her fingers as she contemplating a little warm up practice. Angie watched as the dolled up imps necklace flashed with pinpricks of coloure as it bounced to and fro as she ran happily up the path .Angie turned her back to the girl, waiting to hear the telltale click of her heels come up just behind her. She would then move, bumping into the girl as she passed, tripping her to the ground. After which Angie would help her up, removing the girl’s fancy necklace in the process. Come to Mama Angie whispered under her breath, waiting to make her move as the skipping heels grew ever louder.

**

But then Angie froze, hearing the clicking of the exit door again opening behind her. She checked her stride letting the daughter slither past without a glance. She headed again towards the statue, watching her prize move on ahead. Then she heard the father in the background calling out to his little princess. The youngster turned, and ran back, beaming at Angie as she passed. Angie smiled back, her eyes again traveling to the girls neckline, and the sparkling jewelry the outlined her throat. It had been a silly thought she chided herself, as the girl passed from view. If only the necklace had been real, and the father about ten minutes later in discovering his daughter absence. It would have been an unbelievably easy pluck and she could be out the gate before anyone was the wiser. And the best part was that they would probably believe the scampering girl had just lost it in the garden. And, while the parents were looking about, Angie would have been free to renter to ply her trade again. As it was, it was silly of Angie, risking her opportunity on a child’s bauble worth a mere pittance compared to some of the other offerings so readily being flaunted this evening by her adult counterparts.

**

Angie continued her casual stroll through the Garden, happily playing over in her mind some of the jewels that she would like to see adorning the female guests inside, and the scenarios she may be using to acquire them

**

Finding herself approaching the guard hut, she allowed herself a glance back. Jealously she watched the father, who had caught and was carrying his slippery attired daughter, heading back inside. How Angie wished she had been the one carrying the squirming little imp, it would have been like a smorgasbord, with jewels instead of food. Pity her mother had not put the good stuff on the daughter, she sighed to herself. Tonight she would have to work for her butter. She walked past the bored guard, nodding at him, receiving a rather lecherous look in return. A smile was forming across her cunning face, for now it was time to get down to the real business at hand.

**

The affair turned out to be quite a showcase for the very rich. Who were indiscreetly flaunting their riches, trying to outdo one another, probably for the benefit of the politicians’ attention? Certainly not for the attention of the designer satin gowned and flashy diamonded daughter, whom most of the guests hardly knew, or had ever met.

**

Angie always felt like a little kid in a candy shoppe at these lavish affairs.

She spent the first part of the reception mingling and thoroughly enjoying the show her the reception’s guests were u wittingly putting on. Angie, wearing no jewels herself, was something of an anomaly compared to her fellow guests.

**

There were over a thousand luxuriously coloured, squawking female birds and their young chicks pompously displaying valuable finery, oblivious of the cat amongst them waiting to pounce. Angie patently mingled, watching as the adult guests had their fill of food and drink.

Once their guard began to relax, Angie raised hers’, her probingly skillful fingers now more than prepared to begin and ply her trade. For the more they imbibed, the less guarded they were, both about themselves and their female offspring. Angie would start with the adults, 2 or 3 of the right pieces of jewelry, once acquired, and would mean she could call it a night and have enough to support her for a solid month. If she came up empty in that department, her back up would then center on the female off-spring, daughters and nieces.

Most of said offspring would be by then scattered about, aware that their parents were no longer paying them any heed, exploring and playing, sporting their fancy satin gowns, silken dresses, and their dainty jewelry, ripe for the picking. Giving pickpockets like Angie endless opportunity to ply their trade on them, once they had finished working through the adults. Or if the thieves were beginners, plenty of easy practice while “learning the ropes!”

**

Now, when Angie herself was just starting out as a young pickpocket, she stumbled across a treatise written by a man using the pseudonym “Gaston Monescu”. Written around 1826, entitled the Cutpurse: skilles, artes and Secretes of the Dip, it covered the various tactics and moves used by master pickpockets.

 

Angie had studied it religiously, especially a ploy called the “Necklace Flimp.” This tactic was primarily used for body thieves working alone. Angie had been surprised to learn that a pickpocket could raise his/her skill level above just acquiring wallets. Having the ability to lift a woman’s necklace amazed her, not to mention the profit that could be realized. With practice, Angie had found that not only was it a good technique for acquiring necklaces, but it worked for other pieces of worn jewelry as well.

 

It was relatively simple process, but took a long time to master.

First part was to employ psychology and watch the potential victim for the unique movements and quirks in their personality and actions that could provide an opportunity for her skills. Then observe the selected piece the victim wore, for value, type of clasp, make, and accessibility. The second part was to employ a bump, slip, or grasp, and in one motion, flick open the studied clasp and send the piece away from the body by either pulling and palming, or dropping it to the floor or ground for retrieval later. If she was noticed, it was “sorry, miss, very clumsy of me” “here let me get if for you, no harm done?” Then walk away and let the waters settle before trying yet again (sometimes even on the same person!)

 

Angie had practiced the jewelry flimp until she had the technique totally mastered. Starting out first on specially dressed up mannequins in her apartment, than trying it on small pieces of cheap baubles worn by real women in crowded streets and stores. Then on younger, less guarded, better jewelry wearing young girls attending proms and social dances. Young looking for her age at the time, Angie had fit right in amongst them. Then, finally, she graduated to lifting the better jewels of the older, wealthy women attending society’s finer parties and receptions. And it was this path that led her here today, and would also lead several unlucky females to report missing jewelry to their respective insurance companies.

**

See Album “Angie having a Ball” for additional background on our master thief with the light fingers.

**

Angie now eagerly employed those useful talents learned from monsieur Monescu’s little pamphlet at the wedding reception. She mingled freely, carrying around a drink that never touched her lips. She watched and learned, her trained eyes missing very little. Soon, like that hypothetical kid in a candy shoppe, Angie’s head was spinning from so much to choose from that she really could not make any easy choice. So, she waited and watched patiently, knowing opportunity would knock.

 

**

 

Then, like it usually happened with Angie, the first genuine opportunity unexpectedly presented herself. Angie literally was run into a rather awkward, spindly lady in thick glasses clad in a fetchingly expensive costume consisting of a thick silver satin blouse with hanging ruffles down its front, combined with a long rustling tiered skirt that swept down to the top of her open toed silver high heels. Her diamond jewelry shone with exuberant flames as they caught the light from the many chandeliers that hung from the vaulted ceiling. The lady expressed frantically her apologies, placing a hand with well ringed fingers on Angie’s shoulder, where they sparkled merrily. No worries Angie said smiling, her eyes taking it all in without appearing to move. She let the frazzled lady leave, allowing her a head start, it was only sporting to do so.

**

Angie shadowed her quarry for a while, seemingly rewarded for her efforts when the lady managed to spill a bit of her drink down on her skirt. In a show of flashing silvery satin and diamonds ,she retreated and disappeared into a nearby powder room, with Angie following eagerly, opportunity knocking.

**

As Angie grabbed onto the closing powder room door, a mid- twenty something girl in a deep green velvet gown came out. Her only jewelry was a wide diamond bracelet wrapped around a wrist of the matching long green gloves she wore. Angie caught it out of the corner of her eye, realizing that it was as expensive as it was bright. But it was her friend, a willowy short haired pretty young thing in a glamorous Chocolate Satin gown that made Angie’s jaw drop. Her jewels, like her friends, were also sparse, but enormously pricy. The long white satin gloves that graced her hands and arms also held matching bracelets, thin, but each one worth the effort. But her real eye catcher was the row of authentic, one caret white diamonds that were rippling exquisite fire along her throat. Angie held the door for them, nodding to as they passed. Noses in the air, they did not appear to notice Angie. Then, with the ladies backs to her, Angie abandoned Miss silver satin and turned to follow. Angie got in behind the two with the intention of getting a closure examination of the clasp of the fiery diamond necklace Miss Chocolate satin was wearing.

**

However, Angie never got her closer look. For at that moment the tossing of the bride’s boutique was announced and Angie was overwhelmed by a mad dash of single ladies heading for the bride. On a lark she allowed herself to be swept along, losing sight of Miss Chocolate satin, but found herself right smack behind Miss Green velvet and her cheerfully sparkling diamond bracelet, a beautifully expensive piece that would have cost someone a king’s ransom. Angie’s fingers began their all too familiar tingling, eager for a chance to acquire jewelry that valuable, but not for any king, just for herself!

**

Though the night was still relatively early, and Angie still had visions of those exquisite rippling diamonds of the pretty Miss in chocolate satin on her mind, she simply could not pass up this opportunity. Angie wedged herself close behind her chosen victim as the multitude of hopeful young women pressed forward to try their luck. As the Bride teased her guests before getting ready to toss her bouquet of white and red roses, Angie expertly scrutinized the bracelet as it dangled from the green velvet glove. When the bride finally turned her back and raised her arms every one of the richly clad single women’s eyes was focused on the bride’s bouquet, Angie’s eyes were fixated on the bracelet. With the music playing loud, the crowd giggling and laughing, and all eyes focused on the gorgeously outfitted young long haired bride, Angie again felt opportunity knocking. Her pulse beating in rhythm with the music, she made ready to seize the chance when it presented itself. The roses flew through the air and all the women raised their hands high, looking all for the world like being involved in a stick-up. Angie timed it perfectly, snapping the clasp, and snatching the bracelet easily away from the gloved wrist of its owner as she raised her arms high to grab at the boutique. In her excitement, shared by everyone, Miss Green velvet ( who did not catch the bouget of roses) never felt a thing. Angie had smirked as she left the giggling group, stowing securely the purloined diamonds, as she imagined what it would have been like to watch that group robbed in a mass stick-up. The money that some enterprising soul could have made from that haul would have been astronomical.

**

She went to the open bar, lighting her first cigarette; she ordered her first real drink of the night. She could feel the coolness of the weighty bracelet in its hiding spot, and Angie, pleased with herself, calmly sipped her drink as she relished in the moment. The toss of the Brides Boutique was, in Angie’s experienced opinion, one of the three common events occurring during a wedding reception that were fertilely prime times for pickpocketing. (Editor’s note.. Miss D. mysteriously never divulged what she considered the other two prime events to be….)

**

She looked about without a worry in the world, coolly watching the antics of some of the younger women on the dance floor. She spied the young miss in the green velvet gown over in a corner talking in an animated fashion with several other women. Green velvet gown’s now bare velvet glove, apparently not noticed by anyone but Angie. One of her group was displaying some bright emeralds peeking through the long silver fur she was wearing, obviously she was leaving, and she was talking excitedly about something to the group formed around her! Nowhere in sight was Miss chocolate satin, too bad, Angie would have loved another peek before leaving.

Angie watched around the room causally, as the cold bracelet pressed expensively against her figure from its hiding spot. She eventually lost track of green velvet and her friends while finishing her drink. Setting down the empty glass, she decided it was time to call it a night. The bracelet now in her possession was easily worth as much as the 2 or 3 separate pieces she usually acquired at functions like these, added together! And, she needed her rest, Angie had a couple of plans the next day, one revolving around the female guests who would be attending an upscale afternoon prom fashion show a, the other, an evening opera performance (invited guests only, and her contact had managed to supply a ticket, at a hefty price!) No rest for the wicked, Angie told herself.

**

On her way out of the main lobby, she found herself leaving behind the very lady in green velvet whose bracelet was now in Angie’s possession. She was with the same gaggle of her similarly dressed friends, including the one exhibiting the emeralds. However, miss chocolate satin was still not visible. They were laughing and joking as they collected their assorted pretty wraps, obviously heading for a nightclub. If she had not already relieved one of them of a bauble, Angie might have invited herself along, if only to have a go at some emeralds. Angie hesitated about leaving withy them, then shrugged, followed the group out the door past the pair of bored rent a cops.

**

She remembered thinking, as she followed the elegant young princesses ,their fluid gowns peeking from under their various furs and wraps, how shallow the very rich could be. She wondered if Miss Green velvets friends had even noticed that she had had diamonds around the wrist of her glove, let alone that they were now missing. She wondered how long it would be before the bracelets loss was discovered. She figured it would be several hours, long enough for its owner not to be sure what place they had been lost. As young Miss Green velvet fancy gown and her friends turned right outside the exit, Angie turned left, heading towards the guard hut at the entrance to the garden.

She decided not to follow them but rather circle around the outside of the garden to give her victim time to leave.

**

That simple decision to make a left turn proved to be a major turning point in Angie’s fortunes that evening.

**

As Angie passed the hut guarding the entrance to the serenity garden, she noticed it was deserted.

It was as she was looking it over, that she heard the sounds of clicking heels moving fast, followed by the sounds of a young girl giggling. On the alert she stole to the backside of the hut, soon spying a splash of something blue and silky between the gaps of a couple of large bushes. Her senses on their highest peak, she began to move cautiously in, hoping the female making the noise would be in need of aid and comfort perhaps.

**

She soon spotted a young lady of about 14 bending over, hands on her knees as she panted heavily. Her back was to Angie, and what pretty back it was. She was nicely attired in a long gown of shiny material dyed deep blue like an afternoon, cloudless summer sky. The gown cascaded down along her petite figure, spilling out on the ground around her feet. Her hair was pulled back, easily displaying a pair of small diamond and sapphire earrings, not rhinestones for this one, but the real McCoy. Around one finger was a gold ring with sapphires, and from her left wrist dangled a thin silver bracelet with a row of diamond chips, both pretty, both valuably real. But it was her last piece of visible jewelry that stole the show. It hung, swinging to and from her neck on a thick braided chain of solid silver. On its end, like a hypnotists prism, was a silver pendent in the shape of a flower, with 1 inch long, pear shaped real diamonds as petals and a fully 2 inch in circumference center stone of deep sea blue. Angie watched it, her eyes following it for a full minute, its expensive fire sealing its own fate as Angie began flexing her fingers. Angie took her eyes off of it and looked around to see why the princess had been running. But all was still as the girl continued to peek through the branches towards the back door leading into the hall. Angie silently approached, and walking up to the pretty miss she bent down and in a friendly tone, asked who she was running from.

**

I played a joke on my sister, and now I’m hiding from her, piped the girl breathlessly, as Angie placed a hand upon the girls shoulder in a conspiratorial fashion, said shoulder made silky soft by the gowns half sleeve.

**

I know a better place where you can hide from her, Angie whispered in the girl’s ear, the dangling earring ever so close to her lips. The girl looked up, smiling, and Angie pointed towards the guard hut, and as the girl looked, Angie’s fingers glided up along the silky shoulder and lifted the thick silver chain up from the back of the gowns’ scooped collar. Come Angie said, and as the girl rose Angie’s fingers nimbly flicked open the chains’ lobster clasp, holding onto the clasp as the other end of the chain slipped down, allowing the pendent to slide free and fall onto the grass at the girls feet, where it lay shimmering. Angie moved her hand to the girls shoulder, squeezing it, while slipping off the braided silver chain with her other hand, whisking it back and away from the guileless young girl. Angie led her princess away from the spot and walked with her to the guard’s hut, still empty, where she had her hide neath the counter.

**

Angie turned and went back to claim the pendent, there still was no sign of any sister. She secured the pendent, joining it with the chain and bracelet, and headed deeper into garden. Her plan was to watch the hut and see which way the girl went after getting bored waiting. But as she skirted the perimeter her plans were changed when, upon rounding a corner of the path at the far end, she saw yet another back belonging to a solitary lady in her late thirties, clad in a long slinky yellow coloured gown of expensively shiny taffeta, bending over to smell the yellow roses on a bush. Instinctively Angie knew two things about her. One was that whatever jewels this lady would be wearing, they would be expensive, and the other was that with an expensive gown like that; the lady would undoubtedly be wearing her jewels. Angie suddenly became aware that her fingers were tingling, as an all too familiar whelming feeling again delightfully washed over her.

**

Angie found herself automatically turning back onto the garden path. She headed around the women and went down to the cupid’s statue, where now out of sight, she carefully hid the purloined bracelet, and still warm fiery pendent and its ‘fancy silvery braided chain..

**

She then headed towards the unsuspecting flower admirer. The ladies’ long brunette hair had fallen, flowing down the backside of her shiny taffeta gown. Angie could see rings and a bracelet gleaming as she was holding up the rose to her face. A long double rope of pearls hung swaying deliciously from her throat. Coming up behind her Angie stood watching; calculating until the lady rose and with a start realized she was not alone.

**

Pretty Angie said, her eyes on the pearls now draping down the front of her marks yellow gown. They are lovely, are they not? The damsel responded thinking Angie was referring to the roses. Just like the ones in the park, my husband and I walked through on our way to catch a cab today. Actually, I meant your dress Angie said complimentary. Thank you the lady practically squealed, I love the way it flows, and she swirled it about to show Angie, who got an eyeful of sparkly jewelry for her efforts. As she continued engaging the women in conversation, Angie decided upon attempting for the woman’s necklace of pearl. Seeing opportunity knocking when Yellow Taffeta pulled her long hair forward so it hang down the front of her gorgeous gown, laying silkily over one shoulder, nicely exposing the pricy necklaces clasp. Angie looked around, they were alone, out of site of the opposite end of the garden where the inside door was, and the guards hut with it’s pretty occupant.

**

Angie, using the marks interest in roses to her advantage, managed to steer the capricious damsel in shiny yellow over to the cupid’s statue. There, she placed a hand upon a silky taffeta covered shoulder, and pointed down to the shrub of moss roses growing at the foot of the statue . When she stooped down to get a closer look, Angie’s fingers whisked from her marks shoulder to the clasp, in a single effort with two fingers, lifted it by the clasp, and snapped it open. At that moment the mark cried “spider” and jumped up, backing into Angie, who watched helplessly as the pearls fell down from the damsel’s throat and slipped along the front of the yellow taffeta gown. They fell with a soft plop unto the ground at their mistress’s feet. Angie tried to lead her away, hoping to come back and reclaim the necklace. But as Angie pointed to another rose bush some distance away, the lady took a step forward, instead of back, planting her feet right onto the pearl necklace. Hey she exclaiming, what’s that, looking down to her high heeled foot? Oh, my pearls the lady squealed again, a glittering hand shooting to feel around her throat. Angie reached down, and reluctantly retrieved them from the base of the rose bush for the squealing lady in yellow . My husband would not have been pleased if I had lost these, she said as Angie held them, feeling their pricey smoothness.

**

She asked if Angie could help her put them on, my maid usually does this sort of thing, you know. Angie reluctantly complied, re- hanging the pearls as the pretty damsel held up her hair, and reluctantly redid the clasp. The Damsel thanked Angie by embracing her in a full hug, her diamond and pearl earring hitting Angie’s cheek. But Angie’s arms were being held by the hugging woman, so Angie was able to only watch the tantalizingly close earring sway free. Angie left yellow-gowned damsel in the garden, getting nothing for her efforts other than the feel of an expensive gown of the likes she could probably never afford to own.

**

With the pretty damsel hovering around the cupid statue, Angie decided to go back into the reception hall until the coast was clear. She carefully looked towards the Guards hut, and seeing that the guard had returned, figured the girl, so fetchingly clad in blue, had been rousted out, so that loose end was probably tied up. She just had to keep a careful eye out. The quite valuable bracelet and pricy necklace with its pendent were well hidden; there was absolutely no danger of someone stumbling over it.

**

Truth was, Angie had found her appetite wetted and once again visions of a lady in chocolate brown satin exhibiting a row of flashy diamonds, teased her thoughts. An accomplished pickpocket like herself had a couple of well-practiced ploys she could utilize to obtain a tight fitting necklace from its mistress. In addition, Angie was now determined to find her and to risk a try. She had really nothing to lose.

**

It took almost an hour of hunting amongst the now well liquored, gaily mingling crowd before Angie could admit to herself that there was absolutely no sign of the willowy lady in the stunning chocolate satin gown. Damn she thought to herself, those diamonds were something special. She shrugged it off, reciting in her mind a wicked little mantra of hers, “Another one who got away, a chance to lose her jewels to Angie on another day!” She strolled about pondering on what her next course of action could be. There had been no sign of the pretty girl in blue whose necklace Angie now had hidden away, and Miss Green Velvet was definitely out of the picture, so she felt that it was still safe to try to pluck one last bird or chick. In her hunt for the brown, Angie had seen several inviting prospects; one lady(purple satin, diamonds), two girls( ivory silk, pearled pin; red satin, gold necklace set with chips of precious stones), and now was weighing the risks.

 

It was at that point she once again espied the thickly bespectacled awkwardly introverted young lady invitingly wearing the thick silver satin ruffled blouse, which she had been tailing much earlier. And as Angie watched here, she again accepted the invitation. Her prey had appeared on the dance floor, being led around by a rather charming young man. That would make a dandy consolation prize Angie drooled to herself happily as she took in the sparkling show put on by the dancers jewels.

**

Angie looked her over, reacquainting herself with the jewels she so nicely was displaying. A pair of long earrings cascaded down from her earlobes where they precariously held on by antique silver claps. Angie relished the opportunity to “flimp” pairs of earrings like these. Heavily jeweled, each one was worth a tidy sum. Angie mulled this as she continued to study the jewels of her appealingly dressed new target.

**

The girl’s only ring was a solitaire diamond of at least 3 carets on a thick solid gold band worn vulnerably loose on her un-gloved, bare ring finger. A wide silver cuff bracelet with what appeared to be at least seven rows of matching, shimmering diamonds was dangling around her left wrist (she was right handed Angie observed) . The bracelet had a habit of lying over her sleeve, and Angie could see that it was a costly tiffany piece, whose clasp was exceptionally easy to flick open. A diamond pendent hung swinging from her satiny ruffles, held by an extravagantly thick silver chain with a simple , small eye in hook clasp. The Diamonds in the pendent were as shimmery as stars plucked from the night’s sky.

Angie remembered reading that in a poem from a book she had picked up years earlier in a library, while stalking a young mother in a satin dress, wearing an authentic Gruen Watch on one wrist, and a bracelet of diamonds on the other, that had gone into the library in pursuit of her young son running inside. Like that young mother, It was obvious that this lady in silver satin was not accustomed to wearing jewels, and that set probably spent most of their days lying in a safe. Angie licked her lips as she imagined what the other contents of that safe might look like

**

Angie moved in to allow herself a much closer appraisal of her potential victim’s jewels.

The young lady was totally oblivious to anything but the rather surprisingly strikingly handsome man who to all appearances was her Fiancée, who was holding her ever so close. But Angie was able to see enough of what she wanted to. The young Ladies’ thick satin blouse shone richly in the lights, moving like glistening wet liquid silver, while from her waist spilled the long black skirt with satiny tiers that swished and swayed nicely along her figure as she uneasily danced. Her jewels were bursting with colour as they played hide and seek with Angie’s watchful eyes. From all appearances, they were a mismatched couple. He seemed to know everyone and moved with a confident air, she was just the opposite. It made an enticingly intriguing package indeed for someone with Angie’s skills.

**

Silver Satin was the perfect “Gaston Monescu” type of mark, a perfect combination of classic mannerisms, clothing and Jewels worth anyone’s efforts to take. This was the only fly in the ointment that Angie observed. For by the bar she could see that two other sets of eyes were watching the same young lady in shiny satin and blazing diamonds. Angie intuitively knew they were drooling over acquiring jewels she was wearing.

**

She had noticed the pair of young men in loose fitting suits when they had entered a little earlier about the same time as Angie’s reappearance. They were obviously casing the jewels of any woman, young, or old, who walked past them. Angie knew their type, simple thieves, with no real skills outside of holding a knife in a dark alley to the throat of their victim while they unceremoniously searched and stripped them of their treasures. Angie saw that they were whispering amongst themselves and instinctively knew they were watching and waiting for the fetchingly clumsy silver clad lady clad loaded with diamonds, to leave the “establishment”.

**

She is mine Angie whispered, possessively snarling the words under her breath. She looked around as she thought about how best to handle the situation. Her eyes opened wide as she saw a familiar woman waiting by the coat checkroom. Perfect she purred, placing an unlit a cigarette in her mouth and heading over the bar.

**

She sauntered up next to them and ordered a drink, catching their eyes she asked for a light. As they obliged she took a pull and puffed out smoke, asking in a casual tone, “how about my jewels? Boys!” They could see perfectly well that she was not wearing any, and one snarled, “What’s your game, sister?” Angie snarled back in her best cop like manner, “We know what you boys are up to, and we suggest you both call it a night!” “Yer no cop sister”, they challenged, calling her bluff,” what’s your angle!” Angie calmly looked towards the entrance, perfect she mused as she saw their eyes follow hers, “Maybe not” she stated, “but see that lady being helped into the black mink?” “The shiny yellow dame?” one of em asked? “ “yes”, Angie replied taking a puff on her cigarette before going on, “ well that man’s she’s with used to be mine .” “ Now, I aint one to hold a grudge, but, those pearls she’s waltzing around with are worth plenty. And her rings, they are an easy two grand alone.”

**

Angie could tell she had captured their interest, and that they were now paying rapt attention to the lady in the thick yellow taffeta gown whose necklace Angie had almost acquired in the serenity garden. One of them looked at Angie, a suspicious look crossing his mug, “What’s innit for you sister?!” He demanded. Angie looked at him, dripping with sarcastic innocence. “Nothing brother, other than to make sure the jewels of the dame who stole my husband get home safely .” “I just worry,’ Angie went on, “there is a park in front of their residence and that dame in yellow likes to stroll through it to smell the roses after their cab drops them off.” They watched the couple leave, her expensive yellow gown sweeping provocatively at her gold high- heeled shoed feet. Angie looked them in the eyes and said smoothly, “ Gentlemen such as yourselves may want to do a good deed and follow them home to make sure some miscreant doesn’t spot her in those valuable jewels and mink. Not to mention her man’s gold watch and three hundred sawbucks in his wallet!” Angie winked at the pair, “If you catch my drift.” She added.

**

Still not totally convinced about what Angie was selling them, but equally unsure over who Angie was, both men got up and quickly headed towards the main exit as the last slip of an expensive yellow taffeta gown disappeared through the door. Smugly, Angie puffed on her cigarette as she watched them leave.

**

It was then that a hand was placed on Angie’s shoulder from behind.

**

She froze for a split second, before becoming aware of the soft mummer of satin, and of a slender finger was home to a sparkling sapphire ring. Angie smiled and turned around, facing the girl. Pardon me ma’am, she says politely, but do you remember me? Of course dear, Angie gushes while beaming at the forlorn looking miss in the fetching blue gown; I met you in the garden. Yes she confirms, but I lost my necklace somewhere and I was wondering if you remember if I had it on when we met? Angie’s heart leapt, bless this babe in the woods, thinking her necklace had merely been lost, never suspecting that someone like, say, Angie could have been the cause. She absolutely adored the trusting nature of rich girls this age. For that aspect of their purity had allowed Angie, far too easily sometimes, to lift many a jewel from well attired unsuspecting young princesses like this one. Who was now standing before her, miserable, her desirable diamond and sapphire earrings dangling ever so beckoningly, her sad puppy eyes pleading ever so sweetly, and her missing necklace closer than she could ever imagine.

**

No dear, I did not see you with a necklace, Angie lied coolly, as she reached out and stroked the girl tenderly alongside her face, her fingers touching one of the earrings. Angie was looking her fully in the eye, you didn’t lose anything else, and did you dear she asked with a concerned tone. The girl checked her earrings, bracelet and ring (Angie smiled to herself, silently thinking thanks for the info kid!) But when she spoke, it was with hopeful words laced with honey, If you want, I can help you look, my dear. The girl’s eyes lit up for a second, thank you ma’am, I wanted to, but papa said to wait until tomorrow when the light is better.

Angie smiled winningly, don’t worry dear, I’m sure its somewhere in the garden. Someone will find it, she promised, thinking to herself maliciously, and keep it for their own profit!

**

Thank you Ma’am she chirped, at the encouraging words that had been spoken, luckily she could not hear the ones Angie was thinking to herself, and turning moved off, her scrumptious gown swishing pleasantly around her silver heels. Angie watched, as the girl disappeared in the crowd Angie marked her direction.

**

Angie Imagined if the girl had accepted her offer, and she had left with the vulnerable, unguarded princess to search in the garden, and in the process help relieve her of her remaining jewels. There would be enough light with the gas lamps that lined the paths in the garden. Enough light, so that as Angie helped the princess look, her fingers could slip ever so delicately slip in and search along her shiny sky blue gown.

**

Angie licked her lips slowly as she fantasied about the search. The girl bending down to look under a bush, Angie placing her knee sharply in a certain spot below the girl’s armpit, temporarily numbing her upper body. Allowing Angie enough time to pull off both her earrings without feeling it,( this also worked well on working off broaches placed in upper parts of gowns and dresses, not to mention necklaces!) The bracelet would be no problem; it would be the easiest and probably the first, snatched off while the rich girl’s attention was easily diverted away. Since she was not wearing silky gloves, her ring would be the trickiest, but manageable, by either having her walk too close to a water fountain and hopefully having her get her fingers wet, or by simple holding onto her hand and tripping her by stepping on her gowns hem. And just like that, Angie would become that much richer, the rich girl that much poorer. And it all would be done without giving the girl any additional stress, like say she had run into the two muggers Angie had chased off. They may not have been content with just the jewels of a girl dressed as she was that they had found wandering alone in the gardens at night.

**

As Angie excitedly thought about these things, she had trained her focus back upon her original meal ticket, whom for the second time that evening had almost been allowed to slip through Angie’s light fingers. Watching with half lidded eyes, the still dancing couple not unlike a wolf watches lambs, waiting for one to make an ill-fated move away from the flock. The lamb’s fate was sealed, when a vivacious blonde in a long wispy silken dress cut in on the dancing couple. Asking miss silver satin’s fiancé for a dance. He obliged, leaving his shimmering fiancée unaccompanied, nakedly exposed to the wolf that was Angie.

**

More than one way to skin a cat Angie thought, tingling from the thrill of the hunt her prey, now in a reachable situation. She happily headed towards the spot where Miss silver satin had moved off to. A small table, located conveniently by a powder room. One the way she grabbed a half full glass of red wine off a table. Angie circled around young miss silver satin, taking a position up about two table lengths behind her. She casually scoured the area; most of the nearby tables were deserted.

Knowing the band would stop playing soon for the evening; most of the couples were out on the dance floor. All in all, the situation presented the perfect opportunity for some one of Angie’s persuasion.

**

Angie watched as the young lady picked up a glittery silver clutch and opening it, started to search inside. Angie moved swiftly, catching up behind her , tripping intentionally into her, splashing some wine onto the front of the silver satin blouse as the unfortunate lady dropped her purse in surprise. Oh my gosh, I did not see you, miss silver satin pleaded apologetically to Angie, more concerned over Angie’s feelings than her soiled satin blouse. Angie accepted her apology and, producing a lacey silk handkerchief, began to wipe themselves both down.

Angie’s practiced eyes swiftly took it all in. Miss silver satin’s pretty earrings swaying out vulnerably from her long straggly hair as it fell into her face. The clasp of her necklace was also exposed and within easy grasp. A s she reached out for the floor to steady herself, Angie’s eyes took in the sparkling ring on her now wetted finger and then watched the wide bracelet with its’ easily open able clasp slip up glitteringly over her sleeve.

The girl, now thoroughly flustered, started to rise, tripping over her slippery long skirt( with no help from Angie) Angie caught her, taking advantage of the split second opening she had been waiting for and Angie took it, making her selection as she steadied the poor thing with one hand, as the other caressed along a slick silver satin back. Angie’s long supple fingers darted in and deftly did their trick, this time with no spiders interfering. She quickly removed her chosen glittery prize from the distracted lady, who never noticed so much as a prick as Angie removed the expensive piece from her person in the confusion.

**

Angie secreted he shiny jewel as she helped miss silver satin collect herself. Than they rose, and Angie happily accepted miss silver satin profuse and obviously well used, apology. Then, as she fumbled nervously with her thick glasses, Angie laid a calming hand upon her shoulder, her fingers relishing in the richness of her victims sleek ruffled blouse. Miss silver satin was by now so distracted and embarrassed that Angie was all but assured of a clean get away.

However, as an extra measure of caution Angie intentionally jarred silver satin’s elbow of the hand steadying her eye glasses. Thus sending her glasses falling from her face to the floor with a small clatter, then Angie kicked them under a table before the startled lady could react. Angie offered to help, but the lady implored that she was okay, just needed to find her glasses. Angie left as Miss silver satin started to frantically grope around for her glasses, her silver blouse and remaining jewels shimmering brightly along their miserable mistress..

Angie took her leave, knowing that once she found her glasses, Miss silver satin would flee for sanctuary into the ladies powder room, buying her more than enough time for Angie to make her escape. Taking one last look over the dance floor, she blithely saw that miss silver satins fiancé was still in the clutches of the vivacious blonde-haired girl, still safely out of the picture. Angie made her way with purpose to the rear exit leading to the garden that she had used earlier, intending to head out into the serenity garden to collect the hidden bracelet and pendent, adding them to her purloined plunder.

**

As she walked amongst the mostly deserted tables, her mind went to the woman in yellow taffeta and imagined that right about now she would be standing with raised arms and a forlorn look. Ruefully wincing as the man who was holding her mink busily stripped those luscious pearls from the neckline of her tight gown, as the shiny yellow material gleamed in the moonlight! Serves her right for being afraid of spiders, Angie thought unforgivingly.

***

Angie’s mind also went to the poor young princess in blue with the missing necklace. She looked towards the area she had headed, opposite of the back exit to the garden. She reluctantly decided not to push her luck, there was a sister and parents to contend with, and she really had no time left. So she decided to call it a day, a rather successful day, and made her way to retrieve her loot.

**

Angie had now reached the now deserted table by the back exit where the lady in the crimson gown and blood red rubies had been earlier, along with her rhinestone encumbered 10 year old daughter and handsome husband.

**

She paused between the table and the bench, something was not quite right, She eyed the area around the dance floor for any signs of trouble that may be centered on the quite valuable jewels now in her possession. All was quiet, except for a little murmur behind her. Turning she looked at the bench and was shocked to discover the soundly asleep ten year old, using the long rusty sable fur as a blanket. What have we here, Angie thought, licking her lips wickedly?

**

Angie pursed her lips, checking the coast; spotting the young girl’s parents, still on the dance floor, a safe distance away the other side of the room. No sign of miss silver satin. No one else was nearby. Perfect. She went over, bending down so the table hid her. The child looked so vulnerably innocent, sound asleep as she lay on her side, facing Angie. She was clutching an arm of the sable like a warm fuzzy teddy bear, her ring sparkling. Angie gently tugged the mink from the girl’s clasp, and gradually pulled until the fur swished away from along the inert silken figure on the bench, where it fell into a pile on the floor. The child looked very innocent, very vulnerable, like a sleeping princess. An earring lay exposed over one shoulder, her necklace dangled down slightly askew from her slender throat, the pin holding her sash, all of which shone brightly now that it was exposed to the low lights of the ballroom, still called out. Too bad, Angie thought to herself, too bad the mother had not dressed her little doll in real diamonds.

**

 

Angie again looked to the dance floor; she could see the mother’s jewelry twinkling brightly as the child’s parents danced close, very unaware of anything else but themselves. She looked back over the girl, contemplating. But the song was winding down, Angie stooped to pick up the sable, bird in hand she thought, and placing the rich fur over her arm, stood just as the song ended. Looking at the exit door, so near and yet so far, she started to hasten to it, but checked herself as the band immediately started another, rather slow song that Angie knew quite well.

**

She hesitated, incredibly, everyone was staying on the floor for the final dance, she looked back at the bench, and the sleeping imps exposed jewels still shined, tempting her to come for them. Angie knew that she would only have about four minutes. Always open to new challenges, Angie chose to answer that sweet little invite that the necklace was extending out to her. Checking once again to make sure the parents was still obliviously dancing; she laid the mink down by the door and eased back to the bench. Kneeling down, Angie began to perform the delicate operation.

**

Lifting up the necklace she gently tugged it loose from around the sleeping child’s neck until the clasp appeared. She subtly flicked open the clasp, then shamelessly slipped the necklace from around its perch on the little whelp’s throat. It flickered like some slithering shiny snake, glittering as it came away. Like taking candy from a baby, Angie drooled happily, as she let the necklace run along her fingertips while watching the sleeping princess for a few seconds.

**

Her fitted cream coloured dress shimmered with expensive richness in the shadowy light. The poor thing was so soundly asleep after her long exhausting day that Angie figured she could have peeled the dress off her without causing a stir. This for a pickpocket would be the ultimate test, the pinnacle of her criminal class. But, Angie thought; if she ever had the opportunity to do so, it would have to be worth her while, like a shiny gown, an appealing sky blue gown with half sleeves and scooped collar. And the jewels would be sapphire drop earrings, bracelet and ring, not plain rhinestones. She licked her lips at the enticing thought of such a perfect “coup fera”, than told herself to get back to work, time was money.

**

She slipped her hand along the satin cape being used as a pillow and felt under the girls head until she felt the cold earring she was laying upon. Deftly undoing the screw she pulled it free, watching with delight as it came out from underneath.

**

Angie than, gently lifted, and nimbly stroked back the girl’s ultra-soft hair, exposing her long silvery earring. She pulled the jewel out and laid it out upon the child’s shoulder, where it lay, shimmering vibrantly. Then she reached in with her fingers and began unscrewed its clasp. Pulling it free she added it to her growing collection. She next lifted the hand that had held the warm sable, gently prying open her clenched fingers. The sleeping child never stirred. Angie gently slipped off the glittering ring. She then peeled back a silky sleeve, checking for the bracelet, finding her wrist was bare. The rest of the jewels were hiding securely on the side she was laying upon. Smiling wickedly to herself, an idea popped into Angie’s head.

**

The music was now almost to the halfway point, and Angie thought for a brief second that she should leave . Another quick scan assured her the coast was still clear, and Angie decided to press her luck, eagerly going back to work, putting her idea into motion.

Angie fingers felt along the sleeping child’s waist until she located the brooch. Quickly unfastening the brooch from the chocolate satin sash, she pulled it out. Watching as the diamonds caught fire and burst into vibrant life, unusually vivid for plain rhinestones she thought contemplatively. Angie plopping it in with the growing pile of the sleeping girls purloined baubles. Again reaching in along the warm waist, Angie gradually tugged at the now undone sash. The sleeping girl, unconsciously obliged by turning over on her other side, as the sash was pulled away.

**

Her arm with the ring and bracelet was now exposed. Lifting the arm , and peeling back the puffy sleeve, Angie found and unclasped the bracelet, slipping it away, then allowing it to dangle in triumph before letting it join its purloined mates. Then lifting the child’s hand she pulled at the ring, it was a little tight. Angie licked her fingers, and moistened the girls finger, than began slipping the ring off ever so gently from the along her finger. Almost there, Angie thought, as the ring joined its abducted companions in her pocket.

 

**

As Angie finished pocketing the last of the girls jewels, her victim whimpers something discernible in her sleep, her small hand feeling to pull up the missing warm sable she had been using as a blanket. Angie quickly looked around, spying a cheap linen coat hanging on a nearby hook, she grasped it and laid it over the stirring girl, stroking her for a precious few seconds. Then rising, calmly Angie snatched a shiny purse from the table, and moved off, unbelieving of her luck. She reclaimed the sable fur, and strolled out the door without looking back.

**

As Angie closed the door she heard the last notes of the song waning from inside. She licked her lip, that was close, but her luck had held. Now all that remained was to visit the Cupid Statue In the garden to reclaim her other prizes. As she reached the statue, Angie realized that she still had the child’s satin sash in her hand.

She smiled as she tied it, blindfolding the cupid statues eyes. Retrieving and pocketing the now stone cold diamond bracelet, and the young Princess in blue’s necklace with its shimmering pendent, she slowly looked around, the cost was clear. Angie coolly made her way to the gate, the bored guard offering to help her with the mink she was carrying. , Angie stopped, and handed it to him. Then turning, allowed him to help her on with it. He puffed out his chest as Angie gave him a sweet smile; she thanked him, then turned and disappeared into the darkness of the night.

**

Angie disappeared from view into the foggy evening, relishing the warmth of the sensuous sable. Happily contemplating the small fortune in jewels it had been in contact with earlier that evening, and also the small fortune she had walked out of the reception with in her possession.

**

The guard watched the spot for some time where the pretty lady in the expensive fur had vanished in the mists. He fantasized for a good few minutes, wondered what had been behind the enchantingly secret smile she had given to him.

Excuse me, sir?, a female voice coming from the garden startles him, he had never heard anyone coming.

He turns, catching an eyeful of a long glamourous, brown satin gown, worn fetchingly by a willowy short haired pretty young thing. Diamonds blazed from around her throat, caught by the gas lights, and from around her white satin gloved wrists as she raised her hands in a pleading fashion.

She continues, pointing to a young girl in a smashing blue satin gown, bending over looking for something in the bushes. My sister lost her necklace and pendent while playing around here earlier, did you or anyone find it? She asked in a rather seductive tone of voice9 not a common, it was her regular voice)

No lady, no one turned in a necklace. Thank you sir, and she turns away, her gown flowing out behind her.

He watches for a minute as she and her sister both move elegantly down the path, continuing their search.

He sighed, and turns away, babysitting rich dames he mutters under his breath, what a dismal way to make a living. Why won’t this affair ever end he asked himself, as he reached for his silver pocket watch to check the time. Damnations he said, not finding it nor its chain and fob, must have dropped it in the alley earlier where I had gone for a nipper from his flask. He sauntered off quickly to the alley located in the direction Angie had disappeared, abandoning his post.

Soon after, a pair of dark figures who had been walking on the opposite side of the street, and had stopped to loiter when they spied the guard talking to some posh broad in a shiny brown dress, saw the guard leaving his post. They quickly stole with sinister intent across the road and entered into the gardens, disappearing into the darkness.

*********************************************************************************

This ended up being Angie’s first big score, She got more for the rhinestone set then she had imagined, the small brooch taken off the brown satin sash had proved to have real diamonds in its center! Also the princess in silky sky blue’s pendent and chain had fetched a nice tidy sum. The jewels lifted from the ladies in Green and Silver also realized quite a handsome profit, as did the sable and purse.

if one includes the real diamond ring slipped off the finger of a silky dressed debutante from the prom show and her rather nice haul of a slim pearl necklace and diamond pin from the Opera, the whole weekend was unimaginably successful.

**

From the profit realized, she had been able to spend a pleasant month away in Monte Carlo, even indulging in the purchase of a rich red wine coloured taffeta gown to wear.

Which she pleasantly found that, when paired with her deftly acquired collection of dripping rhinestone diamond jewelry, she attracted wealthy young males with expensive gold watches and fat wallets like honey bee drones to a bright moss rose.

**

She also enticed a long raven haired, Miss, richly clad in emerald silk, to enter into her snare.

But Angie did not make an entirely clean get away. For the last jewel to be taken was the girl’s brooch , and before Angie could hide it with the rest, the girl spotted its’ glitter in Angie’s hand, and with a gasp had looked down on her dress at the now vacant spot where it had been dangling ever so provocatively for Angie all evening.. Angie smiled at the girl as she had looked up in confusion. The girl had placed a hand to her throat, startled when feeling it bare of her necklace. She looked at Angie in hurt confusion, her eyes wide with fright. Angie placed a finger to the girl’s lips, hushing any fuss she may have been thinking of making over her missing jewelry, and turning her back to the forlorn miss, Angie left, not looking back….

**

But that was a story for another day, so we were promised by Angie, giving us an all too familiar look of devious satisfaction at making us wait.

.************************************************************************************

Editor’s Notes:

Our Thanks to Mr. J. Gardner for pointing out the existence of Mr. Monescu’s 1826 guide

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Durgotsava is a four-day celebration of the greatest Religious Festival of Bengal. During this time Kolkata turns into a vibrant city of art and culture reflecting the true spirit of Bengal. I hereby share a few glimpses of the fact with you. Hope you will appreciate.

[ Looking back - 2014: Last year I couldn’t share any of my photographs on this festival. I think you wouldn’t mind if I share them this year prior to my current photographs on this subject.]

  

The Meaning of ‘Durga’.

  

Durga, meaning "the inaccessible" or "the invincible", is a popular fierce form of the Hindu Goddess or Devi. She is depicted with multiple arms, carrying various weapons and riding a ferocious lion( in Bengal). She is pictured as battling or slaying demons, particularly Mahishasura, the buffalo demon.

Her triumph as Mahishasura Mardini, Slayer of the buffalo Demon is a central episode of the scripture Devi Mahatmya. Her victory is celebrated annually in the festivals of Durga Puja.

  

History

  

The word ‘Shakti’ means divine energy/force/power, and Durga is the warrior aspect of the Divine Mother/Brahman(Supreme Absolute Godhead).

As a goddess, Durga's feminine power contains the combined energies of all the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.

According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (demon) named Mahishasura. Brahma had given Mahishasura the power not to be defeated by a male. Mahishasura had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods were helpless. Shiva, realizing that no man or god (male) can defeat Mahishasura, made a request to his wife Parvati(Durga) to take the role of a female goddess warrior in order to slay the demon. Parvati took his request and went to the Ashram of priest disciple named Katyayan to assume the role of a warrior. Meanwhile, the gods went to Brahma for help and, with Brahma, then made their way to Vaikuntha—the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. To save the worlds, Vishnu, Shiva and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati at the Ashram of the priest Katyayan and Durga emerged from this pool of light. The goddess Durga took the name Katyaayani from the priest. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme female aspect of Brahman (Prakriti) who had created all the gods. Now she had come to fight the demon to save the three Worlds. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.

To combat the evil Mahishasura, she had appeared in a great blinding light, to combat this demon and end it for all to be in peace. The terrible Mahishasura rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.

Then Mahishasur began attacking once more, starting to take the form of a buffalo again. When Mahishasur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.

Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini—the slayer of Mahishasur.

The goddess, as Mahishasuramardini, appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini. The spear and trident are her most common weapons. A Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a buffalo-faced demon; a variation also seen at Ellora. In later sculptures show the goddess having decapitated the buffalo demon.

 

Durga Puja (Worshiping Durga)

 

The four day long (Saptami to Dashami) Durga Puja is the biggest annual festival in Bengal, Assam, Orissa, Bihar, Jharkhand and Nepal, where it is known as Dashain. It is celebrated likewise with much fervour in various parts of India, especially the Himalayan region, but is celebrated in various forms throughout the Hindu universe.

The day of Durga's victory is celebrated as Vijayadashami (Bengali), Dashain (Nepali) or Dussehra (Hindi) - these words literally mean "the Victory Tenth" (day).

The actual period of the worship however may be on the preceding nine days (Navaratri) followed by the last day called Vijayadashami in North India or five days in Bengal (from the sixth to tenth day of the waxing-moon fortnight)..

In North India, the tenth day, signifying Rama's victory in his battle against the demon Ravana, is celebrated as Dussehra - gigantic straw effigies of Ravana are burnt in designated open spaces (e.g. Delhi's Ram Lila grounds), watched by thousands of families and little children. In Bangladesh also the four-days long Sharadiya Durga Puja (Bengali: শারদীয়া দুর্গা পুজো, ‘autumnal Durga worship’) is the biggest religious festivals for the Hindus and celebrated across the country with Vijayadashami being a national holiday. Source: Wikipedia.

 

‘Durgotsava’ - My Personal feelings :

 

To me worshiping goddess Durga encompasses so many deeply seated aspects of human lives and nature. The imagination of such a Goddess-form has its age old story depicted in the Hindu Puranas and that had been fabricated by the wisdom of ages as a symbolic one for Bio-Geo-Socio-Economic-Cultural and Aesthetical upliftment of humankind and its relationship with nature, through the practice of worshiping.

Once in a year She, The Mother Durga, is thought to come from her abode at mount Kailash in Himalaya to the land of Bengal at the time of Autumn, the finest of all six seasons when Bengal turns into a nature’s paradise. The snow white clouds against the deep azure of the sky, the gentle cool breeze carrying the sweet fragrance of flowers, the turning colors of the leaves, the golden sunlit lush green paddy fields and the waving clusters of dazzling white inflorescence of Kash dramatically prepare the minds of Bengal apt for celebration of life. Artists of versatile talents from Bengal and other states culminate their finest ever skill and efforts for making the idols of Durga using conventional natural resources like clay, wood, organic colors, that are all biodegradable. The pandals( the temporary abodes of Devi Durga) all over Bengal, especially in urban cities turn into the finest galleries of art and culture covering an unimaginably wide range of form and traditions, represented by Bengal and neighboring states of India. Durga puja becomes a wide open opportunity to discover and re-discover the art and artistry of Bengal, and not only that this is the biggest festival of Bengal that provides a great competitive platform for innumerable artists and workers to learn and earn.

The time of Puja is the time for togetherness, is the time for sharing and caring. The traditional concept of making the idols of Durga, her four children and her husband Lord Shiva against a single background structure( which is in Bengali: Ek chalchitra) seems to me a very symbolic one! It implicates to me a strong bondage between the family members, or in a greater sense the relationships between individuals. An example of unity in diversity.

To save the worlds, Brahmma(the god of creation), Vishnu( the god of sustenance), Moheshwara/ Shiva(the god of destruction) and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati, and Durga emerged from this pool of light. This is very symbolic. I see durga as a domain where there have been convergence of all form of energies; she is the symbolic epitome of unified force, as it is the most cherished theory of modern-day physics- “the unified field theory”. And therefore, She is the Symbolic epitome of concentrated knowledge and wisdom. She can create(sristi), She can sustain( sthiti), and She can destroy(loy). She comes over here to create all good things and to sustain them on this earth, and to destroys all evil power, as depicted by triumph over Mahisasura.

Her four children are very symbolic to me for four aspects of socio-economic- cultural upliftment. These are the four aspects to create a balanced nation or a person as an individual.

“Lakhsmi”, her elder daughter, is a symbol of wealth. She carries with her a bunch of ripe paddy and a container of vermilion. Ripened paddy is the symbol of agricultural success. And vermilion is the symbol of peaceful marriage in Hindu custom.

“Swaraswati”, her younger daughter, is a symbol of art and culture. She carries with her a sitar, a classical Indian instrument depicting music, which is the highest form of the faculty of art.

“Kartika”, her elder son, is the commander-in-chief of the gods for war. He is the warrior and protector from enemies. He carries a bow and arrows. He knows how to target an enemy. And he is the symbol of leadership qualities.

“Ganesha”, her youngest son. He is the symbol of knowledge and wisdom.

And the Mother is the creator of all her four children, the four faculties associated with biological, social, cultural and intellectual evolution of man.

Therefore, She is the idealistic epitome of Gunas (qualities), that we all her children should acquire for. And there lies the true meaningfulness of worshiping our mother, Durga.

On the tenth day after the triumph, the day of Vijaya Dashami, mother along with her family sets her journey back to her final adobe in himalaya, leaving the earthly world behind. The clay idol is thus immersed in the holy water of Ganges to symbolize her journey. And thus the whole celebration comes to an end.

 

+++ DISCLAIMER +++

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

  

Some background:

Due to the restrictions of the Versailles treaties, the Reichswehr was already dealing with the increasing mobilization and motorization of the army after the end of the First World War. The realization that the speed of the troop units required appropriate equipment was available early on. However, the Reichswehr suffered from financial constraints and during the Weimar Republic the industry only had limited capacity for series production of larger, armored vehicles.

 

Nevertheless, at that time the Sd.Kfz. 3 (unarmored half-track transport vehicle/1927), the ARW (eight-wheel car/1928) and the ZRW (ten-wheel car/1928) provided fundamental experience. The findings of these tests and the troop testing with the Sd.Kfz. 3 enabled a more precise specification of the new vehicles to be developed. The "heavy" armored cars were primarily intended for the reconnaissance units of the new armored forces.

 

The incipient rearmament could only start with a "cheap" solution, though. A three-part armored structure for the chassis of commercially available off-road trucks was developed by the Army Weapons Office, Dept. WaTest 6, in cooperation with the company Deutsche Eisenwerke AG. The typical truck chassis featured front-wheel steering and a driven bogie at the rear (4x6 layout). In June 1929, the companies Magirus, Daimler-Benz and Büssing-NAG were commissioned to develop the desired armored car from it. If you consider that this truck class was developed for a payload of 1.5t, you can already conclude from this that the vehicles, which are now equipped with a significantly heavy armored structure, had little off-road mobility. Even if the appearance of the vehicles supplied by the different manufacturers was similar, there were external distinguishing features by which the manufacturer could be identified. The vehicles were tested in the Reichswehr from 1932 and introduced later.

 

One of the four crew members (driver, commander, gunner, radio-operator) was used as a reverse driver: with the narrow streets of the time and a turning circle of between 13 and 16m, this function was essential for a truck-sized heavy reconnaissance vehicle. The chassis had the excellent ladder-type configuration, able to withstand the stress of rough rides at high speed. The scout car was 5570 mm long, 1820 mm wide, 2250 mm high and weighed 5.35, 5.7 or 6 tons, depending on the manufacturer. The hull was made of welded steel armor, 5 to 14.5 mm (0.2-0.57 in) thick depending on the angle (bottom to front) with well-sloped plates. The armament consisted of a 2 cm KwK 30 with 200 rounds and a MG 13 with 1300 rounds in a manually operated turret. The fuel supply was 90, 105 or 110 liters, but with a consumption of about 35 or 40 liters per 100 km, this resulted in a completely inadequate range for a scout car.

 

Having no true alternatives at hand, the armored 4x6 car was accepted and became known as the Sd.Kfz. 231 (6-wheel), and it was subsequently developed into two more vehicles. Up until 1937, 123 vehicles were built as Sd.Kfz. 231 reconnaissance cars and Sd.Kfz. 232 radio trucks. A further 28 were manufactured as Sd.Kfz. 263 (Panzerfunkwagen) command vehicles.

As early as 1932, after testing the pilot series, it was clear that the interim solution of "cheap" 6-wheel vehicles would not meet the future requirements of the armored divisions now planned. It was planned that from 1935/36 at least 18 vehicles of a new type that would meet the requirements for off-road mobility and high road speeds should be produced annually. Büssing-NAG had obviously made a good impression with the ARW and was now commissioned to make the revised vehicle ready for series production, which would become the SdKfz. 231 (8-Rad). The overall concept was completed between 1934 and 1935 and already showed all the features of the future type: all 8 wheels driven and steered, the same speed forwards and backwards, ability to change direction in less than 10 seconds, and a turning circle of "only" 10.5m. The vehicle layout was changed, too: the engine bay was relocated to the rear, the crew compartment was placed at the front end. This improved weight distribution, handling, and the field of view for the main forward driver.

The purpose of the new vehicles was identical to that of the earlier heavy 6-wheel vehicles, they were used on the same sites and so the same ordnance inventory designation was adopted, despite the vehicle’s many modifications. The so-called Sd.Kfz. 231 (8-Rad) was armed, corresponding to its 6-Rad counterpart, with a 2cm KwK 30 and the MG 13 (later MG 34) in a rotating turret. Likewise, the Sd.Kfz. 232 (8-Rad) carried a large, curved bow antenna, and there was a Sd.Kfz. 263 (8-Rad) command vehicle, too.

 

Nevertheless, the Army Weapons Office demanded a short-term solution for a vehicle based on the 4x6 chassis that offered better off-road performance and armament, namely a 37 mm anti-tank gun, with at least comparable range and armor protection. This interim vehicle was supposed to be ready for service in early 1934. Magirus accepted the challenge and proposed the Sd.Kfz. 241, a 4x8 vehicle. It retained the old overall 6-Rad layout with the front engine under a long bonnet, but it had a fourth steered axle added to lower ground pressure and improve the vehicle’s trench bridging capabilities. The powered two rear axles retained the 6-Rad’s twin wheels, so that the vehicle stood on a total of twelve tires with a relatively large footprint. The armored hull was very similar to the Sd.Kfz. 231 6-Rad, but carried a new, bigger turret with a 3.7 cm KwK 30 L/45 gun and an axis-parallel 7.92 mm MG 34 light machine gun.

 

The box-shaped turret exploited the hull’s width to the maximum and had a maximum armor of 15 mm, no base and the seat of the commander was attached to the tower wall. The commander sat elevated under a raised cupola in the rear section of the turret, just behind the main gun. He had five viewing slits protected by glass blocks and steel slides for all-round visibility. The gunner/loader, standing to the left of the main gun, had to constantly follow the movement of the turret, which was done by hand. In order to support the gunner when slewing the turret, the commander had an additional handle on the right side. The two crew members also had a turret position indicator.

The cannon was fired electrically via a trigger, the machine gun was operated mechanically with a pedal. To aim and view the outside, the gunner had a gun sight to the left of the gun with an opening in the gun mantlet. Standard access to the vehicle was through low double-doors in the vehicle’ flank, but side exit openings in the turret with two flaps each were also frequently used to board it. Another entry was through the commander cupola’s lid.

With all this extra hardware, the Sd.Kfz. 241’s overall weight rose considerably from the late Sd.Kfz. 231 (6-Rad) nearly 6 tons to 7.5 tons. As a consequence, the chassis had to be reinforced and a more powerful engine was used, a 6-cylinder Maybach HL 42 TRKM w carburetor gasoline engine with 4170 cc capacity and 100 hp (74 kW) output at 3000 rpm.

 

As expected, the Sd.Kfz. 241 was not a success. Even though the first vehicles were delivered in time in mid-1934, its operational value was rather limited. Off-road capability was, due to the extra weight, the raised center of gravity and the lack of all-wheel drive, just as bad as the 6-Rad vehicles, and the more powerful engine’s higher fuel consumption allowed neither higher range, despite bigger fuel tanks, nor a better street performance. The only real progress was the new 3.7 cm KwK 30’s firepower, which was appreciated by the crews, even though the weapon was only effective against armored targets at close range. At 100 m, 64 mm of vertical armor could be penetrated, but at 500 m this already dropped to 31 mm, any angle in the armor weakened its hitting power even further. The weapon’s maximum range was 5.000m, though, and with HE rounds the Sd.Kfz. 241 could provide indirect fire support. Another factor that limited the vehicle’s effectiveness was that the gun had to be operated by a single crew member who had to load and aim at the same time – there was simply not enough space for a separate loader who would also have increased the gun’s rate of fire from six to maybe twelve rounds per minute. The vehicle’s armor was also inadequate and only gave protection against light firearms, but not against machine guns or heavier weapons. On the other side, the cupola on top of the turret offered the commander in his elevated position a very good all-round field of view, even when under full protection – but this progressive detail was not adopted for the following armored reconnaissance vehicles and remained exclusive to German battle tanks.

 

Only a total of fifty-five Sd.Kfz. 241s were completed by Magirus in Cologne until 1936, when production of the Sd.Kfz. 231 (8-Rad) vehicle family started and soon replaced the Sd.Kfz. 241, which was primarily operated at the Eastern Front in Poland and Czechoslovakia. By 1940, no Sd.Kfz. 241 was left in any frontline army unit, but a few survivors were grouped together and handed over to police units. Their main gun was either completely deleted or sometimes replaced with a second machine gun, and they were used for urban patrols and riot control duties. However, by 1942, no Sd.Kfz. 241 was left over.

  

Specifications:

Crew: Four (commander, gunner, driver, radio operator/rear driver)

Weight: 7.5 tons (11.450 lb)

Length: 5,85 metres (19 ft 2 in)

Width: 2,20 metres (7 ft 2 ½ in)

Height: 2,78 metres (9 ft 1 in)

Ground clearance: 28.5 cm (10 in)

Suspension: Torsion bar and leaf springs

Fuel capacity: 150 litres (33 imp gal; 40 US gal)

 

Armor:

8–15 mm (0.31 – 0.6 in)

 

Performance:

Maximum road speed: 70 km/h (43.5 mph)

52 km/h (32.3 mph) backwards

Operational range: 250 km (155 miles)

Power/weight: 13 PS/ton

 

Engine:

Maybach HL42 TRKM water-cooled straight 6-cylinder petrol engine with 100 hp (74 kW),

driving the rear pair of axles

 

Transmission:

Maybach gearbox with 5-speed forward and 4-speed reverse

 

Armament:

1× 37 mm KwK 30 L/45 cannon with 70 rounds

1× 7.92 mm MG 34 machine gun mounted co-axially with 1.300 rounds

  

The kit and its assembly:

This fictional armored car was inspired by a leftover rear axles from an Italeri Sd.Kfz. 231 (6-Rad) model that I converted into a fictional half-track variant some time ago. I wondered if the set could be transplanted under an 8-Rad chassis, to create a kind of missing link to the 8x8 successors of the Sd.Kfz. 231 (6-Rad) with a total of twelve tires on four axles.

 

The basis became a First to Fight 1:72 Sd.Kfz. 231 (8-Rad) kit – a rather simple and robust affair, apparently primarily intended for tabletop purposes. But the overall impression is good, and it would be modified, anyway, even though the plastic turned out to be rather soft/waxy and the parts’ sprue attachment points a bit wacky.

 

The hull was “turned around” to drive backwards, so that its rear engine ended up in the front. I eventually only used the rear twin wheels from the Sd.Kfz. 231 (6-Rad), but not its single axles and laminated springs. Instead, I first cut the OOB mudguards in two halves, removed their side skirts and glued them onto the lower hull in reversed order, so that the exhausts and their muffler boxes would end up at the rear of the front fenders. With these in place I checked the axles’ position from the OOB ladder chassis, which is a single, integral part, and found that the rear axles’ position had to be moved by 2mm backwards. Cutting the original piece and re-arranging it was easier to scratch a new rear suspension, and the rocker bars had to be shortened to accept the wider twin wheels.

 

The original small turret with the 20 mm autocannon was deleted and replaced with core elements from a Panzer III turret, left over from previous conversion projects. Wider than any original turret of the Sd.Kfz. 231/232 family, it had to be narrowed by roughly 5mm – I had to cut a respective plug from the turret’s and the mantlet’s middle section, the deformed hatch was covered under a Panzer III commander cupola. To mate the re-arranged turret with the OOB adapter plate to mount it onto the hull, and to add overall stability to the construction, I filled the interior with 2C putty.

The typical storage bin at the turret’s rear was omitted, though, it would have made it too large for the compact truck chassis. The shape was a perfect stylistic match, even though, with the longer gun barrel, the vehicle reminds a lot of the Soviet BA-10 heavy armored car?

 

Most small details like the bumpers and the headlights were taken OOB, I added a whip antenna base at the rear and mounted two spare wheels at the back, one of them covered with a tarpaulin (made from paper tissue drenched with white glue, this was also used to create the gun mantlet seals).

  

Painting and markings:

Typical for German vehicles from the early WWII stages the Sd.Kfz. 241 was painted Panzergrau (RAL 7021; I used Humbrol 67, which is authentic, but mixed it with some 125 to create a slightly lighter shade of grey) overall - quite dull, but realistic. To make the vehicle look more interesting, though, I added authentic contemporary camouflage in the form of low-contrast blotches with RAL 8017, a very dark reddish brown, mixed from Humbrol 160 and some 98. Better, but IMHO still not enough.

 

After the model received a washing with highly thinned red-brown acrylic artist paint I applied the few decals and gave the parts an overall dry-brushing treatment with grey and dark earth. Everything was sealed with matt acrylic varnish. For even more “excitement”, I decided to add a coat of snow.

For the simulated “frosting” I used white tile grout – which has the benefits of being water-soluble, quite sturdy to touch and the material does not yellow over time like gypsum.

 

First, the wheels, the chassis and the inside of the wheel arches received a separate treatment with relatively dryly mixed tile grout, simulating snow and dirt clusters. Once thoroughly dried, the wheels were mounted. Then the model was sprayed with low surface tension water and loose tile grout was drizzled over hull and turret, creating a flaky coat of fake snow. Once dry again, everything received another coat of matt acrylic varnish to protect and fixate everything further.

  

A relatively quick build, done in a few days. The First to Fight kit is very simple and went together well, but I’d use something else the next time due to the odd material it was molded with. The outcome of an 4x8 scout car looks quite plausible, though, like the missing link between the Sd.Kfz. 231 and 232 – the unintended similarity with the Soviet BA-10 heavy armored car was a bit surprising, though. And the snow on the model eventually makes it look a bit more interesting, the stunt was worth the effort.

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

+++ DISCLAIMER +++

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

  

Some background:

The "Entwicklung" tank series (= "development"), more commonly known as the E-Series, was a late-World War II attempt by Germany to produce a standardized series of tank designs. There were to be six standard designs in different weight classes, from which several specialized variants were to be developed. This intended to reverse the trend of extremely complex tank designs that had resulted in poor production rates and mechanical unreliability.

 

The E-series designs were simpler, cheaper to produce and more efficient than their predecessors. But, on the other side, their design offered only modest improvements in armor and firepower over the designs they were intended to replace, such as the Jagdpanzer 38(t), Panther Ausf.G or Tiger II. However, the resulting high degree of standardization of German armored vehicles would also have made production, logistics and maintenance easier. Indeed, nearly all of the E-series vehicles — up through and including the E-75 — were intended to use what were essentially the Tiger II's eighty centimeter diameter, steel-rimmed road wheels for their suspension, meant to overlap each other. An innovative conical spring system, replacing their predecessors' torsion bar system which required a special steel alloy, simplified production and required less internal space.

 

Focus of initial chassis and combat vehicle development was the E-50/75 Standardpanzer, designed by Adler, both being mostly identical and only differing in armor thickness, overall weight and running gear design to cope with the different weights. But there were lighter chassis variants, too, including the light E-5 and E-10 for armored, tracked reconnaissance vehicles, and the medium E-25.

 

The E-25 designs, in the 25-50 tonnes weight class, were to be replacements for all Panzer III and Panzer IV based designs still in service, as well as for the early variants of the Panzer V (the Panther). This chassis' main designers were Alkett, Argus and Adler, with the involvement of Porsche. The proposed vehicle family would include medium reconnaissance vehicles, a medium Jagdpanzer and a heavy Waffenträger, but the chassis was also considered for other armed vehicles.

 

The original E-25 chassis used five Tiger II style road wheels per side, combined with "slack-track" design. Track propulsion was switched to a rear drive sprocket, as a consequence of mating the engine and the gearbox into a single tail-mounted, very compact power pack that made the voluminous and heavy power train all through the hull obsolete. This allowed the tank’s body to be lowered, and the gained space offered more room for the crew’s operations, heavier guns and ammunition storage.

The first member of the E-25 family that entered production was the medium tank hunter. It received highest priority and the project was called “Jagdpanzer E-25/88”, running under the inventory ordnance number "SdKfZ. 194". However, at the time of its introduction the E-25 chassis was also considered for a medium battle tank in the 35 ton class, since it had become clear that the E-50/75 battle tanks were rather large and resource-consuming. A lighter, more agile vehicle was needed, and it was to be armed with either the highly effective 75mm L/70 cannon (used in the Panther and the late Jagdpanzer IV) or the more powerful 8.8 cm L/56 gun, used in the Tiger I and the Jagdpanther.

 

Porsche was tasked with the adaptation of the E-25 chassis for a turret for both heavy guns. The work was in close collaboration with Henschel and the Oberschlesische Gusswerke Beuthen who were both working on a new, unified cast steel turret for the 88mm gun for a wide range of medium tanks like the Panther, the E-50/75 family and the heavy Tiger II. Alternatively, the new E-25 battle tank was to accept the so-called Schmalturm, which could carry both cannon types, too.

 

After the Allied invasion in the Normandy in 1944 and with ever-rising pressure through the Red Army from the East, the E-25 MBT project eventually gained more and more priority and momentum. As a consequence, Porsche was assigned by the Heeresleitung to build a running prototype as quickly as possible, ideally until early 1945.

 

Porsche was certain that the original E-25 chassis was too short and light for the adaptation of the cast turret. In order to keep the tight timeline, Porsche decided to develop a new welded steel hull while using as many Einheitspanzer components as possible. The resulting vehicle had little in common with the original Adler E-25 chassis and rather resembled the bigger and heavier E-50/75 family. Overall dimensions ended up close to the Panther hull, as a result of a certain minimum width that was necessary to mount the new turret’s bearings and balance its weight. However, the new tank's overall silhouette was considerably lower than the Panther’s or the E-50/75 family MBT’s.

The Porsche design also made full use of several new technical solutions for the engine and the new, space-saving E-50/75 suspension. For instance, thanks to the rear-mounted power unit with the gearbox and the driving sprocket wheels, the front armor could be optimized to offer very good ballistic protection (achieving a very shallow 30°angle) despite a maximum thickness of only 70 mm. The thickest armor, the cast steel gun mantlet, was 80 mm.

 

The tank’s running gear consisted of six steel-rimmed wheels per side, mounted in three staggered pairs, similar to the heavier E-50 tank. Thanks to the lower overall weight, a new Niresit track with less width could be used. The so-called “Beuthen Turm” offered excellent ballistic protection, a very low profile and featured a commander cupola with a full 360° view through periscopes as well as a 200cm width stereoscopic optical rangefinder for the gunner. A few vehicles were additionally equipped with FG1250/1251 infrared illuminators, too, allowing night operations in coordination with special versions of the Sd.Kfz.251 with long-range infrared illuminators, and complemented by assault troops using Vampir-modified Sturmgewehr guns.

 

Savings in material and complexity were achieved through simplified shapes and the use of stock components from other or older tanks, as well as the reduction of the crew to only four: the traditional radio operator in the hull, next to the driver, as well as a hull-mounted machine gun, were completely omitted. The driver was furthermore moved to the right side, a result of the secondary ammunition bunker in the hull being placed in front of the loader in the turret for easy access.

 

In this form, the tank was tested in early 1945 and hastily pushed into production, receiving the designation Sonderkraftfahrzeug 194 and officially christened ”Fuchs”. In order to reflect Porsche's involvement in this new tank's design and to differentiate it from the standard E-25 tank, the vehicle and its chassis variant was called E-25(P).

The resulting medium battle tank received, depending on its main weapon, the suffix 'A' for the 75mm cannon (SdKfz. 194/1) and 'B' for the 88mm gun (SdKfz. 194/1). The Schmalturm did not find its way on the production vehicles, and both variants had an operational weight of roundabout 38 tons. This was considerably less than any German contemporary MBT from the E-50/75 family, and even lighter than the late Panther variants. For its weight, the powerful main weapons made the vehicle a highly mobile and deadly enemy, enabling the crews to execute “hit and run” tactics which were impossible with the bigger and slower tanks.

 

The first production vehicles were deployed to independent units at the Western front line along the lower Rhine in May 1945, but due to the lack of thorough tests, sufficient crew training and lack of combat experience with the new vehicle, the initial results were poor. The majority of tank losses was not through enemy fire, though - many tanks had to be abandoned and were destroyed by their crews after technical failures.

 

The Fuchs MBT was popular among the crews, though, since it offered a much higher mobility than its heavier Einheitspanzer brethren. The relatively large and spacious turret was another point that found much appraise – but its poor technical reliability was its biggest Achilles heel.

Due to the ever-worsening situation, less than 100 E-25(P) hulls were completed and probably less than 50 combat-worthy vehicles arrived at front line units and were involved in battle until the end of hostilities. But the design work, with many radical and innovative ideas, did not get lost – many of the Fuchs’ design features like its hull layout and armor design or the Beuthen turret found their way into the highly successful German Leopard I MBT in the early 1960ies, which entered service with the German Bundeswehr in 1965 and still serves with several armies until today.

  

Specifications:

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

Weight: 38 tonnes (41.9 short tons)

Length: 7,02 metres (23 ft), hull only

9.77 metres (32 ft) overall, with the gun forward

Width: 3.96 metres (12 ft 11 1/2 in)

Height: 2.34 metres (7 ft 8 in)

Ground clearance: 495 to 510 mm (1 ft 7.5 in to 1 ft 8.1 in)

Suspension: Conical spring

Fuel capacity: 450 litres (120 US gal)

 

Armor:

10–80 mm (0.4 – 3.15 in)

 

Performance:

Speed

- Maximum, road: 52 km/h (32 mph)

- Sustained, road: 42 km/h (26 mph)

- Cross country: 16 to 25 km/h (9.5 to 15.5 mph)

Operational range: 210 km (130 mi)

Power/weight: 14,47 PS/tonne (12,86 hp/ton)

 

Engine:

V12 Maybach HL 101 gasoline engine with 550 PS (539 hp, 341 kW)

 

Transmission:

ZF AK 7-200 with 7 forward 1 reverse gears

 

Armament:

1× 8.8 cm KwK 43/4 L/56 with 48 rounds

2× 7.92 mm MG 34 machine guns with a total of 5.200 rounds

(one co-axial with the main weapon, one manually operated on the commander's cupola)

  

The kit and its assembly:

This fictional Heer '46 is based on the fact that the famous German post-WWII MBT Leopard 1 – at least the Porsche prototype – was based on designs from the WWII era. So, why not spin this story further and retro-grade a Leopard 1 into a Heer ’46 tank, as a kind of grandfather design with then-state-of-the-art technologies…?

 

Well, that job could be easily done with a Leopard 1 kit built more or less OOB and just painted in typical WWII colors – I have actually seen such things in simulation games like World of Tanks, and it did not look bad at all. But for the ambitious modelers, this would be a bit too simple, wouldn’t it?

For instance, there are some features like the running gear on the Leopard that are very modern and would IMHO not fit into the late WWII timeframe. The general lack of high quality materials and design simplifications everywhere would certainly also take their toll. As a consequence the starting basis for this whiffy tank model actually became an 1:72 Leopard 1 (to be exact, it’s Revell’s Leopard 1A5 kit), but from this basis only a few parts were actually taken over.

 

Work started with the upper hull, which received the transplantation of the complete upper rear deck from a leftover Hasegawa Panther, including the turret’s attachment ring. Internally the whole affair was reinforced with styrene profiles along the seams. The basic idea behind this move was to get rid of the rather modernistic, raised engine cover of the Leopard, and the Panther’s armored cooling fan covers would add a very familiar, German touch. Furthermore, the Panther turret is set relatively further back than on the Leopard, resulting IMHO in a positive side effect for the vehicle’s proportions. The front with the driver’s hatch and the side walls of the Leopard hull were taken over, just the glacis plate was cleaned from the moulded snow claws for the modern Leopard track.

 

While I could have used the original, casted Leopard 1 turret without any extra armor, I rather reverted to a donor part: an aftermarket resin turret from the German short run producer Modell Trans. What spoke for this aftermarket piece is that this Heer ’46 turret piece was exactly that kind of add-on this kit would need: a retrograded Leopard 1 turret, with a simplified shape, a simple commander cupola, typical bulges for a late-war optical rangefinder in the turret sides and even a 8.8cm KwK barrel! The resin turret, which also comes with an AA machine gun, was taken OOB. Only the original resin gun barrel came slightly bent – this could have been corrected easily, but I replaced it with a more delicate white metal and brass piece, anyway. Additionally, an adapter for the hull opening had to be scratched.

 

So far, so good - but the running gear became the biggest challenge. The Leopard 1’s advanced torsion bar running gear with rubber-rimmed wheels would not make sense anymore, due to the special high quality materials needed for its construction. Since the Einheitspanzer family was to share as many components as possible, I decided to implant an E-50-style running gear with its typical cast standard wheels.

This sounds easy, but scratching a running gear is a real stunt! Work started with the attachment points for the driving and guide wheels at the hull’s ends, which were cut off of the Revell kit’s parts and glued into their respective places. The drive wheel was taken over from the Leopard, but the guide wheel at the front end was replaced by a simpler and smaller pair of wheels from a Russian IS-3 tank.

Using the E-50 as benchmark for the running wheels, I gathered twelve of them from the scrap box and from several Modellcollect kits in the stash (The 1:72 E-50 kits from Modelcollect and Trumpeter all come with the option to build an E-75, too, so that each kit offers two pairs of excess parts). Mounting these wheels to the hull, in a staggered fashion, became the kit’s true challenge, though, because I did not have a sufficient number of original wheel carriers/suspension packs. Improvisation resulted in the adaptation of twelve leftover suspension arms from a Modelcollect E-100 kit, even though they had to be tailored in depth and length to fit under the Leopard’s hull. It took some trial and error to find a proper position that would produce a plausible stance, but I think the effort of this transplantation really changes the tank’s look into something Heer ’46-ish?

 

The track was taken OOB from the Leopard 1 kit, and it is of the segmented IP type. It was mounted after most painting was done, starting with single track segments on the drive and guiding wheels, and then the gaps were filled with other track elements. A bit of a gamble, but the theory, that the track parts should match, was confirmed. Phew…

  

Painting and markings:

For some subtlety, the model received a classic German paint scheme with “Hinterhalt” colors (Dunkelgelb, Olivgrün and Rotbraun). Once the kit’s components were finished (hull, turret and the separate wheels), everything received an overall coat with matt RAL 7028 (Modelmaster Authentics).

On top of that, a dense pattern of red brown (Humbrol 160) and finally green (RAL 6003 from Modelmaster Authentics) mottles in 1 1:2 ratio was applied with a flat, narrow brush, for a somewhat square shape of the blotches. Pretty straightforward, seen on a late war Panther - and suitable for a summertime scenario as well as in line with common field practice, even though at the time where the model is placed, tanks might have looked more extraordinary or improvised due to the general material shortages.

 

Once the basic painting was done, the kit received a thin, water-based wash with dark brown, carefully swabbed with a soft cotton cloth in order to leave just a thin and cloudy film on the surfaces and more of the wash in recesses and corners. There were only a few decals to apply, namely three small German crosses and the tactical code on the turret’s flanks. Later some dry-brushing with light grey and hemp was done, emphasizing the edges and highlighting surface details.

 

The track segments were primed with a mix of acrylic iron, black and dark brown and received a final paint treatment after mounting them onto the wheels, hiding some glue stains and other blemishes.

 

Artist pigments (a mix of ochre, grey and brown) were dusted with a soft brush onto the lower kit areas, after having sealed the model with matt acrylic varnish beforehand.

  

Well, what could have been a simple paint job in order to achieve a time-warped Leopard 1 became a massive kitbashing project. However, I think this extra effort, esp. the adaptation of the E-50 running gear, and all the potential risks of mixing parts from different kits, was worthwhile? The paint scheme certainly suggest the WWII era, too. The resulting “new” tank looks IMHO pretty plausible, and both hull and turret shape remind of the Leopard 1 without looking like the real thing behind this build. In fact, from certain angles this one appears like the missing link between the Panther and the Leopard 1, and a lot like an inspiration for the Soviet T-54/55 or even the T-72?

+++ DISCLAIMER +++

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

  

Some background:

Under the Treaty of Trianon (1920), Hungary was forbidden from owning military aircraft. However, a secret air arm was gradually established under the cover of civilian flying clubs. During 1938, as a result of the Bled agreement, the existence of the Royal Hungarian Air Force (Hungarian: Magyar Királyi Honvéd Légierő (MKHL)), was made known. The army's aviation service was reorganized and expanded.

 

Late 1938 the army aviation was once again reorganized. Admiral Horthy, the head of state, ordered that the army aviation should become an independent service with effect of 01.09.1939. It subsequently participated in clashes with the newly established Slovak Republic and in the border confrontation with the Kingdom of Romania.

 

In 1940, the decision was made to unite the Air Force, the anti-aircraft forces, and the civilian air defense organizations under one central headquarters. In April 1941, operations were conducted in support of the German invasion of Yugoslavia and, on 27 June 1941, Hungary declared war on the Soviet Union.

On 01.06.1941, the Air Defense Corps was established, and Lieutenant General Béla Rákosi became Commander of Army Aviation. In effect the Air Force had once again become part of the Army. In the summer of 1942, an air brigade was attached to the Luftwaffe's VIII. Fliegerkorps at the Eastern Front.

 

At that time, most of the Hungarian Air Force's fighter equipment was of German origin, consisting of types like Bf 109 F and G, Fw 190 A/F, Me 210. But some indigenous designs were under development, too, e. g. at the RMI, Repülo Muszaki Intézet, or Aviation Technical Institute. Its aircraft were primarily (but not exclusively) by László Varga, and as a result, RMI designs were often given the Varga name (in some cases, even when he was not the major designer). But the RMI designation was used in parallel, too.

 

One of the domestic developments was the RMI-11 'Sólyom' (= Falcon) fighter. This single engine aircraft drew heavily upon the Bf 109 design, but featured some changes and improvements like an inward-retracting landing gear or a bubble canopy. It also incorporated elements from the heavy RMI-8 fighter, a push/pull design with twin tail booms, but the RMI-8’s sole prototype was destroyed by Allied air raids before a serious test program could be launched.

 

In contrast to the complex RMI-8 the RMI-11 was a small and light aircraft, a conventional but clean design, based on simple shapes for easy, modular production. Most of its structure was made from wood, saving sparse metal whenever possible. Empty weight was, for instance, about 200 kg less than a contemporary Bf- 109 G.

 

The RMI-11 was driven by a liquid-cooled DB 605 inverted V12 engine, rated at 1.475 hp. Thanks to the low weight of the airframe, the machine achieved a high top speed and an exceptional high rate of climb.

 

Originally designed as a fast and agile interceptor in the early stages of WWII, the RMI was only armed with two 13mm MG 131 with 300 RPG and two 7.92 mm MG 17 in the outer wings. Two underwing hardpoints could carry up to 100 kg each.

 

The RMI-11 prototype made its maiden flight in late 1943 and after a basic but successful test program immediately ordered into production – in a hurry, though, and beginning March 1944, Allied bomber raids began on Hungary and progressively increased in intensity.

 

Production of the RMI-11 gained only slowly momentum, due to material shortages, because the RMI-11was primarily of plywood bonded with a special phenolic resin adhesive that was supplied from German sources. Due to Allied bombing raids on the glue’s original production sites the plywood glue had to be replaced by one that was not as strong, and was later found to react chemically, apparently in a corrosive manner, with the wood in RMI-11’s structure. In November 1944, several RMI-11s crashed with wing and tail failures due to plywood delamination. This same problem also critically affected the German Focke Wulf Ta 154 and Heinkel He 162 programs.

 

Late in 1944 all efforts were redirected towards countering the advancing Red Army. Soon it was clear that the type needed long range cannons with higher caliber in order to encounter heavy Allied bombers, so plans were made to add heavier German armament. This was realized through an extra pair of MG 151/20 20 mm cannons with 150 RPG, which were added in fairings under the wings instead of the original bomb hardpoints (which were hardly ever used in service at all). During the same refit, the rather ineffective MG 17s were deleted, saving weight and leaving more room inside of the wings for the MG 131s’ ammunition supply (now with 400 RPG)

 

At that time only about 60 production aircraft had been completed and modified, and production was halted due to the severe structural problems. These machines were nevertheless thrown into service, with repairs and upgrades done at the Hungarian airfields – but the glue problem was a constant operational danger.

 

Still, all these efforts were to no avail: All fighting in Hungary ended on 16 April 1945, and all RMI-11’s were scrapped after hostilities ended.

  

General characteristics

Crew: 1

Length: 8.82 m (28 ft 10 ½ in)

Wingspan: 10.58 m (34 ft 8 in)

Height: 4.10 m (13 ft 5 in)

Wing area: 16.82 m² (181.00 ft²)

Empty weight: 1,964 kg (4,330 lb)

Loaded weight: 2,200 kg (4,840 lb)

Max. take-off weight: 2,395 kg (5,280 lb)

 

Powerplant:

1× Daimler-Benz DB 605A-1 liquid-cooled inverted V12, 1,475 PS (1,085 kW)

 

Performance:

Maximum speed: 640 km/h (398 mph) at 6,300 m (20,669 ft)

Cruise speed: 590 km/h (365 mph) at 6.000 m (19.680 ft)

Range: 850 km (528 mi)

Service ceiling: 12.000 m (39.370 ft)

Rate of climb: 17.0 m/s (3.345 ft/min)

Wing loading: 196 kg/m² (40 lb/ft²)

Power/mass: 344 W/kg (0.21 hp/lb)

 

Armament:

2× 13mm MG 131 (.51 in) machine guns in the wings,400 RPG, plus 2× 20mm MG 151/20 (.51 in) machine cannons, 150 RPG, in external underwing fairings.With the cannons deleted up to 8× 15 kg (33 lb) or 2× 50, 100, or 150 kg (110, 220, or 330 lb) bombs under the wings

  

The kit and its assembly:

This is a serious kitbash and a totally fictional aircraft - and you are IMHO an expert modeler if you recognize what basically went into it!

 

This build was inspired when I recently bought an RS Models Nakajima Kikka jet fighter, the double seater kit. As a bonus it comes with two fuselages: effectively, it is the single seater kit with an extra sprue and a different canopy. Looking at the Kikka's profile I found that it HAD to be converted into a piston engine aircraft, with a liquid-cooled engine. Wings and anything else would come from the scrap box, but it should become a sleek fighter aircraft, a late WWII design.

 

From that, things went straightforward:

● Fuselage from a RS Models Nakajima N9J1 "Kikka", front end cut away

● Wings from an Revell Macchi C.200 Saetta

● Stabilizers from an Art Model MiG I-210 fighter

● Canopy from a late Supermarine Spitfire (Special Hobby, IIRC)

● Nose/engine and radiators from an RS Models Ki-78

● The propeller was scratched from single pieces/blades and the Ki-78 spinner

● The landing gear is a Ki-78/C.200 parts mix.

I settled for the Ki-78's radiator installment on the rear flanks because it is a unique feature and simply does not hamper the sleek side profile. I also thought that this might have been a smart solution for modular production - fuselage and wings could be completed separately.

 

The Ki-78 engine had to be widened considerably to match the Kikka’s trapezoidal fuselage diameter, putty and major sculpting resulted in a relatively smooth and subtle intersection. As per usual, an axis construction for the propeller was added, too, so that it can spin freely. Mating wings and fuselage necessitated a new cockpit floor (which acts at the same time as landing gear well interior), and a 3mm bridge at the wing roots had to filled – but that was easy.

The cockpit interior was outfitted with spares, the Spitfire canopy needed some small styrene wedges under the windshield to make it fit onto the Kikka fuselage.

 

Things went rather smoothly until I fixed the wings to the completed fuselage. However I placed them, it looked odd – too far back, and the nose stood out; too far forward, and the tail was too long. Somehow, proportions did not match – only slightly, but it bugged me. So far that I eventually decided to shorten the fuselage – after having completed it, radiators already in place and everything sanded even. I made a vertical cut behind the cockpit and removed ~7mm of length – and suddenly the aircraft looked good! Needed some extra body work, but the aircraft looks much more balanced now.

 

The underwing fairings for the cannons were late additions, too. I wanted to keep the fuselage clean, with no nose guns, but adding heavier armament turned out to be tricky. The fairing solution was inspired by a real-world Fw 190 Rüstsatz which featured two MG 151/20 apiece. I had appropriate parts from an Academy Fw 190 left over, so I sliced these up and narrowed them for a single cannon each, and this was the right size for the slender aircraft. All gun barrels were created through heated and pulled-out styrene tubes.

  

Painting and markings:

Deciding what this aircraft was to become was tougher than building it! With its clearly German origin it had to be a WWII Axis type, but I did neither want a German nor a Japanese aircraft, even Italy was ruled out – all too obvious. With Hungary and its RMI designs I eventually found a good potential origin, and this also allowed a rather "colorful" livery. With the Hungarian background this kitbash became the RMI-11.

 

The paint scheme was inspired by an experimental Hungarian camouflage in Green, Gray and Brown, seen on a Bf 109G. I could not find color indications, but in the end I settled for three RLM tones for the upper sides, RLM 71, 75 and 79, coupled with RLM 76 for the lower sides. All tones are enamels from Modelmaster's Authentic range, panels and leading edges were slightly emphasized with lighter shades. As a small design twist I added a wavy, medium waterline on the fuselage sides.

 

Interior surfaces were, lacking any reference, kept in RLM 02. In order not to be too fanciful, the spinner became black with a green tip (RLM 62), and the blades were painted with a mix of RLM 70 (Black Green) and Black, for a very dark and dull green tone, Luftwaffe style.

 

The yellow markings correspond to German Luftwaffe markings of the late WWII era, the yellow 45° “V” under the lower left wing was introduced in the Balkan region in 1944, it was also carried by Luftwaffe aircraft in this conflict theatre.

The flashy decoration on all tail surfaces disappeared at that time on real aircraft (only small Hungarian flags were carried on the tail rudder), but I still incorporated the full national insignia because it's unique and a colorful contrast to the rest of the aircraft.

 

Most markings belong to a real Hungarian Bf 109G (from a Print Scale aftermarket sheet), I just scratched the national markings on the fuselage and the yellow markings (all cut from stock decal material) and parts of the Hungarian flag insignia on the tail: the tips were painted with red, the white and green bands were cut to measure from a Frecce Tricolori sheet.

 

A light black ink wash was applied and some dry painting added with gray and black (for soot and exhaust stains), for a lightly weathered effect. As final step, everything was sealed under matt acrylic varnish (Revell).

  

A quickie, done in just a week, but with a very convincing look. One might recognize Bf 109 F/G, Ki-78 and even He 100 features, but none of these aircraft really matches up with the RMI-11 at second glance, there are too many individual differences. If it gets you wondering – mission accomplished! ;)

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

 

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

 

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

 

+++ DISCLAIMER +++

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

  

Some background:

The Panzerkampfwagen E-100, also known as Gerät 383 and TG-01, was a German super-heavy tank design developed towards the end of World War II. It was proposed to be the basis for a heavy artillery system, an anti-aircraft vehicle, and a heavy tank destroyer.

 

The basic design was ordered by the Waffenamt as a parallel development to Porsche's heavy tank design "Maus" in June 1943, but part of the new, standardized Entwicklung (E) series of vehicles, consisting of the E-5, E-10, E-25, E-50, E-75 and finally the E-100. The latter was the heaviest and biggest chassis of the family, which was meant to standardize as many components as possible.

 

In March 1944, Adlerwerke company from Frankfurt am Main submitted blueprint 021A38300 for a super-heavy tank called E-100, after the tank was proposed in April 1943 along with the other Entwicklung series vehicles. According to the blueprints, the tank would be armed with a both a 150 mm gun and a 75 mm gun in a huge turret.

Two types of engines were proposed: one was a 700 hp Maybach HL230, with a transmission and turning mechanism borrowed from the Tiger II. The estimated top speed was 23 km/h, and it was clear that this powerplant was utterly undersized for the E-100, which would be almost twice as heavy as the already underpowered Tiger II.

The second variant,l which was favored for serial production, would have a new, turbocharged 1200 hp Maybach HL 232 engine and a top speed estimated at 40 km/h. Other engines in the 1.000+ hp range were considered, too, e. g. modified Daimler Benz aircraft engines, or torpedo boat engines.

 

The design had removable side skirts and narrow transport tracks to make rail transport more viable. This design was very similar to the original 'Tiger-Maus' proposal, but had larger 900 mm diameter road wheels and a new spring based suspension rather than the original torsion bars. A new turret was designed, too, intended to be simpler and lighter than the massive Maus turret - effectively the E-100 was 40 tons lighter than the 188 ton Maus prototype.

 

However, in July 1944 the development of any super heavy tanks was halted, but work on the E-100 continued at a low priority and with the outlook to produce a limited number of these massive vehicles for special purposes, using existing components. Eventually, permission was granted to proceed with the SdKfz. 193, with the intention to the E-100 as a tank destroyer with either a 15 cm StuK L/63 or 17 cm StuK L/53 gun.

 

The first prototype was completed in January 1945, and from the start several variants were slated for the limited serial production. Four battle tank variants were defined, differing basically through the turret designs and the armament. The first three variants A-C carried the 15 cm StuK as main armament, while the D variant was an interim solution that would carry the new 140mm PaK 46 L/50 cannon, which was originally earmarked for the tank hunter variants of the E-75 and E-100 family. However, since the dedicated E-100 tank hunter SPG "Krokodil" (the SdKfz. 197) with a low, casemate-style hull was still going through troublesome trials in late 1945, it was decided to adapt the new and powerful gun with the already developed cannon mount in a turret and mate it with the E-100 battle tank hull.

 

The result was a battle tank/SPG hybrid with a huge, boxy turret on the E-100's standard chassis, which could be fully rotated by 360°. The turret's front offered excellent ballistic protection, but the tall and massive silhouette made the vehicle hard to conceal.

Designed only as a stopgap solution, only about 20 E-100 Ausf. D were produced in total. Having learnt the painful lesson of the heavy Elefant/Ferdinand SPG deployments, the E-100 Ausf. D was primarily and right from the start only used in defensive roles for strategically important locations, and not as a classic, highly mobile battle tank. Targets could be engaged at very long distances, and the PaK 46 L/60 was able to destroy heavy tanks like the heavily armored Soviet IS-3 with a single, head-on shot.

 

The PaK 46 L/60 was a very powerful weapon, and, like its predecessor, the 12.8 cm PaK 44 L/55, very accurate and deadly even at greater distances. The gun was fed with two-piece ammunition, the projectile and cartridge making up separate pieces. Because of this, the gun could be fired using three different sized propellant charges; a light, medium and heavy charge. The light and medium charges were normally used when the gun was fulfilling the role of an artillery piece, where they would launch the ~32 kg projectiles to a muzzle velocity of 885 m/s and 940 m/s respectively.

The heavy charge was used when the gun was fulfilling its intended role as an anti-tank gun, where it fired a 35.4 kg APCBC-HE projectile (PzGr.46) at a muzzle velocity of 1,050 m/s. During practice, the estimated probability of a first round hit on a 2 m (6 ft 7 in) high, 2.5 m (8 ft 2 in) wide target only dropped below 100 percent at ranges beyond 1,500 m (0.93 mi), to 95–97 percent at 2,000 m (1.24 mi) and 85–87 percent at 3,000 m (1.8 mi), depending on ammunition type. Recorded combat performance was lower, but still over 80 percent at 1,500 m, in the 60s at 2,500 m and the 40s at 3,000 m. Penetration of armoured plate inclined at 30 degrees was 242 and 192 mm (9.5 and 7.5 in) at 100 m (110 yd) and 2,000 m (1.2 mi) respectively for the armour-piercing shell.

In order to take on smaller, lightly armored targets, an MK 103 30 mm machine cannon (firing 425 RPM and having an effective range of up to 5.700m) was mounted co-axially, as well as a light MG 34. Another light machine gun was added in a ball mount in the turret's rear, in order to defend the loading hatches against infantry attacks. Another, manually operated machine gun was mounted on the commander's cupola against aircraft and close soft targets.

 

Aiming of the main weapons was improved by a built-in stereoscopic rangefinder — using twin matching armored blisters, one on each turret side. A "Sperber/FG 1250" night vision scope on the commander's cupola, together with a 30cm infrared searchlight with range of 600m.

 

Some of the vehicles where deployed in the upper Rhine and Ruhrgebiet area, while others were used in the defense of Berlin against the Red Army, and most of the time only one of two of these heavy tanks were allocated to units in which other, more agile vehicles could support and defend them.

 

Nevertheless, like all E-100 tank variants, the Ausf. D variant suffered from a general lack of mobility, so that it was not easy to field it or to change position after a shot. While the heavy armor could absorb a lot of hits and punishment, even from the latest enemy heavy tanks and anti-tank guns, many E-100s had to be abandoned or destroyed by their crews since they could not be saved from advancing enemy forces.

Another general weakness of the whole E-100 series was the massive fuel consumption of the HL 232 engine: with 10l per km (2,35 mpg) the tank had very short legs (only 120 km/75 ml with internal fuel) and was therefore even less suited for dynamic combat situations which involved quick advances or tactical position changes. Even in stationary use, its effectiveness was highly limited.

 

Another flaw, specific to the D variant, was its tall and heavy turret. The layout resulted in a very high center of gravity, so that the turret bearing and its hydraulic traverse mechanism was frequently over-stressed. If the crew would not pay attention to the tank's orientation and the underground conditions, the turret would easily get stuck - another reason why many of these super-heavy tanks were lost in action without direct enemy involvement.

  

Specifications:

Weight: 140 tonnes (154 short tons; 138 long tons)

Length (overall): 10.44 m (34 ft 2.4 in)

Width: 4.48 m (14 ft 8 in)

Height: 3.29 m (10 ft 10 in)

Suspension: Belleville washer coil spring

Crew: 6 (Commander, Driver, Radio Operator, Gunner, 2x Loader)

 

Armor:

Hull front: 150–200 mm (5.9–7.9 in)

Hull sides and rear: 120–150 mm (4.7–5.9in)

Hull top: 40 mm (1.6 in)

Hull bottom: 40–80 mm (1.6–3.1 in)

Turret front: 200 mm (7.9 in)

Turret sides & rear: 80–150 mm (3.1–5.9 in)

Turret top: 40 mm (1.6 in)

 

Engine:

1x turbocharged Maybach HL232 V12 gasoline engine with 1.200 hp

 

Performance:

Maximum road speed: 40 km/h (25 mph)

Sustained road speed: 36 km/h (22 mph)

Cross country speed: 14 to 20 km/h (8.7 to 12.4 mph)

Power/weight: 8,57 hp/ton

Range on raod: 120 km (74 mi)

Range cross counrty: 85 km (53 mi)

 

Armament:

1x 140mm (5.51 in) PaK 46 L/60 with 55 rounds

1x co-axial 30 mm (1.18 in) MK 103 machine cannon with 100 rounds

3x 7.92 mm MG34 (1x co-axial with main gun, 1x in ball mount in the turret's back side

and 1x anti aircraft gun on top of the commander's cupola) with a total of 5,850 rounds

  

The kit and its assembly:

This is an “in between” project, which I tackled on short notice while waiting for parts for another project. I am not a big fan of the huge E-100 tank, but I was given a surplus chassis from a friend who had bought a ModelCollect 12.8mm twin flak on an E-100 chassis in 1:72 – only for the gun, because this combo was less expensive than the flak alone (available separately). Since he had no use for the turret-less E-100 chassis I gladly took it.

 

It was the perfect occasion to invest and try an aftermarket conversion set from the German company Model Trans/Silesian Models, based in Essen, which offers a wide range of resin conversion sets for tanks and other military vehicles – including some Heer ’46 conversions/whiffs.

 

The turret for the fictional “E-100 Ausf. D” is one of these, and I like it for its bizarre, KW-2-esque style. The turret, certainly adapted from the Jagdpanther/E-100 tank hunter hull, looks impressive, even though it features some fishy details like the inward-canted rear wall or the rear of the turret overlapping the engine opening. But, hell, it’s a whiffy design, and the “cheese wedge” look of the turret certainly turns heads.

 

The turret set consists only of two massive resin parts, the turret itself and the barrel. The cast is excellent (no bubbles, almost no flash, crisp detail and clean surfaces; only the barrel had to be cleaned up a little), and I assume that the parts were moulded after parts from other ModelCollect kit parts.

Some missing parts like the hatch for the commander cupola or the Sperber infrared sight can be taken from the E-100 kit (even if it comes without a turret). Gaps between the barrel and the gun's mount were filled with paper tissue soaked with thinned white glue, imitating a leather of cloth shroud.

The pieces go together well and the turret base also matches perfectly the turret ring in the E-100 hull.

 

The E-100 kit itself is more challenging, though. While it is basically of simple construction, the sheer size of the parts and the fact that the hull consists of separate floor, side and rear walls and the upper deck, makes assembly a bit complicated. The fact that the floor and the side walls were slightly twisted did not help either. While everything went together well, I had to use putty in order to close some seams and bridge small gaps. Nothing dramatic, but modelers should be wary.

Mounting the wheels is not easy - esp. the sprocket wheel in the front and even more the idelr wheel at the rear have a very complicated and flimsy construction with a very thin and short locator pin. The PVC tracks also turned out to be too short, unfortunately I found this out I had painted and weathered them. Thankfully the massive side skirts help hiding the gaps, since I could not mount the tracks under any tension.

 

A nice solution are the separate side skirts and the complete engine compartment with separate hatches, a nicely detailed engine block and exhaust manifold as well as coolers.

 

I’ve built the E-100 hull OOB and left away the PE parts on purpose, since the mess of cutting them out or mounting them to the hull (e. g. microscopic lugs or a grate for the air intakes that are so dense that any paint applied by brush would immediately clog and ruin them) would IMHO not really improve the kit.

  

Painting and markings:

I wanted a fictional paint scheme for this one – no standard Hinterhalt camouflage tones, but still with a German feel. The inspiration for this green/grey scheme was lent from the Ma.K./Maschinenkrieger/ZbV3000 model universe, where many vehicles/mecha carry a pseudo-German scheme, some inspired by WWII Luftwaffe aircraft.

 

For the E-100 I adapted one of the Ma.K. designs and used Luftwaffe tones: the pale tone is RLM02 (the base is Revell’s 45, modern RAL 7003, which is slightly more olive green than the original grey), while the dark patches are German Panzergrau (Humbrol 67, modern RAL 7024, and actually a tone from early WWII). The latter turned out to appear very dark, due to the strong contrast to the RLM02, so that the scheme unintentionally reminds a lot of the late-war Allied “Mickey Mouse” scheme in olive drab and black? This was later slightly mended through the addition of RLM74 during the weathering process (see below), but the similarity remains, and once the kit became more and more complete the whole thing started looking like a modern German Bundeswehr Panzerhaubitze 2000?

 

In order to create an improvised and worn look, the camouflage was applied only thinly over an overall base coat with Humbrol 70 (Brick Red), which looks very much like stretched late war primer with which many tanks left the factories, to be camouflaged by the units in the field.

As a small color detail the barrel’s front end received a different scheme in Dunkelgelb (Revell 16, from below, kind of counter-shading against the sky) and Red Brown (Humbrol 160) from above, simulating a replacement part.

 

Once the basic camouflage had been applied, the kit was weathered with a highly thinned wash of dark brown, grey and black acrylic paint. Once dry the major surfaces were lightly wet-sanded, revealing more of the underlying red primer. Next, details and areas were highlighted through dry-brushing with true RLM02 (Humbrol 247) and RLM74 (Humbrol 245). After the application of the few marking decals, the whole kit received another dry brushing treatment, this time with Revell 75 (Hellgrau) and Humbrol 72 (Khaki drill). Some rust traces were painted with thinned sienna red acrylic artist paint.

 

Matt acrylic varnish (Italeri) was used to seal the kit, and once the (also weathered) PVC tracks and the side skirts had been mounted, the lower hull received a treatment with grey/beige/brown pigments, simulation dust and mud residue.

  

A relatively quick build, realized in less than a week, and some (minor) challenges. What a huge vehicle the E-100 has been – but what a waste of effort, resources and tactical limitations due to the vehicle’s sheer size and weight. Looks impressive, though, esp. when you place this hulk next to a “normal” tank…

In the end I am not really convinced of my paint scheme idea, but I ran with it since I wanted something different from the obvious German late war standard scheme.

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

Some Skee Facts:

 

• Primary Skee funding during county fairs was provided by my father's coin cup.

• Prizes won as a kid: Hall & Oats wall mirror. KISS poster. Stupid stuffed parrot.

• We New Yorkers are always on the cutting edge of retro-recycling

• I won. Surrendered winning tickets to some kid who probably cashed in on a Slinky™

 

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

 

Your history of Skee is as follows:

 

From the early 1900's to today, the skeeball is one of the popular games featured in amusement places. At first, the game was manually operated by an attendant. In 1936, the National Skee Ball Company introduced the coin operated skeeball. It was so popular and so well made, that even today with all our electronic and video technology, the skeeball shape and action remains virtually unchanged.

 

Unknown to most coin op collectors, the promoter of the coin operated skee ball was not an arcade manufacturer. Believe it or not, the machine was first promoted by the Rudolph Wurlitizer Manufacturing Co., which purchased the National Skee Ball Company in 1935. In fact, the case of the coin operated skee balls was designed by Paul Fuller, the designer of the Wurlitizer Jukebox cabinets of that time.

 

Just as in regular bowling, the National Skee Ball Company promoted the fact that the alley was of "regulation" size, 10 feet long. This standardization was done so players could compete at any location. What they didn't tell you, however, was that the "Hump" that elevates the ball into the air before reaching the target could be adjusted to make it easier or harder for a player to get a high score.

 

Want one for your home, the skee ball built of heavy red oak, weighs 450 lbs. It is 14'2" long, 6' high and 29" wide, not an item for a small game room. If you have the room, you'll be happy to know that the skee ball comes apart so it won't be as difficult to move as it looks.

 

Once the skee ball became so popular, many other companies began to imitate it. However, since the skee ball name was a registered trademark, no one else could use that name. However, similar sounding names were soon devised. The International Mutoscope Corporation developed a pinball size version of the skee ball game called Hurdle Hop for the small penny arcade. Even a smaller version called the Gyro was created for countertop use.

default abandoned warehouse graffiti shot.

 

This is actually a really shitty quality photo

 

For more check out my site of web: StayAwake.ca

Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.

  

This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.

 

I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.

  

You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.

 

Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)

 

To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.

     

PAYPAL $15.00 GRIMETIMEMAGAZINE@GMAIL.COM

Doel is a little village.

This village will be erase of the world with the extention of the Schelde river.

Some artists paint the houses to show on the world this uncredible fact.

Doel never die.

 

Doel est un petit village qui va être rasée de la carte du monde par l'extension de l'Escaut

 

Doel

Belgium location map.svg

Doel

Administration

Pays Belgique Belgique

Région Flandre Région flamande

Communauté Flandre Communauté flamande

Province Drapeau de la province de Flandre-Occidentale Province de Flandre-Orientale

Arrondissement Saint-Nicolas

Commune Beveren

Géographie

Coordonnées 51°18′″N 04°15′″E / Erreur d’expression : opérateur / inattendu, Erreur d’expression : opérateur / inattendu

Superficie 25,61 km²

Population 359 hab. (31/12/2007)

Densité 14 hab./km²

Autres informations

Gentilé

Code postal 9130

Zone téléphonique 03

Localisation de Doel au sein de Beveren

Localisation de Doel au sein de Beveren

modifier Consultez la documentation du modèle

 

Doel (appelé Den Doel dans le parler local) est un village situé dans l’extrême nord-est de la province belge de Flandre-Orientale, dans les marais du pays de Waas, sur la rive gauche de l’Escaut, large en cet endroit de quelque 1500 mètres par marée haute, en face de Lillo-Fort. Aujourd’hui intégré dans l’entité de Beveren, Doel était jusqu’en 1977 une commune autonome, d’une superficie de 25,61 km², et d’une population de quelque 1300 habitants (1972). Outre le village lui-même, l’ancienne commune de Doel comprend les hameaux de Rapenburg, Saftinge et Ouden Doel, et bien sûr, une vaste étendue de marais asséchés.

 

Depuis quelques décennies, le village se retrouve régulièrement projeté au centre de l’actualité belge, à double titre.

 

D’abord, il a été choisi, comme le village de Tihange dans la province de Liège, comme lieu d’implantation d’une des deux centrales nucléaires que compte la Belgique.

 

Ensuite, et plus récemment, il semble bien établi à présent que Doel doive s’ajouter à la liste des villages poldériens (si l’on nous permet ce néologisme) sacrifiés à l’expansion du port d’Anvers. En effet, l’évacuation totale de la bourgade, après expropriation de ses habitants, a été décidée en 1999 par l’autorité régionale flamande, pour faire place à de nouvelles installations portuaires. En dépit des résistances, et de la bataille juridique engagée par le comité d’action Doel 2020 (saisines du Conseil d’État, etc.), le sort de Doel paraît aujourd’hui scellé, et il faut craindre que les recours n’aient d’autre effet que d’en prolonger l’agonie. L’évacuation suit son cours, et à la date du 31 décembre 2006, Doel ne comptait déjà plus que 388 habitants.

Le nom de Doel (la combinaison oe se prononce comme un ou bref, API: /dul/) est attesté pour la première fois en 1267, sous la forme « De Doolen ». La signification précise demeure obscure; le terme pourrait être une référence à «dalen», vallées, au sens d’amas de sable creusés. Au Moyen Âge, les Doolen ont pu être des îlots au milieu de l’Escaut. Pour d’autres, Doel signifierait ‘digue, remblai, levée’. ‘Doel’ devint, après la domination française, la dénomination officielle.

 

La zone autour de Doel était à l’origine constituée de terres marécageuses et faisait partie d’une vaste étendue tourbeuse s’étirant d’est en ouest sur toute la Flandre zélandaise et le nord de la Flandre-Orientale. Au nord de Doel plus spécialement, dans ce qui est aujourd’hui le Verdronken Land van Saeftinghe, la couche de tourbe était particulièrement épaisse. À partir du XIIIe siècle, l’on procéda dans cette zone, qui au XIIIe siècle avait deux fois plus d’habitants que Doel, et qui hébergeait une abbaye cistercienne, à une exploitation intensive de la tourbe. Cette activité, fort lucrative, a induit une certaine prospérité dans la région.

 

L’extraction de tourbe dans la zone marécageuse eut pour effet d’abaisser le niveau du sol en de nombreux endroits et de rendre la zone vulnérable aux inondations. Dans le même temps, à partir du XIIe siècle, l’Escaut subissait de plus en plus l’emprise de la mer du Nord. Pour ces raisons, il advenait régulièrement à partir du XIVe siècle que Doel et les parties nord du Pays de Beveren fussent totalement inondées, déterminant la nécessité d’édifier des digues et d’aménager ainsi des polders.

 

Cependant, tout ce système, conjuguant poldérisation et extraction de tourbe, progressivement mis en place dans la région au cours du Moyen Âge, fut peu à peu anéanti, d’abord par une série d’inondations catastrophiques au XVIe siècle (dont la plus grave, en l’an 1570, connue sous le nom de Allerheiligenvloed, «marée de Toussaint», submergea entièrement, et à titre définitif, le marais de Saeftinghe), ensuite par les submersions, cette fois délibérément provoquées pour motifs stratégiques, durant la guerre de Quatre-Vingts Ans, notamment lors du siège d’Anvers par Alexandre Farnèse. La région était en effet alors le théâtre de combats dont l’enjeu était la maîtrise d’Anvers et de l’estuaire de l’Escaut. À cette même époque, elle fut pillée par deux fois, par des gueux (protestants) de Malines et par la soldatesque catholique royale. Les submersions volontaires ne purent empêcher Farnèse de prendre Anvers en 1585, mais les forces des États-généraux ayant réussi à s’emparer du fort de Liefkenshoek, sis au sud de Doel (et existant encore aujourd’hui), le village et le marais de Doel furent à partir de 1585 sous domination des États-généraux.

Le Hooghuis (1614).

Hooghuis : portique.

 

Lorsqu’arriva l’intermède de paix correspondant à la Trève de douze ans (1609-1621), la région entière n’était qu’une zone de désolation où marées et inondations de l’Escaut avaient libre carrière; tout était à refaire. Doel servait de point d’appui dans les opérations de guerre, et à la hauteur de l’actuel moulin se trouvait un fort abritant une garnison hollandaise. En 1614 fut accordée, par les États-Généraux de la République des Provinces-Unies, l’autorisation d’endiguer et d’assécher toute l’étendue autour de Doel. Cette décision signe l’acte de naissance de la bourgade de Doel sous sa forme actuelle, car, outre l’aménagement du marais, fut aussi commencé la construction, planifiée sur carte, du village. La disposition en damier des rues détermina une urbanisation géométrique, fort rare en ces latitudes. Les parcelles carrées ainsi formées furent ensuite bâties systématiquement, de telle façon qu’aucun jardin ne fût visible depuis la rue; ces jardins étaient (et sont encore) accessibles par d’étroits corridors aménagés entre les maisons et clos par des portillons, qu’autrefois on verrouillait pour la nuit.

 

Doel et le marais de Doel ont longtemps formé, de fait, une façon d’île, délimitée par l’Escaut d’une part, par des criques et des vasières d’autre part. Le marais de Doel s’étendait sur 1090 ha. La digue nord du marais de Doel, digue subsistant encore aujourd’hui, est la limite qui sépare le marais initial d’avec les marais aménagés ultérieurement, et permet de situer en partie les contours de cette ancienne île. Jusqu’au XVIIe siècle, Doel n’était en pratique guère accessible autrement qu’en bateau. Quant au marais de Saeftinghe, on renonça à l’endiguer, ce marais demeurant ainsi un verdronken land, une zone inondable au gré des marées; à l’heure actuelle, c’est une réserve ornithologique.

 

Au plan ecclésiastique, Doel dépendait de la paroisse de Kieldrecht et ne devint une paroisse autonome qu’en 1792. Cette même année, Doel fut attribué à l’empereur d’Autriche et vint à faire partie définitivement des Pays-Bas du Sud.

 

Lors des événements qui entourèrent l’indépendance belge en 1830, Doel subit le contrecoup de la bataille d’Anvers. En décembre 1832, les Belges, aidés de troupes françaises, réussirent à contraindre les Hollandais à céder Anvers, mais, après avoir investi le polder de Doel, ne purent cependant déloger les troupes hollandaises des forts de Liefkenshoek et de Lillo. Une garnison hollandaise continua donc d’occuper le fort de Liefkenshoek, et cela jusqu’à la signature d’un traité en 1839. Doel devint ensuite une commune autonome.

 

À partir de 1843 et jusqu’en 1945, Doel fut le siège du service de quarantaine chargé de contrôler les navires se rendant à Anvers. Le marais s’agrandit du polder Prosper (Prosperpolder, 1051 ha de terres arables), et, quelques décennies plus tard, du polder Hedwige (300 ha). À la fin du XIXe siècle, les deux tiers environ de la population doeloise vivaient de l’agriculture, et un tiers avait la pêche pour moyen de subsistance ; d’autre part, une sucrerie occupait une quarantaine de travailleurs.

 

Doel fut libérée en 1944 par des soldats britanniques et polonais. Le village eut cependant encore à souffrir des meurtrières bombes volantes V1, dont 68 tombèrent sur son territoire — 59 V1 et 9 V2 —, faisant 13 morts et détruisant totalement ou partiellement 35 maisons.

 

En 1975, Doel fusionna avec quelques communes environnantes pour constituer l’entité de Beveren.

 

Dans la bourgade, les rues sont disposées en damier, phénomène à peu près unique en Belgique : le plan se compose de trois rues parallèles à la digue, et de quatre autres rues qui les croisent à la perpendiculaire. Cette disposition remonte à la décision, prise au début du XVIIe siècle après les inondations stratégiques, de procéder à une poldérisation et un remembrement des terres autour de Doel, et est demeurée inchangée depuis.

 

* L’agglomération comprend plusieurs fermes et maisons bourgeoises. L’immeuble le plus ancien est le Hooghuis (litt. maison haute, classé monument historique), achevé de bâtir en 1614, dans le style renaissance flamand, avec monumental encadrement de porte en style baroque. L’intérieur n’est pas sans intérêt, avec ses plafonds en chêne et deux monumentales cheminées baroques du XVIIe siècle. L’édifice était au XVIIe siècle le siège de l’administration du polder, mais a aussi été le manoir appartenant à de riches bourgeois anversois; le Hooghuis est ainsi associé au nom de Rubens, cette demeure ayant été probablement la propriété de Jan Brandt, père d’Isabelle Brandt, la première épouse du peintre, et, ultérieurement, de Jan Van Broeckhoven de Bergeyck, qu’Hélène Fourment épousa en secondes noces, après le décès de Rubens.

* Le moulin, classé monument historique depuis 1946, est encastré dans la digue de l’Escaut. Il date du milieu du XVIIe siècle et figure parmi les plus anciens moulins en brique que compte la Flandre. Hors d’usage depuis 1927, le moulin est aujourd’hui aménagé en café-restaurant.

* L’église paroissiale, dédiée à Notre-Dame de l’Assomption, fut édifiée en style néoclassique entre 1851 et 1854 selon les plans de Lodewijk Roelandt, architecte municipal de Gand. Le mobilier cependant comprend des œuvres d’art plus anciennes, telles que des statues du sculpteur anversois H. F. Verbruggen (XVIIe siècle) et de E. A. Nijs (XVIIIe siècle). L’orgue est classé monument depuis 1980. L’église, endommagée suite à affaissements, fut entièrement restaurée entre 1996 et 1998. Les couches solides du sous-sol se situent à Doel à environ 11 mètres de profondeur, alors que les palées destinées à soutenir l’édifice ne s’enfoncent en terre que de 7 mètres. Cela explique pourquoi l’église penche assez fortement aujourd'hui, son clocher en particulier.

* Au nord du village, au-delà de la centrale nucléaire, à la hauteur du hameau Ouden Doel, se situent le long de l’Escaut les dernières vasières saumâtres que compte la Belgique. Ces vasières abritent le petit port de Prosperpolder et la réserve naturelle Schor Ouden Doel (51 ha).

* Doel possède un port de plaisance, constitué d’un unique bassin à marée, et un embarcadère où vient accoster le bac de Lillo-Fort, lequel effectue la traversée de l’Escaut tous les week-ends de mars à septembre.

* Doel attire de nombreux excursionnistes, en particulier pendant la période estivale. Un événement singulier est la Scheldewijding (bénédiction rituelle de l’Escaut), qui a lieu début août chaque année depuis 1975. Les festivités commencent par une messe célébrée en plein air. Ensuite, le collège des échevins (=adjoints au maire) se rend conjointement avec les conseillers communaux à un bateau amarré, en vue de la mise à l’eau d’une couronne de fleurs en commémoration des victimes de la mer et du fleuve. L’après-midi, après un spectacle naval sur l’Escaut, un cortège folklorique se met en branle, réunissant, en provenance des villages environnants, nombre de groupes et d’associations avec leurs géants et leurs sociétés musicales. Une marche aux flambeaux clôture la journée.

* En l’an 2000, une cogue (type de navire de commerce hauturier, naviguant au Moyen Âge entre les différents ports de la ligue hanséatique, en mer du Nord et en mer Baltique) a été mise au jour lors des travaux de terrassement en vue de la construction du bassin Deurganckdok. L’épave trouvée à Doel était enfouie à une profondeur entre -7 et -5m sous le niveau de la mer, dans un ancien bras ensablé de l’Escaut, connu sous le nom de Deurganck (= passage, cf. allem. Durchgang), qui autrefois communiquait directement avec le fleuve ; pour des raisons inconnues, la cogue vint échouer dans ce bras en 1404. La cogue de Doel (ainsi qu’il est désormais convenu de l’appeler) mesure environ 21m de long et 7m de large; sa hauteur conservée est de 2,5m environ. L’analyse dendrochronologique a permis d’établir que le chêne qui a fourni le bois du vaisseau a été abattu en Westphalie pendant l’hiver 1325-1326, ce qui fait de cette cogue une des plus grandes, des mieux préservées et des plus anciennes d’Europe. Une fois terminés les travaux de remise en état, la cogue sera (probablement) exposée dans le musée de la navigation de Baasrode, non loin de la ville de Termonde ; mais une maquette est d'ores et déjà visible au bezoekerscentrum (sorte d'écomusée), ouvert depuis septembre 2007 au fort de Liefkenshoek. Une deuxième cogue découverte au même endroit, mais moins bien conservée, date de 1328.

 

Les premiers projets d’expansion du port d’Anvers sur la rive gauche de l’Escaut datent de 1963 et prévoyaient que l’ensemble des polders du pays de Waas ainsi que Doel disparussent pour faire place à des bassins et à des terrains industriels. En 1968, une interdiction de construire entra en vigueur dans le village. Suite à la récession économique des années 70, ces plans d’expansion furent revus à la baisse, et l’on vit apparaître sur le plan de secteur (=plan d’occupation du sol) de 1978 la ligne dite De Bondtlijn (d’après le sénateur Ferdinand De Bondt), ligne qui allait d’est en ouest, et qui, passant tout juste au sud de Doel, limitait la zone d’extension portuaire à la partie sud des polders. L’interdiction de construire fut donc levée cette même année. Dans la première moitié des années 80 fut réalisé, au sud de Doel, le bassin Doeldok, lequel cependant n'a jamais été utilisé.

 

L’implantation industrielle moderne la plus ancienne à Doel fut la centrale nucléaire, à 1 km au nord du village, dont la construction fut entamée en 1969. Elle héberge quatre réacteurs (Doel I, mis en service en 1974, Doel II en 1975, Doel III en 1982, et Doel IV en 1985), ainsi que deux tours de refroidissement d’environ 170 mètres de hauteur.

 

En 1995 furent rendus publics les projets d’extension de l’Administration des voies navigables et des affaires maritimes (Administratie Waterwegen en Zeewezen) de l’autorité flamande, lesquels projets prévoyaient l’aménagement, un peu au sud de Doel, d’un nouveau bassin pour conteneurs, dénommé Deurganckdok. Dans la perspective de la réalisation de ce bassin, l’on se mit à s’interroger sur la vivabilité de Doel, et dans les années qui suivirent une lutte acharnée s’engagea avec comme enjeu la survie du village. En 1997 fut constitué le comité d’action Doel 2020, et des personnalités connues en Flandre, telles que l’ancien sénateur Ferdinand De Bondt, le cinéaste Frank Van Passel, et les trois prêtres Luc Versteylen (fondateur du parti vert flamand Agalev), Phil Bosmans (écrivain) et Karel Van Isacker (historien) s’associèrent au mouvement de protestation. Une prise de décision opaque et des bévues juridiques donnèrent lieu à de grands retards dans la construction du Deurganckdok et entretinrent pendant de longues années un état d’incertitude quant à l’avenir de Doel. Les habitants étaient divisés en, d’une part, ceux qui souhaitaient y rester et, d’autre part, ceux qui au contraire avaient fait choix de lutter pour obtenir un règlement d’expropriation clair et équitable. Le 1er juin 1999, le gouvernement flamand décida, après une modification provisoire du plan de secteur intervenue en 1998, que Doel devait disparaître de ce plan de secteur au titre de zone de résidence, toujours au motif de l’invivabilité du village, qualificatif récusé par les opposants.

 

Après le changement de gouvernement de la région flamande en 1999, une étude fut effectuée, sur insistance du parti vert Agalev, concernant la vivabilité de Doel après l’achèvement du nouveau bassin Deurganckdok. Cette étude cependant ne remit pas en cause la modification du plan de secteur, ni la décision déjà prise de faire disparaître Doel à terme.

 

Le 30 juillet 2002, le Conseil d’État suspendit la mise à exécution du plan de secteur tel que modifié, c'est-à-dire comportant notamment la requalification de Doel comme zone industrielle. C’est donc le plan de secteur de 1978, qui classe Doel comme zone résidentielle, qui garde force de droit. Toutefois, en vertu du Décret d’urgence (Nooddecreet) ou Décret de validation, adopté le 14 décembre 2001 au parlement flamand, le gouvernement flamand est habilité à délivrer, en vue de la construction du Deurganckdok, des permis de bâtir et à les faire sanctionner par le parlement. L’on escomptait pouvoir par cette voie contourner le plan de secteur. Le Nooddecreet était la réaction du gouvernement flamand face à la suspension des travaux du Deurganckdok imposé par un arrêté du Conseil d’État ; des comités d’action avaient en effet mis au jour des vices de procédure entachant les modifications apportées au plan de secteur. Le Nooddecreet, compte tenu qu’il interférait dans les procédures en cours, et tendait à contourner partiellement la protection juridique des citoyens, est considéré par beaucoup comme contraire aux principes de l’État de droit.

 

En octobre 1999 fut néanmoins engagée la construction du Deurganckdok, lequel fut inauguré en juillet 2005. Dès le printemps 1999 étaient venus à être connus d’autres projets encore, prévoyant notamment un deuxième grand bassin à conteneurs, le controversé Saeftinghedok (cf. ci-dessous), qui serait creusé à l’emplacement même de la petite agglomération. La mise en œuvre de ces projets reste cependant incertaine. Une décision à ce sujet est attendue au plus tôt en 2007.

 

Un nouveau « plan stratégique », que la Région flamande et les autorités portuaires anversoises ont achevé de mettre au point en 2007, devrait être approuvé bientôt. Le plan prévoit de requalifier en zone portuaire toute la zone située au nord d’une ligne Kieldrecht-Kallo (et donc englobant Doel), jusqu’à la frontière néerlandaise. La construction d’un nouveau bassin à marée, le Saeftinghedok, serait alors possible, moyennant la poursuite des expropriations.

 

Partisans et détracteurs s’opposent à propos de l’opportunité de ce bassin. Celui-ci a un fervent défenseur en la personne de Marc Van Peel, depuis fin 2006 échevin (=adjoint au maire) aux affaires portuaires de la municipalité d’Anvers. Selon M. Van Peel, l’extension du port d’Anvers est une nécessité, compte tenu, d’une part, de la croissance prévisible du trafic de conteneurs, lequel est passé, en 2007, de 7 à 8 millions d’ÉVP, et d’autre part, de ce que le port d’Anvers sera apte, dès 2008, grâce aux travaux d’approfondissement de l’estuaire qui ont été réalisés, à accueillir des porte-conteneurs d’une capacité jusqu’à 12.500 ÉVP. Si cette croissance se poursuit à ce même rythme, on peut prévoir que le Deurganckdok sera parvenu à saturation aux alentours de 2012. Or, les seules possibilités d’expansion se trouvent sur la rive gauche, dans les marais de Doel.

 

Les opposants au projet vont valoir, étude récente de la Ocean Shipping Consultants à l’appui, que la conteneurisation des marchandises pourrait atteindre bientôt son plafond, et que la croissance prévisible du trafic pourrait être moindre dans les dix années à venir que dans les années récentes. Par ailleurs, à l’heure actuelle, le Deurganckdok est loin d’avoir épuisé toute sa capacité, et il apparaît de surcroît que le rendement, exprimé en ÉVP par hectare, se situe, au port d’Anvers, avec un chiffre de 18.000 seulement, très en deçà de ce qu’il est à Rotterdam ou à Hambourg, où l’on atteint les 30.000 ÉVP par hectare. Dès lors, au lieu d’un supposé manque de capacité, ce serait plutôt d’une grande réserve de capacité (resp. d'une surcapacité, si le Saeftinghedok devait être construit) qu’il pourrait être question, de sorte que moyennant certaines améliorations techniques, et éventuellement un allongement du Deurganckdok, il devrait être possible de faire face à l’augmentation du trafic conteneurs, et ce, selon les calculs du parti écologiste Groen!, au moins jusqu'en 2027.

 

Dès 1999, les habitants qui le désiraient pouvaient se faire exproprier. Les maisons expropriées passaient aux mains de la Maatschappij voor Grond- en Industrialisatiebeleid van het Linkerscheldeoevergebied (Société de gestion foncière et d’industrialisation de la Rive gauche de l’Escaut, en abrégé Maatschappij Linkeroever), cependant les habitants expropriés bénéficiaient d’un droit d’habitation, garanti initialement jusqu’au 1er janvier 2007. Fin 2006, l’administration fit savoir aux habitants que le droit d’habitation serait prorogé de manière provisoire.

 

En même temps fut nommé en 1999 un médiateur social, chargé de mettre à exécution le plan d’accompagnement social et d’assister les habitants qui quittent le village volontairement. Le 31 décembre 2003, ce plan social vint à son terme. Cette manière de procéder a permis de rendre exsangue, en seulement quelques années et sans coup férir, une grande partie du village: le 1er mai 2003 ne vivaient plus dans le centre de Doel que 214 des 645 habitants qui étaient inscrits au 20 janvier 1998. Le chiffre de population réel dans le centre s’élevait toutefois, au 1er mai 2003, à 301. Le 1er septembre 2003, l’école communale fut fermée après constatation que seuls 8 élèves s’y étaient inscrits.

 

Depuis lors, si le nombre d’habitants officiel a poursuivi sa baisse (plus que 202 en mars 2006), le nombre réel s’est progressivement accru. Cela s’explique, pour petite partie, par l’arrivée de nouveaux locataires dans certaines maisons expropriées, et pour majeure partie par le fait que des squatteurs avaient occupé les immeubles vacants (les estimations se situent entre 150 et 200). Cet état de choses fut longtemps toléré par la Société propriétaire des maisons vacantes et par la municipalité de Beveren.

 

Début 2006, les médias se sont de nouveau intéressés à Doel en raison du grand nombre de squatteurs. Cela concourut à répandre dans le public l’idée que Doel s’était dans une certaine mesure muée en une zone de non-droit, où l’on pouvait sans problème s’approprier un logement vacant, ce qui, à son tour, eut pour effet d’attirer de nouveaux squatteurs et de provoquer une vague de cambriolages. Le 22 mars 2006, le bourgmestre (=maire) de Beveren annonça que les contrôles de police seraient intensifiés à Doel et que la tolérance zéro serait dorénavant en vigueur et toute activité illégale réprimée. Certains squatteurs cependant demandent à régulariser leur situation.

 

Début septembre 2007, le tribunal des référés de Termonde a interdit la démolition de logements à Doel. La Maatschappij Linkeroever avait demandé quarante permis de démolition, dont une vingtaine avaient été accordés entre-temps. Le gouvernement flamand souhaite que 125 immeubles au total — soit environ une moitié des maisons du village —, déjà acquis par l’autorité flamande, aient disparu d’ici fin 2007 ; cela du reste rejoint sa décision de mettre un terme final au droit d’habitation (woonrecht) en 2009 : toutes les maisons qui viendraient ainsi à se trouver vacantes seraient ensuite démolies. Cependant, quelques habitants de Doel, soutenus en cela par le comité d’action Doel 2020, avaient saisi le tribunal de Termonde afin d’empêcher les démolitions. Sur le plan d’occupation du sol, Doel reste classé en zone d’habitation, le nouveau plan de secteur qui requalifiait Doel en zone industrielle ayant en effet quelques années auparavant été suspendu par le Conseil d’État. Le président du tribunal a jugé que les travaux de démolition seraient dommageables aux habitants restés sur place et dépasseraient les limites de la simple incommodation.

 

Par ailleurs, et dans le même temps, une délégation des habitants de Doel s’est rendue au Parlement européen à Bruxelles pour protester contre la démolition programmée de 125 logements. La délégation a remis une requête à la Commission des pétitions du Parlement européen.

 

Source wikipédia

sorry i couldn't edit the picture. i felt like i haven't posted anything in a while. and i wanted to post these facts today, and i was to lazy to put "niley facts" x)

so yeah, these are REAL facts, so dont complain the badassity of it ;)

 

P.S. i've been seeing these facts on people's twitters and they don't even credit me. I just know for sure they're my facts, js. so, if i see them on someone's twitter without giving me credit again, i'm not posting anymore Niley facts. k? goood:)

 

64. E! says Nick is alot of the inspiration on Can't Be Tamed

 

65. Miley Cyrus was at the recording of the Year 3000 video.

 

66. Miley owns a JONAS shirt.

 

67. Nick was given a survey when he was 13, and wrote "Miley Cyrus" as his celebrity crush.

 

68. Billy Ray called Nick "a good kid" on Larry King in 09

 

69. Ryan: Are you in love with Nick Jonas? Miley; I AM NOT IN LOVE WITH NICK JONAS! R: Is he in love with you? M: Yes. Ryan: Have you made out with him? Miley: NO! Ryan; Will you makeout with him? Miley: Yes. (2007)

 

70. On Miley's can't be tamed album, "Scars" & "Take Me Along" is supposedly about Nick Jonas.

 

71. Nick sang Before The Storm in the same place he and Miley broke up. Hartford, Conneticut. (August 13, 2010.)

 

72. That same night, Noah tweeted Nick, "Hey Nick its noah! See ya. xoxo" She also tweeted about rockin out to Year 3000 and it being her favorite song. (August 13, 2010.)

 

73. Nick supposedly danced to Party In The USA at the Road Dogs Game. (August 6th, 2010)

 

74. Miley used to carry band-aids around specially for Nicks diabetes

 

75. Miley is RUMORED to be texting Nick a lot. A source says "They are not done and could possibly get together this fall"

 

76. Nick reportedly turned down a Duet with miley 'cause he was too busy touring with his brothers.

 

77. Nick changed the lyrics AGAIN to Still in Love With You from "You're not Listening" to "You're my destiny." [September 5, 2010]

 

78. Nick always smiles when Miley is mentioned to him at an interiew.

 

79. Nick and Miley both LOVE the band Coldplay.

 

80. Nick and Miley both got the new iPhone4 recently.

 

81. Paranoid is not about Miley, but it's rumored to be about Selena or Taylor Swift.

 

82. On the set of "Send it On", Joe & Nick would always make fun of Miley and say that she's the youngest of the cast. <-- this made me LOL. x)

 

83. Frankie Jonas & Noah Cyrus are team Niley.

 

84. "We wrote the song after a personal experience that made us grow in the ways of love and relationship And being able to perform this song with an old friend was truly amazing ." -Nick.

 

85. “We have one of those things where it’s kind of always there. She’s so important to me, and I’m really lucky.” - Nick.

 

86. Miley tweeted once: "Watching Beauty and The Beast :) Why can't I be more like Belle?" and Nick said his favorite Disney princess is Belle. [September 3, 2010.]

 

&

 

87. Nick couldn't stop smiling at the interview With Paul when they mentioned Miley. www.youtube.com/watch?v=Dp8qSeOks7k <-- BTW, love this interview! it's frickin hilarious. you should watch the whole thing x)

+++ DISCLAIMER +++

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

  

Some background:

The P-51H (NA-126) was the final production Mustang, embodying the experience gained in the development of the lightweight XP-51F and XP-51G aircraft. This aircraft, brought the development of the Mustang to a peak as one of the fastest production piston-engine fighters to see service in WWII.

In July of 1943, U.S. Army approved a contract with North American Aviation to design and build a lightweight P-51. Designated NA-105, 5 aircraft were to be built and tested. Edgar Schmued, chief of design at NAA, began this design early in 1943. He, in February of 1943, left the U.S. on a two-month trip to England. He was to visit the Supermarine factory and the Rolls Royce factory to work on his lightweight project.

 

Rolls Royce had designed a new version of the Merlin, the RM.14.SM, which was proposed to increase the manifold pressure to 120 (from 67 max) and thus improve military emergency horsepower to 2,200. Schmued was very eager to use this powerplant, since the new Merlin was not heavier than the earlier models. In order to exploit the new engine to the maximum, he visited the engineers at Rolls Royce in Great Britain. However, British fighters were by tendency lighter than their U.S. counterparts and Schmued also asked for detailed weight statements from Supermarine concerning the Spitfire. Supermarine did not have such data, so they started weighing all the parts they could get a hold of and made a report. It revealed that the British had design standards that were not as strict in some areas as the U.S, and American landing gear, angle of attack and side engine design loads were by tendency higher. When Schmued returned, he began a new design of the P-51 Mustang that used British design loads, shaving off weight on any part that could yield. The result was an empty weight reduction by 600 pounds, what would directly translate into more performance.

 

This design effort led to a number of lightweight Mustang prototypes, designated XP-51F, XP-51G and XP-51J. After their testing, the production version, NA-126 a.k.a. P-51H, was closest to the XP-51F. The project began in April 1944 and an initial contract for 1,000 P-51Hs was approved on June 30, 1944, which was soon expanded.

The P-51H used the V-1650-9 engine, a modified version of the new Merlin RM.14.SM that included Simmons automatic supercharger boost control with water injection, allowing War Emergency Power as high as 2,218 hp (1,500 kW) and a continuous output of up to 1,490 hp (1.070 kW).

Even though the P-51H looked superficially like a slightly modified P-51D, it was effectively a completely new design. External differences to the P-51D included lengthening and deepening the fuselage and increasing the height of the tailfin, which reduced, together with a lower fuel load in the fuselage tank, the tendency to yaw. The landing gear was simplified and lightened. The canopy resembled the P-51D bubble top style, over a raised pilot's position. The armament was retained but service access to the guns and ammunition was improved, including the introduction of ammunition cassettes that made reloading easier and quicker. With the new airframe several hundred pounds lighter, extra power, and a more streamlined radiator, the P-51H was faster than the P-51D, able to reach 472 mph (760 km/h; 410 kn) at 21,200 ft (6,500 m), making it one of the fastest piston engine aircraft in WWII.

 

The high-performance P-51H was designed to complement the P-47N as the primary aircraft for the invasion of Japan, with 2,000 ordered to be manufactured at NAA’s Inglewood plant. Variants of the P-51H with different versions of the Merlin engine were produced in limited numbers, too, in order to ramp up production and deliveries to frontline units. These included the P-51L, which was similar to the P-51H but utilized the V-1650-11 engine with a modified fuel system, rated at maximum 2,270 hp (1,690 kW), and the P-51M, or NA-124. The P-51M, of which a total of 1629 was ordered, was built in Dallas and utilized the V-1650-9A engine. This variant was optimized for operations at low and medium altitude and lacked water injection, producing less maximum power at height. However, it featured attachment points for up to ten unguided HVAR missiles under the outer wings as well as improved armor protection for the pilot against low-caliber weapons esp. from ground troops, which ate up some of the light structure’s weight benefit.

 

Most P-51H and L were issued to USAF units, while the P-51M and some Hs were delivered to allied forces in the Pacific TO, namely Australia and New Zealand. Only a few aircraft arrived in time to become operational until the end of hostilities, and even less became actually involved in military actions during the final weeks of fighting in the Pacific.

 

The RAAF received only a handful P-51Hs, since Commonwealth Aircraft Corporation (CAC) had recently started license production of the P-51D (as CA-18) and the RAAF rather focused on this type. However, there were plans in early 1945 to build the P-51H locally as the CA-21, too, but this never came to fruition.

 

New Zealand ordered a total of 370 P-51 Mustangs of different variants to supplement its Vought F4U Corsairs in the PTO, which were primarily used as fighter-bombers. Scheduled deliveries were for an initial batch of 30 P-51Ds, followed by 137 more P-51Ds and 203 P-51Ms. The first RNZAF P-51Ms arrived in April 1945 and were allocated to 3 Squadron as well as to the Flight Leaders School in Ardmore (near Auckland in Northern New Zealand) for conversion training. The machines arrived as knocked-down kits via ship in natural metal finish, but the operational machines were, despite undisputed Allied air superiority, immediately camouflaged in field workshops to protect the airframes from the harsh and salty environment, esp. on the New Guinean islands. The RNZAF Mustangs also received quick identification markings in the form of white tail surfaces and white bands on the wings and in front of and behind the cockpit, in order to avoid any confusion with the Japanese Ki-61 “Hien” (Tony) and Ki-84 (Frank) fighters which had a similar silhouette and frequently operated in a natural metal finish.

During the final weeks of the conflict, the RNZAF only scored three air victories: two Japanese reconnaissance flying boats were downed and a single Ki-84 fighter was shot down in a dogfight over Bougainville. Most combat situations of 3 Squadron were either fighter escorts for F4U fighter bombers or close air support and attacks against Japanese strongholds or supply ships.

 

After the war, many USAF P-51Hs were immediately retired or handed over to reserve units. The surviving P-51Js were, due to their smaller production numbers, were mostly donated to foreign air forces in the course of the Fifties, in order to standardize the US stock. Despite its good performance, the P-51H/J/M did not take part in the Korean War. Instead, the (by the time re-designated) F-51D was selected, as it was available in much greater numbers and had a better spares supply situation. It was considered as a proven commodity and perceived to be stouter against ground fire – a misconception, because the vulnerable ventral liquid cooling system caused heavy losses from ground fire. The alternative P-47 would have been a more effective choice. The last American F-51H Mustangs were retired from ANG units in 1957, but some of its kin in foreign service soldiered on deep into the Sixties. The F-51D even lasted into the Eigthies in military service!

 

After the end of hostilities in the PTO, the RNZAF’s forty-two operational P-51Ms met different fates: The twenty-six survivors, which had reached frontline service in New Guinea, were directly scrapped on site, because their transfer back to New Zealand was not considered worthwhile. Those used for training in New Zealand were stored, together with the delivered P-51Ds, or, together with yet unbuilt kits, sent back to the United States.

In 1951, when New Zealand’s Territorial Air Force (TAF) was established, only the stored P-51D Mustangs were revived and entered service in the newly established 1 (Auckland), 2 (Wellington), 3 (Canterbury), and 4 (Otago) squadrons. Due to the small number, lack of spares and communality with the P-51D, the remaining mothballed RNZAF F-51Ms were eventually scrapped, too.

  

General characteristics:

Crew: 1

Length: 33’ 4” (10.173 m)

Wingspan: 37‘ (11.28 m)

Height: 13‘ 8” (4.17 m) with tail wheel on ground, vertical propeller blade

Wing area: 235 sq ft (21.83 m²)

Airfoil: NAA/NACA 45-100 / NAA/NACA 45-100

Empty weight: 7.180 lb (3,260 kg)

Gross weight: 9,650 lb (4,381 kg)

Max takeoff weight: 11,800 lb (5,357 kg)

Fuel capacity: 255 US gal (212 imp gal; 964 l)

Aspect ratio: 5.83

 

Powerplant:

1× Packard (Rolls Royce) V-1650-9A Merlin 12-cylinder liquid cooled engine, delivering 1,380 hp

(1,030 kW) at sea level, driving a 4-blade constant-speed Aeroproducts 11' 1" Unimatic propeller

 

Performance:

Maximum speed: 465 mph (750 km/h; 407 kn) at 18,000 ft (5,500 m)

Cruise speed: 362 mph (583 km/h, 315 kn)

Stall speed: 100 mph (160 km/h, 87 kn)

Range: 855 mi (1,375 km, 747 nm) with internal fuel

1,200 mi (1,930 km, 1,050 nmi) with external tanks

Service ceiling: 30,100 ft (9,200 m)

Rate of climb: 3,200 ft/min (16.3 m/s) at sea level

Wing loading: 30.5 lb/sq ft (149 kg/m²)

Power/mass: 0.19 hp/lb (315 W/kg)

Lift-to-drag ratio: 14.6

Recommended Mach limit 0.8

 

Armament:

6× 0.50 caliber (12.7mm) AN/M2 Browning machine guns with a total of 1,880 rounds

2× underwing hardpoints for drop tanks or bombs of 500 pounds (227 kg) caliber each,

or 6 or 10 5” (127 mm) T64 HVAR rockets

  

The kit and its assembly:

A relatively simple project, a whiffy color variant based on RS Model’s 1:72 P-51H kit – which I quickly turned into a P-51M, which was planned as mentioned in the background, but never produced in real life.

The model was strictly built OOB, and while this short-run kit goes together quite well, I encountered some problems along the way:

- There are massive and long ejector pin markers, sometimes in very confined locations like the radiator intake. Without a mini drill, getting rid of them is very difficult

- Somehow the instructions for the cockpit are not correct; I put the parts into place as indicated, and the pilot’s seat ended up way too far forward in the fuselage

- The canopy, while clear, is pretty thick and just a single piece, so that you have to cut the windscreen off by yourself if you want to show the otherwise very nice cockpit.

- The separated windscreen section itself includes a piece of the cowling in front of the window panes, which makes its integration into the fuselage a tricky affair. However, this IMHO not-so-perfect construction became a minor blessing because the separated windscreen turned out to be a little too narrow for the fuselage – it had to be glued forcibly to the fuselage (read: with superglue), and the section in front of the window panes offered enough hidden area to safely apply the glue on the clear piece.

- While there are some resin parts included like weighted wheels, it is beyond me why tiny bits like the underwing pitot or most delicate landing gear parts have been executed in resin, as flat parts of a resin block that makes it IMHO impossible to cut them out from.

- The tail wheel is a messy three-piece construction of resin and IP parts, with a flimsy strut that’s prone to break already upon cutting the part from the IP sprue. Furthermore, there’s no proper location inside of the fuselage to mount it. Guess and glue!

- The fit of the stabilizers is doubtful; it’s probably best to get rid of their locator pins and glue them directly onto the fuselage

- The propeller consists of a centerpiece with the blades, which is enclosed by two spinner halves (front and back). This results in a visible seam between them that is not easy to fill/PSR away

 

On the positive side I must say that the engraved surface details, the cockpit interior and the landing gear are very nice, and there is even the complete interior of the radiator and its tunnel included. PSR requirements are also few, even though you won’t get along well without cosmetic bodywork.

 

The only personal modification is a styrene tube inside of the nose for the propeller, which was mounted onto a metal axis for free rotation; OOB, the propeller is not moveable at all and is to be glued directly to the fuselage.

While the kit comes with optional ordnance (six HVARs or a pair of 500 lb bombs, both in resin), I just used the bomb pylons and left them empty, for a clean look.

  

Painting and markings:

Even though the model was a quick build, finding a suitable color concept took a while; I had a whiffy P-51H on my agenda for a long time (since the RS Models kit came out), and my initial plan was to create an Australian aircraft. This gradually changed to an RNZAF aircraft during the last weeks of WWII in the PTO, and evolved from an NMF finish (initial and IMHO most logical idea) through am Aussie-esque green/brown camouflage to a scheme I found for a P-40: a trainer that was based in New Zealand and (re)painted in domestic colors, namely in Foliage Green, Blue Sea Grey and Sky. This might sound like a standard RAF aircraft, but in the end the colors and markings make this Mustang look pretty exotic, just as the P-51H looks like a Mustang that is “not quite right”.

 

The Foliage Green is Humbrol 195 (Dark Green Satin, actually RAL 6020 Chrome Oxide Green), which offers IMHO a good compromise between the tone’s rather bluish hue and yellow shades – I find it to be a better match than the frequently recommended FS 34092, because RAL 6020 is darker. The RNZAF “Blue Sea Grey”, also known as “Pacific Blue” or “Ocean Blue”, is a more obscure tone, which apparently differed a lot from batch to batch and weathered dramatically from a bluish tone (close to FS 35109 when fresh) to a medium grey. I settled for Humbrol 144 (FS 35164; USN Intermediate Blue), which is rumored to come close to the color in worn state.

The undersides were painted with Humbrol 23 (RAF Duck Egg Blue), which I found to be a suitable alternative to the more greenish RAF Sky, even though it’s a pretty light interpretation.

Tail and spinner were painted white, actually a mix of Humbrol 22 (Gloss White) and 196 (Light Grey, RAL 7035) so that there would be some contrast room left for post-shading with pure white.

The interior of cockpit and landing gear wells was painted with zinc chromate primer yellow (Humbrol 81), while the landing gear struts became Humbrol 56 (Aluminum Dope). The radiator ducts received an interior in aluminum (Revell 99).

 

In order to simulate wear and tear as well as the makeshift character of the camouflage I painted the wings’ leading edges and some other neuralgic areas in aluminum (Revell 99, too) first, before the basic camouflage tones were added in a somewhat uneven fashion, with the metallized areas showing through.

Once dry, the model received an overall washing with thinned black ink and a through dry-brushing treatment with lighter shades of the basic tones (including Humbrol 30, 122 and 145) for post-panel-shading and weathering, esp. on the upper surfaces.

 

The decals are a mix from a Rising Decals sheet for various RNZAF aircraft (which turned out to be nicely printed, but rather thin so that they lacked opacity and rigidity), and for the tactical markings I stuck to the RNZAF practice of applying just a simple number or letter code to frontline aircraft instead of full RAF-style letter codes. The latter were used only on aircraft based on home soil, since the RNZAF’s frontline units had a different organization with an aircraft pool allocated to the squadrons. Through maintenance these circulated and were AFAIK not rigidly attached to specific units, hence there was no typical two-letter squadron code applied to them, just single ID letters or numbers, and these were typically painted on the aircraft nose and/or the fin, not on the fuselage next to the roundel. The nose art under the cockpit is a mix of markings from P-40s and F4Us.

 

The white ID bands on fuselage and wings are simple white decal strips from TL-Modellbau. While this, together with the all-white tail, might be overdone and outdated towards mid-1945, I gave the Kiwi-Mustang some extra markings for a more exciting look – and the aircraft’s profile actually reminds a lot of the Ki-61, so that they definitely make sense.

 

Towards the finish line, some additional dry-brushing with grey and silver was done, soot stains were added with graphite to the exhaust areas and the machine gun ports, and the model was finally sealed with matt acrylic varnish.

  

After the recent, massive YA-14 kitbashing project, this Mustang was – despite some challenges of the RS Models kit itself – a simple and quick “relief” project, realized in just a couple of days. Despite being built OOB, the result looks quite exotic, both through the paint scheme with RNZAF colors, but also through the unusual roundels and the striking ID markings (for a Mustang). I was skeptical at first, but the aircraft looks good and the camouflage in RNZAF colors even proved to be effective when set into the right landscape context (beauty pics).

The juice is packed with simple sugar, vitamins, minerals and electrolytes that replenish hydration levels within the body. Find out more about coconut juice and its benefits at www.fruitlush.com.

 

Fruit Lush Photos is licensed under a Creative Commons Attribution-NoDerivs 3.0 Unported License.

Page 04

As presented by ABC TV's DISCOVERY

Published by the Saalfield Publishing Company.

Copyright MCMLXIV American Broadcasting-Paramount Theatres, Inc.

Facts about this company

Coca-Cola owns and markets four of the world’s top five sparkling non-alcoholic beverages: Coca-Cola, Diet Coke, Fanta and Sprite. It makes and distributes its beverages through company-owned or controlled bottling plants and distributors but also contracts independent bottling partners, wholesalers, and retailers.